![]() mada – まだ : an adverb meaning ‘still’ or such in Japanese.In the example, this works after “watashi no kokoro” to make the subject in the sentence. wa – は : a binding particle working as a case marker or topic marker.In the example, this is used after “watashi” to make its possessive case, “ watashi no“, which means ‘my’ in Japanese. no – の : a case particle used after a noun or pronoun to make its possessive case.watashi – 私 (わたし) : a pronoun meaning ‘I’ in Japanese. ![]() Watashi no kokoro wa mada atatakai desu – 私の心はまだ温かいです (わたしのこころはまだあたたかいです) My heart is still warm.īelow are the new words used in the example sentence. Example #1: how to say “heart” in Japanese Then, let me explain how to use it through the example sentences below. So far, I’ve explained the definition and meanings of “kokoro” together with its origin. Today, “kokoro” works as a noun to refer to a place where emotions and feelings are stored. As times change, pronunciations and parts of speech can change as well. This was the very beginning of today’s role of “kokoro”. Japanese people in the past then started to use this verb also to refer to the act of storing emotions and feelings. This was originally used to refer to the act of gathering something. It is said, however, that “kokoro” was derived from the old Japanese verb, “kogoru”. To understand this noun more clearly, however, let me explain its origin in detail. The definition and meanings are not that difficult. Depending on the context and situation, this can also mean ‘mind’ or ‘feeling’ in Japanese. ![]() kokoro – 心 (こころ) : a noun meaning ‘heart’ in Japanese.Let me start with the definition and meanings of “kokoro”. Example #1: how to say “heart” in Japanese.My explanations would help Japanese learners understand “kokoro” more clearly. ![]() And also, I will explain how to use it through example sentences. In this blog post, however, I will explain this word in detail together with its origin. Perhaps, some Japanese learners know this word as it is sometimes used in Japanese movies, songs, novels, manga, anime, and the like. A theoretical model is proposed as one way of conceptualizing various approaches to cultural translation in music.Native speakers say “kokoro” normally to mean ‘heart’ in Japanese. Artistic choices to (or not to) explicitly aim for this mode of cultural translation are routinely made by contemporary musicians active in hybrid genres, and analysis of specific examples from such ensembles as the Helsinki Koto Ensemble, Yoshida Brothers, Moscow Pan-Asian Ensemble, and Tokyo Brass Style illustrate how cultural translation can be either conscious or unconscious, and deliberately highlighted or shunted in such music projects. While much has already been theorized regarding how foreign musical genres may be transplanted, adopted and fused with indigenous traditions, the notion of cultural translation may most accurately fit the specific objective of intentionally representing significant aspects of one musical tradition through the techniques of another distinct tradition. Music, like language, qualifies as a field in which “ideological horizons of homogeneity have been conceptualized,” and postcolonialist scholars such as Homi Bhabha and Paul Gilroy have acknowledged its critical role as an emblem of identity within the very sites of hybridity that particularly interest scholars of cultural translation. Explores various ways that intercultural analyses of musical meanings may offer theoretical insights applicable to the broader field of cultural translation.
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