It will appeal to students seeking to learn kanji as well as Japanese language enthusiasts who want to know the history and etymology of Japanese kanji. This book includes: Origins and meanings of over 2, characters. Beautifly hand—drawn kanji.
Additional compound characters for each featured character. All the standard characters official designed for common use. Comprehensive and clear, A Guide to Remembering Japanese Characters makes Japanese writing accessible to everyone wishing to learn Japanese. Part one of a complete course on how not to forget the meaning and writing of Japanese characters. These self-teaching methods help you remember and write by harnessing the power of the imagination.
From absolute beginners dreading the thought of acquiring literacy in Japanese to more advanced students looking for some relief to the constant frustration of forgetting how to remember the kanji, once you have cracked the covers of these books you will never be able to look at the kanji with the same eyes again.
Genkouyoushi Notebook - Kanji and Kana Characters Writing Practice Book This stylish traditional notebook style workbook contains pages of kanji paper, also known as genkouyoushi paper. Each large square holds one character and each square is divided into four quadrants to guide the correct positioning of the elements of each character. This notebook is ideal for both adults and children who are learning Japanese and need to practice the written language.
Size: 8. Following on the phenomenal success of Remembering the Kanji, the author has prepared a companion volume for learning the Hiragana and Katakana syllabaries of modern Japanese. In six short lessons of about twenty minutes, each of the two systems of "kana" writing are introduced in such a way that the absolute beginner can acquire fluency in writing in a fraction of the time normally devoted to the task.
Using the same basic self-taught method devised for learning the kanji, and in collaboration with Helmut Morsbach and Kazue Kurebayashi, the author breaks the shapes of the two syllabaries into their component parts and draws on what he calls "imaginative memory" to aid the student in reassembling them into images that fix the sound of each particular kana to its writing.
Now in its third edition, Remembering the Kana has helped tens of thousands of students of Japanese master the Hiragana and Katakana in a short amount of time. It is intended not only for the beginner, but also for the more advanced student looking for some relief from the constant frustration of forgetting how to write the kanji, or for a way to systematize what he or she already knows. The author begins with writing the kanji because—contrary to first impressions—it is in fact simpler than learning how to the pronounce them.
In this way, one is able to complete in a few short months a task that would otherwise take years. Armed with the same skills as Chinese or Korean students, who know the meaning and writing of the kanji but not their Japanese pronunciations, one is then in a much better position to learn the readings which are treated in a separate volume.
Remembering the Kanji has helped tens of thousands of students advance towards literacy at their own pace, and to acquire a facility that traditional methods have long since given up on as all but impossible for those not raised with the kanji from childhood. Students of Japanese are familiar with the term "particle," and realize that they, like English prepositions, require a special effort to master. This handbook provides all the information one would need on these tricky units of grammar.
All About Particles covers more than 70 particles those that are used regularly as well as those used less frequently in more than uses. The book can be approached as a guiding textbook and studied from beginning to end. It is as a reference book, however, that All About Particles shines. Part One: Writing pp. Chapter 1: New Primitives and Kanji Primitives pp. Chapter 2: Major Primitive Elements pp.
Chapter 3: Miscellaneous Kanji pp. Chapter 4: Western Measurements pp. Chapter 5: Phonetic Characters pp. Chapter 6: Old and Alternate Forms pp. Part Two: Reading pp. Chapter 7: Old Pure Groups pp. Chapter 8: New Pure Groups pp. Chapter 9: Semi-Pure Groups pp. This latter, as we will see, is far more common. The extra drop to the left, added as a second stroke, changes the picture from a splash caused by a walking stick dropped into water to form an icicle.
Happily, the white is just where it should be, at the top, and the water is at the bottom. Simply think of little springs bubbling up across the meadow to form a sort of path that leads you right to the brink of a precipitous cliff. Then just pic- ture people kneeling hopefully before it, petitioning for what- ever it is they want. The scarecrow wanted brains, the lion, courage, and the tin man a heart.
What about you? To the right, we see the kanji for eternity. Know- ing how much children like swimming, what could be a better image of eternal bliss than an endless expanse of water to swim in without a care in the world? Why certain land becomes marshy is probably due to the fact that it felt thirsty, and so tried its best to seduce the water over to its side.
Hence the slushy marsh. This kanji could hardly be simpler. The key word open sea readily suggests being out in the middle of a great body of water. You probably even dug one or two in your time. The creek is thus a lesson in water-craft, as this kanji would agree. This kanji does it three better, giving us a ten-ingredient soup. On the left is the water—that much is easy. On the right we have only one primitive, the kanji for morning learned back in frame See how an apparently complex kanji falls apart neatly into manageable pieces?
To get the meaning of the key word tide, just think of it in connection with the character for eventide that we learned back in frame Here we have the morning-tide, its complement. By the way, if you missed the question about the number of primitives, it is probably because you forgot what we said ear- lier about kanji becoming primitives, independently of the pieces that make them up.
As a rule, look for the largest kanji you can write and proceed from there to primitives stranded on their own. In this kanji, it is under the meadow, where we just saw it breaking the surface in those bubbly little springs. First of all, take the water at the left as the drops of water that are used to depict water in general. So water and teenager combine to give us but of course.
You have heard of legends of people being abandoned in the mountains when they had become too old to work. What could be simpler? But be careful; its simplicity is deceptive. Be sure to picture yourself fathom- ing a body of water several hundred feet deep by using a ruler of gargantuan proportions. All I can recommend is that you memorize it as it is.
Anyway, it will be occurring with such frequency that you have almost no chance of forgetting it, even if you try. From there it also takes the added meanings of dirt and land. It is not hard to imagine what you might do if you got a mouth full of dirt.
As least I know what I would do: spit it out as fast and far as I could! Here we see a steep cliff without a tree in sight. The slightest pressure on it will cause a landslide, which you can almost see happening in this character. The soil on the left tells us we have to do with land, and the strange on the right tells us it is a cape where unusual things go on. Put a haunted house on it, an eerie sky overhead, and a howling wind rustling through the trees, and you have yourself a pic- ture of Cape Strange or, if you prefer, Cape Odd.
The character in this frame is going to get one meaning and the primitive another, with no relation at all between the two. In time, I hope you will see how helpful this is. The kanji key word, square jewel, depicts a mammoth pre- cious stone, several feet high, made by piling up large heaps of soil on top of one another. Instead of using the tradi- tional wax seal, you glue a sprig of ivy on the outside. In this way the elements ivy and glue give you a curious and memo- rable way to seal your secret letters.
Here is your chance to take that metaphor literally and imagine some fellow walking into a Buddhist temple with a fervent resolve to attach himself to the place. Augustine in his memoirs. Ask me, and I cannot tell you. Time is a sun rising over a Buddhist temple. It pictures soil being scooped up into a ladle and then made level apparently because one is measuring soil.
Everything from matchbooks to cigarette lighters to volcanic eruptions to the destruction of Sodom and Gomorrah have been found here.
The lamp. The old witch sits before her cauldron and watches the spots that show up when she turns to look at you, and from that tells your fortune. Perhaps by now it is clear why I said that we are lucky that they appear so frequently. The range of images they suggest is almost endless.
One ri is about 4 kilometers or 2. The kanji depicts how the measure came to be used. It is not the last time it will happen in this book, but I can assure you they are used only when absolutely necessary. The total market value of one home com- puter that has fallen over rock and bramble for several hundred feet: about one rin! Only here, we are burying our beloved computer that has served us so well these past years.
The kanji for spit frame , for instance, puts ground on the right, and that for plains frame will put the computer on the left. Use them if they help; if not, simply adjust the story for a problem character in such a way as to help you remember the position of the elements relative to one another. In any case, here are the principles: 1. Where these elements appear elsewhere in the kanji, they do not have the same overall impact on its meaning as a rule.
Some primitive elements always have the same position in a kanji. We saw this earlier in the case of the primitive meaning head frame 60 and that for the long saber frame 83 , as well as in the three drops of water frame Enclosures like cliff see frame and bound up frame 63 are always set above whatever it is they enclose.
Note that the left and bottom cannot both be the dom- inant position in the same character. Either one or the other of them will dominate, usually the left. The characters for nitrate frame and chant frame 21 illustrate the point. Let us take the key word to connote the sameness that characterizes the life in community of the monk. But since monks also speak their prayers in common, it is but a short step to think of one mouth under a hood as the kanji for the sameness of monastic life.
Now if we keep to the image of the monas- tic life as an image for same, we can picture a den of wild beasts dressed up in habits and living the common life in a mountain cavern. Hence this kanji begins with a drop. And what is it jabbering on about with its mouth open like that? Why, about his spaceship way over yonder with its fuel tank on empty. The littleness is important, because what is in fact on display is the shrunken, stuffed, and mounted mouth of an esteemed ances- tor.
We may be used to esteeming the words our forebears leave behind, but here we also esteem the very mouth that spoke them. I leave it to you to imagine a suitable place in your room for displaying such an unusual conversation piece. You can see the chimney at the top and the eaves on either side without much trouble.
Exam- ples follow immediately. Not just kanji, but any written character from hieroglyphs to Sanskrit to our own Roman alphabet. It shows us simply a child in a house.
But let us take advantage of the double-meaning of the key word to note that just as a child born to a Japanese house is given char- acters for its name, so it is also stamped with the character of those who raise it from infancy on.
The whole idea of hiring guards is that they should stick like glue to your house to protect it from unwanted prowlers. So go ahead and glue a guard to your house in imagination. Now look at the kanji, which does something similar. We see a house that has been made perfectly from its beginnings in the foundation to the roof on the top.
Now return to frame 97 and make sure not to confuse this key word with the kanji for com- plete. It does this by picturing a house with a candle in it. Here we see a strange house—perhaps the haunted House of Usher that Edgar Allen Poe immortalized, or the enchanted Gingerbread House that lured Hansel and Gretel to draw near.
In keeping with the story introduced back then, note how all the wealth is kept under the roof of the same house. Where this is not the case, we shall do our best to make it so. In those cases where the last two strokes are detached from the trunk 6 , we shall change its meaning to pole, or wooden pole. A grove is a small cluster of trees. Hence the simple reduplication of the kanji for tree gives us the grove. Fix- ing candles to the branches of evergreen trees, it was believed, would lure the sun back like things attracting like things , whence the custom of the lighted tree that eventually found its way into our Christmas customs.
The reasons should be obvious: it is made of the same stuff, wood, and spends a lot more time with them than we do!
Here again, be careful not to let the rationality of the explanation get in the way before you turn it into a proper story. For the curious, the name of this oriental tree really comes from a Russian princess, Anna Pavlovna.
The more proper way to plant a young tree and give it a fair shake in life is to set it into the earth in such a way that it can grow up straight. Usually this is due to simple old age, as this character shows us. Be sure to picture a wrinkled old tree, withering away in a retirement center so that the commonsense explanation does not take over.
For the magic of the wand derives its power from its association with the hidden laws of nature, and needs therefore to be kept in its crude, natural state.
From there we read off the elements: tree. What more useful rule for inter- human relationships, and what more useful tool for remem- bering this kanji! These two elements, written in that order, dictate how to write the character. Picture it as a chain- saw cutting you out a few books with which to start your own private library.
First we see the primitive for days, an appropriate enough way to begin a calendar. Next we see a grove of trees growing under a cliff. The laws of nature being what they are, the trees would be stunted under such conditions, unless they were strong enough to keep growing upwards until they passed through the layers of rock and soil, right up to the surface.
Now imagine that in those little boxes marking off the days on your wall calendar, you see that very process taking place step by step: or so time-lapse pictures of that grove of trees each month, from Jan- uary under the cliff to December on top of the cliff. And here is how we put it all together. Now watch as it parches the paper, leaving it with a strange and bumpy surface resembling parch- ment. More concretely, it shows us a tree that is not yet fully grown.
The extra short stroke in the upper branches shows new branches spreading out, leaving one with the feeling that the tree has a ways to go yet before it reaches maturity. In other words, the kanji conveys its mean- ing pictographically, playing on the earlier pictograph of the tree. Be sure to keep this imagery in mind, to avoid confusing this key word with synonyms that will appear later. The splash this kanji refers to is the dash of water against the rocks, with all the foam and spray that this creates.
Look at its color—vermilion. Well, not really. Try a rose, a tulip, or a daisy, since none of them will have their own kanji. Go ahead, pick one with each hand and watch what happens. Tolerance, in contrast, is open-minded and welcomes novelty. To the right is the acupuncturist from frame Gone are the cobwebs and gnarled trees, the tilted headstones and dark, moonless nights that used to scare the wits out of our childhood imaginations.
Bernard sitting at the gate keeping watch. This kanji continues with the modernization trend by picturing imitation trees in the graveyard. But of course, how convenient! Now we are back again to the essence of the true graveyard. The water may be taken as the sound of waves dashing up against the rocks or the dripping of moisture on cold rock—anything that helps you associate vagueness with the graveyard and keep it distinct from the imitation we met in the last frame.
The only odd thing about this kanji is that the soil comes under the graveyard, rather than to its left, where we might expect. There is no cause to worry. By using the prim- itive in a variety of other characters, as we have done here, the confusion will be averted as a matter of course. While this lesson will be a short one only 15 new kanji you might want to spend some time reviewing your progress in the light of the remarks that follow.
In them I have tried to draw out the main principles that have been woven into the fabric of the text from frame to frame and lesson to lesson. I do so by looking at some of the typical problems that can arise: If you can remember the key word when you see the kanji, but have trou- ble remembering the kanji when you have only the key word to go on… Probably you did not take seriously the advice about studying these stories with a pad and pencil.
Let me repeat: study only from key word to kanji; the reverse will take care of itself. After Lesson 12, you will be given more lee- way to create your own images and stories, so it is important that you nip this problem in the bud before going any further.
A small step in the wrong direc- tion on a journey of 2, kanji will land you in deep trouble in no time. Here are the steps you should be following each time you come to a new frame: 1. Read the key word and take note of the particular connotation that has been given it.
There is only one such meaning, sometimes asso- ciated with a colloquial phrase, sometimes with one of the several meanings of the word, sometimes with a a well-known cultural phe- nomenon. Think of that connotation and repeat it to yourself. Read through the particular little story that goes with the key word and let the whole picture establish itself clearly. Now close your eyes, focus on those images in the story that belong to the key word and primitive elements, and let go of the controls.
It may take a few seconds, sometimes as long as a minute, but the picture will start to change on its own. You will know your work is done when you have succeeded in creating a memorable image that is both succinct and complete, both faithful to the orig- inal story and yet your very own. Open your eyes and repeat the key word and primitive elements, keeping that image in mind. In your mind, juxtapose the elements relative to one another in line with your image or the way they normally appear in the characters.
Take pencil and paper and write the character once, retelling the story as you go. These are basically the same steps you were led through in reading the stories, even though they were not laid out so clearly before. And if you look back at the ones you are forgetting, you should also be able to locate which step you skipped over. In reviewing, these same steps should be followed, with the only clue to set the imagination in motion being the key word.
And if this is not the problem, then, taking care not to add any new words or focal points to your story since they might end up being elements later on , rethink the story in such a way that the image for each element actually takes the position it has in the kanji itself. This should not happen often, but when it does, it is worthwhile spending a few minutes to get things sorted out. If you are confusing one kanji with another… Take a careful look at the two stories.
Perhaps you have made one or the other of them so vivid that it has attracted extraneous elements to itself that make the two kanji-images fuse into one. Put aside any schedule you may have set yourself until you have those lessons down per- fectly, that is, until you can run through all 6 steps outlined above for every character, without a hitch.
The most important thing in this review is not really to see whether you are remembering the characters, but to learn how to locate problems and deal with them. Each has its own gifts and its own defects. The one thing you must distrust, if the system outlined in this book is to work for you, is your ability to remem- ber kanji just as they are, without doing any work on them. What we are offering here is not a crutch, but a different way to walk.
That having been said, let us pick up where we left off, turning from prim- itive elements having to do with plants to those having to do with animals. Think of reading turtle shells as a way to foretell the future, and in particular things that portend coming evils.
When it appears to the left in its abbreviated form namely, the left half only, 7 , we shall give it the pictographic sense of a turtle. Then one day the old man caught a giant peach, out of which jumped a healthy young lad whom they named Peach Boy.
Though the boy was destined to perform heroic deeds, his birth also portended great misfortune how else could he become a hero? Thus the tree that is associated with a portent of com- ing evil comes to be the peach tree. The roots of the superstition are old and almost uni- versal throughout the cultures of the world.
In this kanji, too, being stared at is depicted as an eye that portends evil. Bernard dog when used as a primitive. Bernard is no more than a drop in the kennel. In the form given here it will mean a very small dog which we shall refer to as a chihuahua for convenience sake.
When it takes the form t to the left of a character, we shall give it the mean- ing of a pack of wild dogs. Did you ever hear of the turtle who fell madly in love with a chihuahua but could not have her because their two families did not like the idea of their children intermarrying? Like all classic stories of ill-fated love, this one shows how the young upset the status quo with an emotion older and more power- ful than anything their elders have devised to counter it: blind love.
If you imagine yourself failing at the task, you will probably have a stronger image than if you try to picture yourself succeeding. Note only that when it is placed over another element, its tail is cut off, giv- ing us 8. Anyway, let spe- cial refer to something in a special class all its own—like the sacred cows of India that wander freely without fear of being butchered and ground into hamburger.
This character depicts reve- lation through the mouth of a cow, suggesting oracular utter- ances about truths hidden to human intelligence. If you have a cow with human legs, as the elements show us here, it can only be because you have two people in a cow-suit. But we have already decided we shall not do that, not even once. We may think of it as a large and brightly-colored beach umbrella.
If you compare this with frame 8, you will notice how the two strokes touch here, while the kanji for eight would leave a gap- ing leak in the top. First notice the ver- tical strokes: on the left is the curved umbrella handle, and on the right the straight walking stick. Now try to imagine the two parties tugging at their respective properties like two kids on a wishbone, creating a scene at the entrance of an elegant restau- rant. If you look closely at the character, you should be able to see a kind of movement taking place as still more is being jammed into that already narrow space.
The full kanji from which this derives will be introduced later in frame The impor- tant thing here is to picture the scene just described and asso- ciate it with the word meeting. When it appears anywhere other than on the left side of a kanji, it takes the same shape as here. The kanji gives us a ball in which we see the present—obviously a crystal ball that enables us to see things going on at the present in faraway places. In the latter case, the poor chap takes off on all fours to live with the beasts.
Imagine one of these lycanthropes going looney and setting himself up as king of a pack of wild dogs that roams about and terrorizes innocent suburban communities. A B emperor y An emperor, as we all know, is a ruler—something like a king but higher in status. The white bird perched above the king, ele- vating him to imperial heights, is the messenger he sends back and forth to the gods to request advice and special favors, something that white birds have long done in folklore through- out the world.
I know it sounds terribly abstract, but what could be more abstract than the word whole? Forgetting the abstract picture of the for- mer frame, let us work with all the primitive units: tree. The image of logic we are given is something like a central jewel in a computer, like the jewels in old clocks that keep them running smoothly.
Try to picture yourself making your way through all the rams and roms and approaching this shining jewel, a chorus of voices and a blast of trumpets in the background heralding the great seat of all-knowing logic. What could be more ridiculous, or simpler, as a way to recall this kanji? Carve it in imag- ination into the shape of a gigantic candlestick and your work is done. Anyway, we want to depict bars of gold bullion with an umbrella overhead to shade them from the heat and perhaps to hide them as well.
The bullion is made by melting down all the scepters of the kingdom, drop by drop, and shaping them into bars. Since we already expect that needles are made of metal, let us picture a set of solid gold darning needles to complete the kanji.
It was discovered that nervousness produced more sweat, indicating subconscious reactions when the truth was getting too close for comfort. Nowadays, people can take drugs that tranquillize them in such a way as to neutralize the effect of the device, which is why other means have had to be developed.
Before going on to Part two, it would be a good idea to return now to the Introduction and read it once again. By this time, too, you should be familiar with the use of all the Indexes. You probably want to move at a quicker pace and in your own way. Take heart, for that is precisely what we are going to start doing in Part two. But if you happen to be one of those peo- ple who are perfectly content to have someone else do all the work for them, then brace yourself for the task that lies ahead.
We begin the weaning process by abbreviating the stories into simple plots, leaving it up to you to patch together the necessary details in a manner similar to what we did in Part one.
As mentioned in the Introduction, the purpose of the longer stories was to impress on you the importance of recreating a com- plete picture in imagination, and to insure that you did not merely try to asso- ciate words with other words but with images.
The same holds true for the kanji that remain. Before setting out on our way again, a word of caution is in order. Left to its own, your imagination will automatically tend to add elements and see con- nections that could prove counterproductive in the long run. For example, you might think it perfectly innocent and admissible to alter the primitive for old to old man, or that for cliff to cave.
In fact, these changes would be confusing when you meet the kanji and primitives with those meanings later on. You would return to the earlier kanji and find that everything had become one great confusion. It may be that you have experienced this problem already on one or the other occasion when you decided to alter a story to suit your own associations. That should help you appreciate how hard it is to wipe out a story once you have learned it, particularly a vivid one.
To protect yourself against this, stick faithfully to the key words as they are given, and try not to move beyond the range of primitive meanings listed. Where such confusion can be anticipated, a longer story will be presented as a protective measure, but you will have to take care of the rest. We begin Part two with a group of 23 kanji having to do with travel, and the primitives that accompany them: a road, a pair of walking legs, and a car.
The natural sweep of these three simple strokes should be easy to remember, as it appears so often. The primitives read: the neck of a road. Then recall how the way of revelation laid out in the Bible begins with the story of how God created the world out of a dark and chaotic nothingness.
Since the turtle is on the road and not on the left, it can keep its full kanji shape as given in frame You could, if you were an ecologically-minded terrorist. As an exercise, try to isolate the primitives on your own and make a story out of them. The image of the car on the road should ground your image for picking up your friends to take them along to wherever you are going.
Begin with the car whose tires get caught in a rut and spin without going anywhere. On the right, we see a new tangle of elements that need sorting out. A certain dis- ease of the English language makes it almost impossible to translate the phrase without gender bias.
Needless to say, the stronger primitive goes to the left, even though the story would read them off the other way around. Here, however, you are told to look above the eyes to the forehead of your guest. To each thing its own way of falling. From here on in, only the order in which the composite primitive elements are written will be indicated; if you are not sure of the writ- ing of any of the particulars in a given character, you will have to hunt it down yourself.
Index ii should help. New primitives and unusual writings will be spelled out as before, however. At any rate, you should always count the strokes of the character when you learn it, and check your results against the number given in square brackets in each frame.
The next group of primitives, around which this lesson is designed, have to do with lids and headgear. It can be used for all the principal connotations of the word crown. We will meet the full character from which this element is derived later on, in frame Now add the glittering chariot that is emitting those rays and you have radiance.
At this point, by the way, you can revert back to frame 6. To keep it distinct from the primitive for wind, try to picture the vortex, or tornado-like spinning move- ment, of a whirlwind. The next frame should help. Tall children grow up to make better wide receivers. Take your pick, depending on whether you prefer child psychology or American football. Using a systematic building—block approach to written Japanese, this beginner kanji book also shows you how more complicated characters are constructed from simpler elements.
And similar mnemonic strategies are provided for learning the different pronunciations or "readings" of the characters. Use the downloadable audio recordings by Japanese native speakers to perfect your pronunciation. It also provides a unique interactive software program showing you how to write each character and allowing you to write it yourself on screen!
This book can be used by anyone, and requires no prior knowledge of the Japanese language. It can be used in conjunction with any Japanese textbook to learn the important Kanji characters upon which the language is based. Key features of this book include: Drawings and stories to create mental associations for the characters that stick in the brain and allow you to recall their meanings and readings. Downloadable content shows you how to write each kanji character Native speaker audio recordings for all the Kanji characters, vocabulary and sample sentences.
Sample sentences to expand your vocabulary by showing you how the Kanji are actually used. Extensive review exercises to reinforce what you've learned. User—friendly indexes allowing you to look—up the Kanji and use the book like a Kanji dictionary. The Kanji characters provided in this book include all the characters needed for the AP and JLPT Level 4 and 5 exams—giving you access to approximately 80 percent of all the Kanji characters you encounter in Japan!
The aim of this conference was to bring together researchers and scientists, businessmen and entrepreneurs, teachers, engineers, computer users, and students to discuss the numerous fields of computer science and to share their experiences and exchange new ideas and information in a meaningful way.
Research results about all aspects theory, applications and tools of computer and information science, and to discuss the practical challenges encountered along the way and the solutions adopted to solve them. The conference organizers selected the best papers from those papers accepted for presentation at the conference.
The papers were chosen based on review scores submitted by members of the program committee, and underwent further rigorous rounds of review. How adult learners can draw upon skills and knowledge honed over a lifetime to master a foreign language.
Adults who want to learn a foreign language are often discouraged because they believe they cannot acquire a language as easily as children. Once they begin to learn a language, adults may be further discouraged when they find the methods used to teach children don't seem to work for them. What is an adult language learner to do? In this book, Richard Roberts and Roger Kreuz draw on insights from psychology and cognitive science to show that adults can master a foreign language if they bring to bear the skills and knowledge they have honed over a lifetime.
Adults shouldn't try to learn as children do; they should learn like adults. Roberts and Kreuz report evidence that adults can learn new languages even more easily than children. Children appear to have only two advantages over adults in learning a language: they acquire a native accent more easily, and they do not suffer from self-defeating anxiety about learning a language.
0コメント