Friday, January 24, 2020
Small Country Farm at Bordighera :: Essays Papers
French, 1840-1926 Small Country Farm at Bordighera 1884 Museum Purchase, 1943.39 In January 1884 Monet set out alone for the Mediterranean village of Bordighera, just across the Franco-Italian border. Originally intending to stay only for three weeks, Monet became so absorbed in the challenges of capturing brilliant hues of the lush landscape (so different from the cool, gray tonality of northern France) that he spent over two months there and produced forty paintings. Monet recorded his progress and frustrations in copious letters to friends back in Paris: "These palms are driving me crazy; the motifs are extremely difficult to seize, to put on canvas; it's so bushy everywhere, although delightful to the eye.... I would like to do orange and lemon trees silhouetted against the blue sea but cannot find them as I would like." Small Country Farm at Bordighera was probably painted in March and represents his finest achievement there. Years later Monet mentioned it with one other painting of the sojourn as a work with which he was especially satisfied. In it, Monet used remarkably varied brushwork to create a wide range of optical effects and to organize his pictorial space as the viewer's eye is carried from the thick, bushy vegetation of the foreground to the hazy mountain peaks of the distance. Above all, the painting is remarkable for its bold handling of color and rainbowlike palette, which point away from the years of classic Impressionism to the color-saturated paintings of Monet's final decades in Giverny. Monet often represented the times of the day when light is at its most dramatic: sunrise, midday and sunset. In such views as Cap Martin, near Menton (1884), Monet contrasts the intense light of the southern sun burning bright on the coastal road against the deep calm blue waters of the Mediterranean. In other pictures of olive groves and olive trees he focuses on the volley between light and shadow Monet's pictorial style is the quintessence of Impressionism -- an investigation of the transformational properties of light. Emile Zola, the 19th-century French novelist and critic, wrote that Impressionism is a perception of the world "through a temperament." A scrupulous observer of light and color, Monet could define what he was feeling with loose brushwork and
Thursday, January 16, 2020
Competency in Information and Technology Literacy Essay
The dynamic changes in information technology has advocated for nurses highly qualified in nursing informatics. This paper discusses some barricades allied to the employment of essential Nursing Informatics competencies into undergraduate nursing websites. Introduction Information Literacy is the set of skills needed to discover, repossess, evaluate, and use information. The Changes in information technology have led to new changes in the way nurses operate on patients. These nurses have to undergo various competencies. This paper discusses the changes and the required competencies. Discussion Information literacy is important in the nursing researches and practical working with the nursing informatics equipment. It is not just for students to learn but for practicing nurses and other healthcare practitioners as well. The practice of nursing in which the nurse makes medical decisions based on the best existing research proof, his or her own clinical expertise, and the needs and inclinations of the patient is referred to as evident based nursing. The nurses should learn to practice Information system to design and maintain their healthcare information. For instance, PDAs (Personal Digital Assistant or Patient Data) could allow nursing scholars to access various decision support systems that would offer them with professional guidance relating to specific care and treatment matters at their patient’s bedsides. There are various sources where one can learn about information literacy and find ideas about relationship between them. These include the website, libraries, journals, electronic full-text for nursing, that is, books, journals, virtual libraries, other articles and databases. To evaluating a website containing medical records, determine the website goal; discover the website objectives; website content description, evaluation questions, sources of evaluation data, methods of data collection. The steps performed are performed systematically. First and foremost, find out if the results have been reproduced in other research laboratory or by other scholars. Next step involves an attempt to conclude the study’s credibility. Look keenly at the material of study that is, if investigators essentially compare two sets of topics or did they just make bservations? If a control was used were the group results comparable? Evaluate the criteria used to conclude this study. Consider the modification and duration of the study. The next step is to look at the conclusions. Consider if they are warranted by the evidence. If one can’t find useful solutions in the website, then it is time to address some questions like: does one have to take illegalized results? How does one know that the product in question is the right one? If the product is or could be the right one, then, what guarantees this? Moreover one must to know more information on the product. Any information that is relevant should be taken into account. If the person still decides to take the product, he or she should be sure to tell the doctor who can make observation on the side effect about the product. Conclusion Nursing informatics is very important in today’s dynamic technological application. It is very important for nursing professionals to have the knowledge of nursing informatics as this will help them to participate fully in the technology enabled nursing.
Tuesday, January 7, 2020
Ubasute yama - Learn from a Story
Ubasute yama is one of the Japanese folktales. Uba means elderly woman and sute means to throw away or discard. Ubasute means abandoning an old woman. む㠋ã â€"〠む㠋ã â€"〠゠ã Å'㠾㠾㠪㠊㠨㠮æ §ËœÃ£ Å'㠄㠾ã â€"㠟。ã 㠮㠊㠨㠮æ §ËœÃ£ ¯Ã¥ ¹ ´Ã¥ ¯â€žÃ£â€šÅ ã Å'Ã¥ ¤ §Ã¥ «Å'㠄㠧ã â€"㠟。㠂るæâ€" ¥Ã£â‚¬ 㠨㠮æ §ËœÃ£ ¯Ã£â‚¬ Ã¥ ® ¶Ã¦ ¥Ã£ «Ã¥â€º ½Ã¤ ¸ 㠫ç «â€¹Ã£ ¦Ã¦Å" ã‚’ç «â€¹Ã£ ¦Ã¦ ‘ä º ºÃ£ «Ã£ “ん㠪ã “㠨ã‚’å‘ ½Ã£ ˜ã ¾Ã£ â€"㠟。ã€Å'å… Ã¥ ã‚’é Žã Žã Ÿå ¹ ´Ã¥ ¯â€žÃ£â€šÅ 㠯å ± ±Ã£ «Ã¦ ¨Ã£ ¦Ã£â€šâ€¹Ã£ ¹Ã£ â€"。å ¾â€œÃ£â€š 㠪ã „å ® ¶Ã£ ¯Ã£ ¿Ã£ ªÃ£ â€Ã£â€š ã â€"。ã€ è ª °Ã£â€šâ€šÃ£ Å'〠å ® ¶Ã¤ ¸ 㠮も㠮ã Å'æ ® ºÃ£ •ã‚Å'る㠮ã‚’æ ã‚Å'㠦ã€ ä »â€¢Ã¦â€" ¹Ã£ ªÃ£ 㠨㠮æ §ËœÃ£ ®Ã¥â€˜ ½Ã¤ » ¤Ã£ «Ã¥ ¾â€œÃ£ „㠾ã â€"㠟。㠕㠦〠ã 㠮æ †˜Ã£ §Ã¥ ¹ ´Ã¨â‚¬ ã „ã Ÿæ ¯ è ¦ ªÃ£â€šâ€™Ã£ ‹ã ‹ã ˆã Ÿè‹ ¥Ã¨â‚¬â€¦Ã£ Å'㠊り〠ã€Å'æ ¯Ã¥ よ。ç § 㠯å… Ã¥ 㠧ã ™ã€‚å ± ±Ã£ «Ã¦ ¨Ã£ ¦Ã£ ¦Ã£ Šã ã‚Å'。〠ã€Å'ã Šæ ¯ ã •ã‚“。ã ん㠪㠲㠩ã „㠓㠨㠯㠧ã 㠾㠛ん。〠ã€Å'éš £Ã£ ®Ã¥ ® ¶Ã£ ®Ã£ Šã °Ã£ ‚ã •ã‚“ã‚‚ã€ å‰ ã ®Ã¥ ® ¶Ã£ ®Ã£ Šã ˜ã „ã •ã‚“ã‚‚ã€ ã‚‚ã †å ± ±Ã£ «Ã¦ ¨Ã£ ¦Ã£â€šâ€°Ã£â€šÅ'㠾ã â€"ã Ÿã€‚æ‚ ©Ã£ ¾Ã£ ªÃ£ 㠦ã‚‚ã „㠄㠧ã ™ã‚ˆã€‚ã€ è‹ ¥Ã¨â‚¬â€¦Ã£ ¯Ã£â‚¬ ã â€"㠶ã â€"㠶æ ¯ è ¦ ªÃ£â€šâ€™Ã¨Æ'Å'ä ¸ 㠫èÆ'Å'è ² 㠆㠨〠å ± ±Ã£â€šâ€™Ã§â„¢ »Ã£â€šÅ 㠾ã â€"ã Ÿã Å'ã€ ã‚„ã ¯Ã£â€šÅ æ ¯ ã‚’å ± ±Ã£ «Ã§ ½ ®Ã£ åŽ »Ã£â€šÅ ã « 㠙る㠓㠨㠯㠧ã ã šã€ æ ¯ è ¦ ªÃ£â€šâ€™Ã¨Æ'Å'è ² 㠣㠦〠å ¤Å"㠓㠣ã ã‚Šå ® ¶Ã£ «Ã¦Ë† »Ã£â€šÅ 〠ã ã â€"㠦ã€ è £ 㠮ç ´ Ã¥ ±â€¹Ã£ «Ã©Å¡ ã â€"㠾ã â€"㠟。 æ• °Ã¦â€" ¥Ã£ Ÿã £Ã£ Ÿæâ€" ¥Ã£ ®Ã£ “㠨〠㠨㠮æ §ËœÃ£ ¯Ã£â‚¬ æ ‘ä º ºÃ£ «Ã§ °Ã£ ®Ã§ ¸â€žÃ£â€šâ€™Ã¤ ½Å"るよã †å‘ ½Ã£ ˜ã ¾Ã£ â€"㠟。ã€Å'ã Šæ ¯ ã •ã‚“。㠊㠨㠮æ §ËœÃ£ Å'ç °Ã£ ®Ã§ ¸â€žÃ£â€šâ€™Ã¤ ½Å"ã‚Å'㠨㠮ã “㠨㠧㠙。や㠣㠦㠿㠾ã â€"ã Ÿã Å'å‡ ºÃ¦ ¥Ã£ ¾Ã£ ›ã‚“。è ª °Ã£â€šâ€šÃ£ §Ã£ 㠪ã „㠨〠å ¹ ´Ã¨ ² ¢Ã£ Å'é «ËœÃ£ 㠪ã‚Š㠾㠙。〠ã€Å'æ ¯Ã¥ よ。ã ã‚Å'㠯ç ° ¡Ã¥ ˜ã §Ã£ ™ã‚ˆã€‚教㠈㠦ä ¸Å 㠒㠾ã â€"ょã †ã€‚ã€ æ ¯Ã¥ 㠯ã€ è ¨â‚¬Ã£â€š ã‚Å'㠟通り〠゠ら㠪ã‚ 㠮è ¼ ªÃ£â€šâ€™Ã¤ ½Å"る㠨〠ã ã‚Å'ã‚’å ¡ ©Ã¦ ° ´Ã£ ®Ã¤ ¸ 㠫å… ¥Ã£â€šÅ'ã€ ä ¹ ¾Ã£ ‹ã â€"㠦ç‡Æ'ã‚„ã â€"〠㠧ã ã Ÿç °Ã£ ®Ã§ ¸â€žÃ£â€šâ€™Ã¦â€¦Å½Ã©â€¡ 㠫㠨㠮æ §ËœÃ£ ®Ã£ ¨Ã£ “゠㠫æÅ' 㠣㠦è ¡Å'ã 㠾ã â€"㠟。 ã€Å'ã Šä ¸ »Ã£â‚¬ 㠪㠋㠪ã ‹ã‚„る㠪。è‰ ¯Ã£ ‹ã‚ 㠆。ã ã‚Å'㠧㠯ã€ ã‚‚ã †å °â€˜Ã£ â€"é› £Ã£ â€"ã „å• é ¡Å'ã‚’å‡ ºÃ£ 㠆。㠓ã‚Å'㠯ã€ ä ¸â‚¬Ã¦Å" ¬Ã£ ®Ã¦ £â€™Ã£ §Ã£ ‚る。㠩㠡らã Å'æ ¹Ã£ ®Ã¦â€" ¹Ã£ §Ã£â‚¬ 㠩㠡らã Å'æž ã ®Ã¦â€" ¹Ã£ ‹ã€ ä ¸â‚¬Ã¤ ¸ ¡Ã¦â€" ¥Ã¤ ¸ 㠫〠㠯㠣ã ã‚Šã •ã ݋ ªÃ£ •ã „。ã€ è‹ ¥Ã¨â‚¬â€¦Ã£ ¯Ã£â‚¬ æ £â€™Ã£â€šâ€™Ã¥ ® ¶Ã£ «Ã¦Å' ã ¡Ã¥ ¸ °Ã£â€šÅ 㠾ã â€"ã Ÿã Å'〠é€â€Ã¦â€" ¹Ã£ «Ã£ ã‚Å'ã€ æ ¯ 㠫ã Ÿã šã 㠾ã â€"㠟。ã€Å'ç ° ¡Ã¥ ˜ã §Ã£ ™ã‚ˆã€‚æ ° ´Ã£ ®Ã¥â€¦ ¥Ã£ £Ã£ Ÿæ ¡ ¶Ã£â€šâ€™Ã¦Å' 㠣㠦ã 㠪ã •ã „。ã€ æ ¯Ã¥ 㠯æ ¡ ¶Ã£â€šâ€™Ã§â€ ¨Ã¦â€ž ã â€"ã€ æ £â€™Ã£â€šâ€™Ã ¦ ° ´Ã£ ®Ã¤ ¸ 㠫å… ¥Ã£â€šÅ'㠾ã â€"㠟。ã€Å'è ¦â€¹Ã£ ¦Ã£ â€Ã¨ ¦ §Ã£â‚¬â€šÃ¤ ¸â€¹Ã£ «Ã£ ‚ã‚‹æâ€" ¹Ã£ Å'æ ¹Ã£ £Ã£ “㠧ã€ æ µ ®Ã£ „ã Ÿæâ€" ¹Ã£ Å'æž ã §Ã£ ™ã‚ˆã€‚ã€ è‹ ¥Ã¨â‚¬â€¦Ã£ ¯Ã£ ¨Ã£ ®Ã¦ §ËœÃ£ ®Ã¥â€° 㠧〠ç â€Ã£ ˆã‚’è ¨â‚¬Ã£ „㠾ã â€"㠟。 ã€Å'やる㠪。ã ã‚Å'㠧㠯ä ¸â‚¬Ã§â€¢ ªÃ©â€º £Ã£ â€"ã „å• é ¡Å'ã‚’å‡ ºÃ£ ã †ã€‚å ©Ã£ ‹ã ªÃ£ 㠦ã‚‚éŸ ³Ã£ Å'å‡ ºÃ£â€šâ€¹Ã¥ ¤ ªÃ© ¼â€œÃ£â€šâ€™Ã¤ ½Å"㠣㠦ã 㠪ã •ã „。ã€ è‹ ¥Ã¨â‚¬â€¦Ã£ ¯Ã£â‚¬ çÅ"Ÿã £Ã© ’㠪é ¡â€Ã£â€šâ€™Ã£ â€"㠦å ¤ ªÃ© ¼â€œÃ£â€šâ€™Ã¦ ºÃ£ ˆã ¦Ã¥ ® ¶Ã£ «Ã¦Ë† »Ã£â€šâ€¹Ã£ ¨Ã£â‚¬ æ ¯ 㠫助ã ‘ã‚’æ ±â€šÃ£â€š 㠾ã â€"㠟。ã€Å'㠨㠦ã‚‚ç ° ¡Ã¥ ˜ã §Ã£ ™ã‚ˆã€‚å ± ±Ã£ §Ã¨Å"‚ã‚’æ• °Ã¥Å' ¹Ã¦ •ã ¾Ã£ ˆã ¦Ã£ 㠪ã •ã „。ã€ æ ¯ è ¦ ªÃ£ ¯Ã£â‚¬ Ã¥ °â€˜Ã£ â€"Ã¥ ¤ ªÃ© ¼â€œÃ£ ®Ã§Å¡ ®Ã£â€šâ€™Ã§ · ©Ã£â€š る㠨〠èÅ"‚ã‚’ã 㠮ä ¸ 㠫å… ¥Ã£â€šÅ'〠㠾ã Ÿçš ®Ã£â€šâ€™Ã§ · ゠㠾ã â€"ã Ÿã€‚å ¤ ªÃ© ¼â€œÃ£ Å'éŸ ³Ã£â€šâ€™Ã§ «â€¹Ã£ ¦Ã¥ §â€¹Ã£â€š 㠾ã â€"ã Ÿã€‚è‹ ¥Ã¨â‚¬â€¦Ã£ ¯Ã©Å¸ ³Ã£ ®Ã£ ™ã‚‹ã Ÿã „㠓を㠨㠮æ §ËœÃ£ «Ã¦ ¸ ¡Ã£ â€"㠾ã â€"㠟。ã€Å'Ã¥ ‚㠣㠟。ã 㠡㠯ä ¸â‚¬Ã¤ º ºÃ£ §Ã¤ ¸â€°Ã£ ¤Ã£ ®Ã©â€º £Ã© ¡Å'ã‚’è § £Ã£ „㠟㠮㠋。〠ã€Å'㠊㠨㠮æ §ËœÃ£â‚¬ Ã¥ ®Å¸Ã£â€šâ€™Ã§â€ ³Ã£ â€"㠾㠙㠨ã€ å• é ¡Å'ã‚’è § £Ã£ „㠟㠮㠯ã€ ç § 㠧㠯㠪ã ã€ æ ¯ è ¦ ªÃ£ §Ã£ ™ã€‚㠊㠨㠮æ §ËœÃ£ ¯Ã£â‚¬ Ã¥ ¹ ´Ã¥ ¯â€žÃ£â€šÅ ã‚’å ± ±Ã£ «Ã¦ ¨Ã£ ¦Ã£â€šâ€¹Ã£â€šË†Ã£ †å‘ ½Ã£ ˜ã ¾Ã£ â€"㠟。㠧ã‚‚ç § 㠯〠ã 㠮よ㠆㠪æ ®â€¹Ã©â€¦ ·Ã£ ªÃ£ “㠨㠯å‡ ºÃ¦ ¥Ã£ ¾Ã£ ›ã‚“㠧ã â€"ã Ÿã€‚æ ¯ ã‚’ç ´ Ã¥ ±â€¹Ã£ «Ã©Å¡ ã â€"㠾ã â€"ã Ÿã€‚å ¹ ´Ã¥ ¯â€žÃ£â€šÅ 㠯ã€ ä ½â€œÃ£ ¯Ã¥ ¼ ±Ã£ 㠪ã £ 㠦ã‚‚ã€ è‹ ¥Ã£ „者よりç‰ ©Ã§Å¸ ¥Ã£â€šÅ 㠧㠙。〠㠨㠮æ §ËœÃ£ ¯Ã£ â€"㠰らã è€Æ'㠈㠦〠ã€Å'ã 㠮通りã 㠪。ã‚ ã â€"ã Å'éâ€"“é •ã £Ã£ ¦Ã£ „ã Ÿã€‚ã‚‚ã †å ¹ ´Ã¥ ¯â€žÃ£â€šÅ ã‚’å ± ±Ã£ «Ã¦ ¨Ã£ ¦Ã£â€šâ€¹Ã£ ®Ã£ ¯Ã£â€šË†Ã£ 㠆。〠ã ã‚Å'㠋らã 㠮å› ½Ã£ ¯Ã£ Šå ¹ ´Ã¥ ¯â€žÃ£â€šÅ ã‚’å ¤ §Ã¥Ë†â€¡Ã£ «Ã£ ™ã‚‹å› ½Ã£ «Ã£ ªÃ£â€šÅ 㠾ã â€"㠟。 Romaji Translation Mukashi mukashi, wagamamana otonosama ga imashita.Sono otonosama wa toshiyori ga daikirai deshita.Aru hi, tonosama wa, kerai ni kunijuu ni tatefuda o tatete murabito ni konna koto o meijimashita.Rokujuu o sugita toshiyori wa yama ni suteru beshi. Shitagawanai ie wa mina goroshi.Daremo ga, iejuu no mono ga korosareru no o osorete, shikatanaku tonosama nno meirei ni shitagaimashita.Sate, sono mura de toshioita hahaoya o kakaeta wakamono ga ori,Musuko yo. Watashi wa rokujuu desu, Yama ni sutete okure.Okaasan. Sonna hidoi koto wa dekimasen.Tonari no ie no obaasan mo, mae no ie no ojiisan mo, mou yama ni suteraremashita. Nayamanakutemo ii desu yo.Wakamono wa, shibushibu hahaoya o senaka ni seou to, yama o noborimashita ga, yahari haha o yama ni okizarini suru koto wa dekizu, hahaoya o seotte, yoru kossori ie ni modori, soshite, ura no naya ni kakushimashita. Suujitsu tatta hi no koto, tonosama wa, murabito ni hai no nawa o tsukuru you meijimashita.Okaasan. Otonosama ga hai no nawa o tsukure to no koto desu. Yattemimashita ga dekimasen. Daremo dekinai to, nengu ga takaku narimasu.Musuko yo. Sore wa kantan desu yo. Oshiete agemashou.Musuko wa, iwareta toori, waranawa no wa o tsukuru to, sore o shiomizu no naka ni ire, kawakashite moyashi, dekita hai no nawa o shinchou ni tonosama no tokoro ni motte ikimashita. Onushi, nakanaka yaru na. Yokarou. Soredewa, mou sukoshi muzukashii mondai o dasou. Kore wa ippon no bou de aru. Dochira ga ne no hou de, dochira ga eda no hou ka, ichiryoujitsu ni, hakkiri sasenasai.Wakamono wa, bou o ie ni mochikaerimashita ga, tohouni kure, haha ni tazunemashita.Kantan desu yo. Mizu no haitta oke o motte kinasai.Musuko wa oke o youi shi, bou o mizu no naka ni iremashita.Mite goran. Shita ni aru hou ga nekko de, uita hou ga eda desu yo.Wakamono wa tonosama no mae de, kotae o iimashita. Yaru na. Soredewa ichiban muzukashii mondai o dasou. Tatakanakutemo oto ga deru taiko o tsukutte kinasai.Wakamono wa massaona kao o shite taiko o kakaete ie ni modoru to, haha ni tasuke o motomemashita.Totemo kantan desu yo. Yama de hachi o suuhiki tsukamaete kinasai.Hahaoya wa, sukoshi taiko no kawa o yurumeru to, hachi o sono naka ni ire, mata kawa o shimemashita. Taiko ga oto o tatehajimemashita.Wakamono wa oto no suru taiko o tonosama ni watashimashita.Maitta. Sochi wa hitori de mittsu no nandai o toita no ka.Otonosama, jitsu o moushimasu to, mondai o toita nowa, watashi dewa naku, hahaoya desu. Otonosama wa, toshiyori o yama ni suteru you meijimashita. Demo watashi wa, sonoyouna zankokuna koto wa dekimasendeshita. Haha o naya ni kakushimashita. Toshiyori wa karada wa yoyaku natte mo, wakai mono yori monoshiri desu.Tonosama wa shibaraku kangaete,Sono toori dana. Washi ga machigatteita. Mou toshiyori o yama ni suteru nowa yosou.Sorekara sono kuni wa otoshiyori o taisetsuni suru ku ni ni narimashita. Vocabulary mukashi mukashi æ˜â€Ã£â‚¬â€¦ --- once upon a timewagamama ã‚ ã Å'㠾ã ¾ --- selfishtoshiyori Ã¥ ¹ ´Ã£â€šË†Ã£â€šÅ --- an old persondaikirai Ã¥ ¤ §Ã¥ «Å'ã „ --- to hatearu hi ã ‚ã‚‹æâ€" ¥ --- one daykerai Ã¥ ® ¶Ã¦ ¥ -- a followertatefuda ç «â€¹Ã¦Å" --- a signmurabito æ ‘ä º º --- a villagermeijiru å‘ ½Ã£ ˜ã‚‹ --- to orderyama Ã¥ ± ± --- a mountainsuteru æ ¨Ã£ ¦Ã£â€šâ€¹ --- to throw awayshitagau Ã¥ ¾â€œÃ£ †--- to followkorosu æ ® ºÃ£ â„¢ --- to killosoreru æ ã‚Å'ã‚‹ --- to get scaredshikatanaku ä »â€¢Ã¦â€" ¹Ã£ ªÃ£ --- reluctantly; unwillinglywakamono è‹ ¥Ã¨â‚¬â€¦ --- the youthmusuko æ ¯Ã¥ --- a sonokaasan ã Šæ ¯ ã •ã‚“ --- a motherhidoi 㠲㠩ã „ --- terribletonari 㠨㠪ã‚Š--- the house next doorobaasan 㠊㠰ã ‚ã •ã‚“ --- an old womanojiisan 㠊㠘㠄㠕ん --- an old mannayamu æ‚ ©Ã£â€šâ‚¬ --- to be worried; to be distre ssedshibu shibu ã â€"㠶ã â€"ã ¶ --- reluctantlysenaka èÆ'Å'ä ¸ --- a backseou èÆ'Å'è ² ã †--- to carrynoboru ç™ »Ã£â€šâ€¹ --- to climbyahari や㠯ã‚Š--- as expectedokizari ç ½ ®Ã£ åŽ »Ã£â€šÅ --- leave; desertyoru Ã¥ ¤Å" --- a nightkossori 㠓㠣ã ã‚Š--- secretlyura è £ --- backnaya ç ´ Ã¥ ±â€¹ --- a shedkakusu éš ã â„¢ --- to hidesuujitsu æ• °Ã¦â€" ¥ --- several dayshai ç ° --- ashnawa ç ¸â€ž --- a ropetsukuru 㠤ã ã‚‹ --- to makeneijiru ã 㠘る --- to twistnengu Ã¥ ¹ ´Ã¨ ² ¢ --- a tributetakai é «ËœÃ£ „ --- expensivekantan ç ° ¡Ã¥ Ëœ --- easyoshieru 教㠈る --- to teachwa è ¼ ª --- a ringshiomizu Ã¥ ¡ ©Ã¦ ° ´ --- salt waterkawakasu ä ¹ ¾Ã£ ‹ã â„¢ --- to drymoyasu ç‡Æ'ã‚„ã â„¢ --- to burnshinchou æ…Žé‡ --- carefullymou sukoshi ã‚‚ã †å °â€˜Ã£ â€" --- a little moremuzukashii é› £Ã£ â€"ã „ --- difficultmondai 冢 é ¡Å' --- a problemippon ä ¸â‚¬Ã¦Å" ¬ --- onebou æ £â€™ --- a stickne æ ¹ --- a rooteda æž --- a branchhakkiri 㠯㠣ã ã‚Š--- clearlyie Ã¥ ® ¶ --- hometohou ni kureru é€â€Ã¦â€" ¹Ã£ «Ã¦Å¡ ®Ã£â€šÅ'ã‚‹ --- to be at a losstazuneru Ã¥ °â€¹Ã£ ã‚‹ --- to askoke æ ¡ ¶ --- a pailyoui suru 熨æ„ 㠙る --- to prepareichiban ä ¸â‚¬Ã§â€¢ ª --- the firsttataku ã Ÿã Ÿã --- to hitoto éŸ ³ --- noisetaiko Ã¥ ¤ ªÃ© ¼â€œ --- a drummassao çÅ"Ÿã £Ã© ’ --- palekakaeru 抱㠈る --- to holdyurumeru ç · ©Ã£â€š ã‚‹ --- to loosenshimeru ç · ã‚ ã‚‹ --- to fastennandai é› £Ã© ¡Å' --- a difficult problemzankoku æ ®â€¹Ã©â€¦ · --- cruelmonoshiri ç‰ ©Ã§Å¸ ¥Ã£â€šÅ --- a knowledgeable personmachigau éâ€"“é •ã †--- to make a mistaketaisetsu Ã¥ ¤ §Ã¥Ë†â€¡ --- importantkuni å› ½ --- a country Grammar (1) Prefix Ma Ma çÅ"Ÿ is a prefix to emphasize the noun that comes after ma.makka çÅ"Ÿã £Ã¨ µ ¤ --- bright redmasshiro çÅ"Ÿã £Ã§â„¢ ½ --- pure whitemassao çÅ"Ÿã £Ã© ’ --- deep bluemakkuro çÅ"Ÿã £Ã© »â€™ --- black as inkmanatsu çÅ"Ÿå ¤ --- the middle of summermassaki çÅ"Ÿã £Ã¥â€¦Ë† --- at the very firstmakkura çÅ"Ÿã £Ã¦Å¡â€" --- pitch-darkmapputatsu çÅ"Ÿã £Ã¤ ºÅ'ã ¤ --- right in two (2) Counters Every language has a different way of counting objects; the Japanese use counters. They are similar to English expressions such as a cup of ~, a sheet of ~ and so on. There are a variety of counters, often based on the shape of the object. Counters are attached directly to a number (e.g. ni-hai, san-mai). Following the next couple of paragraphs, I have included counters for the following categories: objects, duration, animals, frequency, order, people and others. Objects When combining a number with a counter, the pronunciation of the number or the counter might change. Click the link for each counter to learn about the phonetic change. hon æÅ" ¬ --- Long, cylindrical objects: trees, pens, etc. mai æžš --- Flat, thin objects: paper, stamps, dishes, etc. ko 個 --- Broad category of small and compact objects hai æ ¯ --- Liquid in cups, glasses, bowls, etc. satsu 冊--- Bound objects: books, magazines, etc. dai Ã¥ ° --- Vehicles, machines etc. kai 階 --- The floor of a building ken ä » ¶ --- Houses, buildings soku è ¶ ³ --- Pairs of footwear: sock, shoes, etc. tsuu 通 --- Letters Click here to learn the Japanese Counting Song Ippon demo Ninjin.
Subscribe to:
Posts (Atom)