James W. Heisig

Dieser zweite Teil von "Vereinfachte Hanzi lernen und behalten" bringt Bedeutung und Schreibweise weiterer 1500 der haufigsten 3000 chinesischen Schriftzeichen. Die seit Jahrzehnten bewahrte, revolutionare Methode von James W. Heisig fuhrt behutsam in die phantasievolle Welt des bildhaften Gedachtnisses ein, erschliesst das Reich der Schriftzeichen anhand kleiner Erzahlungen und mnemotechnischer Elemente, die nicht mehr auswendig gelernt, sondern nur neu verknupft werden. Diese Methode ist keine Krucke, sondern eine andere Art zu laufen: Die ermudenden Wiederholungen und Schreibubungen entfallen. So ist es nicht nur moglich, die chinesischen Schriftzeichen zu lernen, sondern sie auch nachhaltig ins Gedachtnis zu brennen.

Through telling stories about civility, this little book aims to provoke second thoughts about the effects of incivility on our lives and the lives of those around us. As short quips of moral outrage overtake more and more of our "civilized" conversations, the slow plod of thinking and acting civilly is easily left behind like a quaint and simpleminded distraction from the business of standing up for ourselves and our convictions. This is what the author wishes to turn on its head through examples of civility in action and the encouragement of "collective thinking" in which civility flowers.

RTK en Internationell succé - nu i svensk version. Syftet med denna bok är att erbjuda den som studerar japanska en enkel metod för att koordinera de japanska skrivtecknens skrivning och betydelse på ett sådant sätt att de båda blir lättare att minnas. Den är inte enbart inriktad på nybörjaren utan vänder sig också till den avancerade studenten som söker en lättnad från den eviga frustrationen av att glömma hur en viss kanji skall skrivas, eller som söker ett sätt att systematisera vad hon eller han redan kan. Författarens utgångspunkt är att – tvärt emot vad man först kan tycka – det är klart lättare att lära sig att skriva kanjitecken, jämfört med att lära sig att uttala dem. Genom att ordna kanjitecknen enligt deras ingående delkomponenter eller ”primitivelement” och sedan tilldela varje ingående del en distinkt betydelse tillsammans med sin egen distinkta bild, kan studenten utnyttja kraften i sitt ”föreställningsminne” för att lära sig de olika kombinationer som ger ett visst kanjitecken. Dessutom får varje kanji sitt eget nyckelord för att representera betydelsen eller en av de viktigaste betydelserna av den karaktären. Dessa nyckelord ger scenen för en viss kanjis ”berättelse”, vars huvudpersoner är de primitiva elementen. På detta sätt kan man på bara några få månader slutföra en uppgift som annars skulle ta år. Beväpnad med samma färdigheter som kinesiska eller koreanska studenter, som redan vet innebörden och skrivningen av kanjitecknen, men inte deras japanska uttal, är man då i en mycket bättre position för att lära sig utläsningen (som behandlas i en separat volym). Denna bok presenterar originalmetoden (RTK av Heisig) som har hjälpt tiotusentals studenter att nå läskunnighet i sin egen takt och att förvärva en förmåga i nivå med dem som vuxit upp med kanji sedan barndomen. Något som sedan länge bedömts vara omöjligt med traditionella metoder. Här behandlas 2 200 kanjitecken, inklusive samtliga 2 136 joyo kanji som godkänts av japanska utbildningsdepartementet som ”kanji för allmänt bruk”. James W. Heisig är professor emeritus i religionsfilosofi vid Nanzan Institute for Religion and Culture i Nagoya. Ola Feurst är ekonomie doktor (PhD) från Stockholms universitet.

Nach dem grossen Erfolg der Bucher von James W. Heisig und Robert Rauther zu den japanischen Kanji eroffnet dieser Band eine Reihe von Banden zum Erlernen und Behalten der chinesischen Schriftzeichen, der Hanzi. Die seit Jahrzehnten bewahrte, revolutionare Methode von James W. Heisig fuhrt behutsam in die phantasievolle Welt des bildhaften Gedachtnisses ein, erschliesst das Reich der Schriftzeichen anhand kleiner Erzahlungen und mnemotechnischer Elemente, die nicht mehr auswendig gelernt, sondern nur neu verknupft werden. Diese Methode ist keine Krucke, sondern eine andere Art zu laufen: Die ermudenden Wiederholungen und Schreibubungen entfallen. So ist es nicht nur moglich, die chinesischen Schriftzeichen zu lernen, sondern sie auch nachhaltig ins Gedachtnis zu brennen.

In Jesus' Twin, a scholar shares his personal reflections into the Gospel of Thomas offering a learned, accessible introduction as well as inspiring insights into these ancient texts that have long stirred curiosity and inquiry. James Heisig, who has read and studied the texts throughout his distinguished career as a scholar and teacher of religions, shows that the reasons for excluding the Gospel of Thomas from the Christian tradition are largely meaningless for us today. After more than half a century of concerted dialogue with other traditions, we are in a better position to recognize that not every alter Jesus is a Jesus alias. At the same time, attention to the spiritual demands being made on Christianity by our present age helps draw us more deeply into the text itself and control the tendency to immunize ourselves against its discomforts, whether through the distractions of scholarly disputation or the preoccupation with preserving orthodoxy.

Anche disponibile in formato EPUB per iTunes. In questo libro l'autore, il prof. James W. Heisig, utilizza una tecnica innovatrice per ricordare i 2200 kanji, cio gli ideogrammi giapponesi, di uso comune. Solitamente, in Giappone i kanji illustrati dal prof. Heisig, che sono anche gli ideogrammi approvati dal Ministero dell'Educazione giapponese, vengono appresi durante i 12 anni di frequenza delle scuole obbligatorie e delle medie superiori. Il comune metodo di apprendimento quello di ripetere la scrittura di un kanji svariate volte fino alla sua memorizzazione. Il metodo del prof. Heisig parte, invece, dall'eliminazione di questo lungo e snervante sistema di apprendimento tradizionale, basato sulla memoria visiva, per utilizzare una tecnica di memorizzazione basata sulla memoria immaginativa. &nbspUn ideogramma formato da pi elementi di base o componenti e pu essere ricordato in brevissimo tempo con la semplice e divertente composizione di una storia comprendente gli elementi delle storie dei componenti appresi in precedenza. Tutti i componenti e gli ideogrammi sono corredati di una parola chiave e dell'ordine di scrittura. Il libro strutturato in tre parti, a loro volta suddivise per un totale di 56 lezioni. Alla fine sono presenti ben quattro indici, che faciliteranno il lettore nell'operazione di controllo di un ideogramma o di una parola chiave. &nbspIl metodo sopra illustrato permette di memorizzare i 2200 kanji presi in esame nell'arco di qualche mese, se non addirittura in poche settimane. Quest'opera, molto attesa in Italia non solo dagli specialisti e dagli studenti universitari di giapponese, ma anche da tutti quegli ambienti culturali che in questi ultimi anni hanno espresso, a vario titolo, un crescente interesse per gli ideogrammi, destinata a diventare, come gi all'estero, un testo fondamentale per l'apprendimento e la pratica della lingua giapponese.

The six lectures that make up this book were delivered in March 2011 at London University's School of Oriental and Asian Studies as the Jordan Lectures on Comparative Religion. They revolve around the intersection of two ideas, nothingness and desire, as they apply to a re-examination of the questions of self, God, morality, property, and the East-West philosophical divide. Rather than attempt to harmonize East and West philosophies into a single chorus, Heisig undertakes what he calls a "philosophical antiphony." Through the simple call-and-response of a few representative voices, Heisig tries to join the choir on both sides of the antiphony to relate the questions at hand to larger problems that press on the human community. He argues that as problems like the technological devastation of the natural world, the shrinking of elected governance through the expanding powers of financial institutions, and the expropriation of alternate cultures of health and education spread freely through traditional civilizations across the world, religious and philosophical responses can no longer afford to remain territorial in outlook. Although the lectures often stress the importance of practice, their principal preoccupation is with seeing the things of life more clearly. Heisig explains: "By that I mean not just looking more closely at objects that come into my line of view from day to day, but seeing them as mirrors in which I can see myself reflected. Things do not just reveal parts of the world to me; they also tell me something of how I see what I see, and who it is that does the seeing. To listen to what things have to say to me, I need to break with the habit of thinking simply that it is I who mirror inside of myself the world outside and process what I have captured to make my way through life. Only when this habit has been broken will I be able to start seeing through the reflections, to scrape the tain off the mirror, as it were, so that it becomes a window to the things of life as they are, with only a pale reflection of myself left on the pane. Everything seen through the looking glass, myself included, becomes an image on which reality has stamped itself. This, I am persuaded, is the closest we can come to a ground for thinking reasonably and acting as true-to-life as we can."

The six lectures that make up this book were delivered in March 2011 at London University's School of Oriental and Asian Studies as the Jordan Lectures on Comparative Religion. They revolve around the intersection of two ideas, nothingness and desire, as they apply to a re-examination of the questions of self, God, morality, property, and the East-West philosophical divide.

Die Uneinheitlichkeit, mit der die japanische Sprache ihre aus China ubernommenen Schriftzeichen liest, ist beruchtigt. Dennoch gibt es eine feste und recht breite Grundlage von stimmigen Mustern. Dieses Buch zeigt sie auf und verkurzt damit die bisher mit sturem Auswendiglernen verbrachte Zeit auf das mogliche Minimum. Der Wortschatz des Lesers erfahrt dabei eine betrachtliche Erweiterung. Dieser stark erweiterte und vollig neu bearbeitete Band 2 zu Die Kanji lernen und behalten 1 - Neue Folge fuhrt Schritt fur Schritt durch die phonetischen Gruppierungen der Kanji. Zudem bietet er wertvolle Hinweise fur jene Zeichen, die sich einer Systematisierung hartnackig verweigern. Umfangreiche Indizes fur Band 1 und 2 runden das Werk ab.

Wer gelernt hat, die an japanischen Schulen unterrichteten Schriftzeichen fur den allgemeinen Gebrauch zu lesen und schreiben, stosst auf dasselbe Problem, das japanische Studenten haben: Die Schriftzeichen aus der offiziellen Liste reichen fur fortgeschrittenes Lesen und Schreiben nicht aus. Obwohl jede akademische Disziplin das Studium eigener erganzender Kanji erfordert, besteht zwischen ihnen eine erhebliche Schnittmenge. Dieser Band tragt diesem Umstand Rechnung, fuhrt anhand der bewahrten Methoden aus Band 1 und 2 nutzliche Zeichen fur fortgeschrittene Schriftfertigkeit ein und bringt den Gesamtumfang aller drei Bande damit auf 3000 Kanji. Die in diesem Band vorgestellten 800 neuen Schriftzeichen wurden aufgrund von Haufigkeitslisten und einem Abgleich mit Standardworterbuchern ausgewahlt. Mehrere sich in das Gesamtsystem der Reihe nahtlos einfugende Abschnitte behandeln Schreibweise und Bedeutung sowie Lesung jedes Zeichens. Abrundende sieben Indizes enthalten die neuen Zeichen in handschriftlicher Form, kumulative Listen samtlicher Schlusselworter sowie die sino-japanischen und japanischen Lesungen der in allen drei Banden vorkommenden Schriftzeichen.

Students who have learned to read and write the kanji taught in Japanese schools run into the same difficulty that Japan university students themselves face: the number of characters included in the approved list is not sufficient for advanced reading and writing. Although each academic specialisation requires supplementary kanji of its own, there is considerable overlap. With that in mind, this book employs the same methods as Volumes 1 and 2 of Remembering the Kanji to introduce additional characters useful for upper-level proficiency, bringing the total of all three volumes to 3,000 kanji. The 3rd edition has been updated to reflect the 196 new kanji approved by the government in 2010, all of which have been relocated in Volume 1. The selection of 800 new kanji is based on frequency lists and cross-checked against a number of standard Japanese kanji dictionaries. Separate parts of the book are devoted to learning the writing and reading of these characters. The writing requires only a handful of new “primitive elements.” A few are introduced as compound primitives (“measure words”) or as alternative forms for standard kanji. The majority of the kanji are organised according to the elements introduced in Volume 1. As in Volume 2, Chinese readings are arranged into groups for easy reference, enabling the student to take advantage of the readings assigned to “signal primitives” already learned. Seven indexes include hand-drawn samples of the new characters introduced and cumulative lists of the key word and primitive meaning, and of the Chinese and Japanese pronunciations, that appear in all 3 volumes of the series.

Following the first volume of Remembering the Kanji, the present work provides students with helpful tools for learning the pronunciation of the kanji. Behind the notorious inconsistencies in the way the Japanese language has come to pronounce the characters it received from China lie several coherent patterns. Identifying these patterns and arranging them in logical order can reduce dramatically the amount of time spent in the brute memorization of sounds unrelated to written forms. Many of the “primitive elements,” or building blocks, used in the drawing of the characters also serve to indicate the “Chinese reading” that particular kanji use, chiefly in compound terms. By learning one of the kanji that uses such a “signal primitive,” one can learn the entire group at the same time. In this way, Remembering the Kanji 2 lays out the varieties of phonetic pattern and offers helpful hints for learning readings, that might otherwise appear completely random, in an efficient and rational way. Individual frames cross-reference the kanji to alternate readings and to the frame in volume 1 in which the meaning and writing of the kanji was first introduced. A parallel system of pronouncing the kanji, their “Japanese readings,” uses native Japanese words assigned to particular Chinese characters. Although these are more easily learned because of the association of the meaning to a single word, the author creates a kind of phonetic alphabet of single syllable words, each connected to a simple Japanese word, and shows how they can be combined to help memorize particularly troublesome vocabulary. The 4th edition has been updated to include the 196 new kanji approved by the government in 2010 as “general-use” kanji.

This book is the second of two volumes designed to help students learn the meaning and writing of the 3,000 most frequently used simplified Chinese characters. (A parallel set of volumes has been prepared for traditional characters.) The 1,500 characters introduced in Book 1 include the top 1,000 by frequency, plus another 500 best learned at an early stage. Book 2 adds the remaining 1,500 characters to complete the set. The lessons of Book 2 have been arranged in such a way that they may be studied either after those of Book 1 or simultaneously with them. Students who wish to focus initially on the 1,000 most frequently used characters in the language can do so by studying Book 1 before moving on to Book 2. Many, if not most, learners will find this preferable. Students who wish to apply the logical ordering found in these pages to the entire list of 3,000 characters from the very beginning can take the more exacting, but also more rationally satisfying, approach of studying the parallel lessons of the two volumes together. The lessons in this book are followed by two short, additional sections, one that introduces a number of “compounds,” or characters that are best learned in pairs, and another that adds two “postscripts.” The book also includes a number of comprehensive indexes that are designed to facilitate work with both volumes. Of central importance to the approach found in these pages is the systematic arranging of characters in an order best suited to memory. In the Chinese writing system, strokes and simple components are nested within relatively simple characters. These characters, in turn, can serve as parts of more complicated characters, and so on. Taking advantage of this allows a logical ordering, making it possible for students to approach most new characters with prior knowledge that can greatly facilitate the learning process. Guidance and detailed instructions are provided all along the way. Students are taught to employ “imaginative memory” to associate each character’s component parts or “primitive elements” with one another and with a key word that has been carefully selected to represent an important meaning of the character. This is accomplished through creation of a “story” that engagingly ties the primitive elements and key word together. In this way, the collections of dots, strokes and components that make up the characters are associated in memorable ways, dramatically shortening the time required for learning and helping prevent characters from slipping out of memory.