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My analysis is is on a shampoo bottle. I did an analysis on “さらさら“ in the context of “さらさら髪” as well as “グリーンアップル”.

“さらさら” is an adverbial noun which is not hard to guess in this context without any indication such as “な”. It is understood as a description rather than an addition or classification. “さらさら” is also a mimetic word that describes the state of hair and therefore being of a the phenomimes or gitaigo type. The “さ” represents a lightly freely fluid liquid with a light flow and the “ら” represents movement by Kimi Akita and Natsuko Tsujimarus attempt to make understanding mimetics easier. In this specific case “さらさら” does not seem to convey the analyzed meaning. “さらさら” seems to describe the condition of freshly washed hair.

“グリーンアップル” is an English word that was absorbed into Japanese and that is one of the reasons it classifies as a loan word. It is a nouns which is obvious considering the “の” that is used to connect it to “ローズ”. “グリーンアップル” was rather directly adapted showing no signs of compound clipping or ellipsis.

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ボタニストサラサラ髪グリーンアップル

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I found this excerpt from a Doraemon manga online to showcase the use of loanwords in manga. There is a Japanese word for identity, but the writers chose to use it for In my opinion, using the word identity as a loan words makes this page seem a lot more casual, and it matches the writing theme of Doraemon. Doraemon is known to be a kid's show so I feel like having identity written out in katakana rather than difficult kanji matches the book better.

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I found this manga excerpt off of the internet and I think it’s a good example of mimetics. the dokii part is the guy’s reaction to seeing the girl he likes (?) turn around.

The dokii text is the mimic of a heartbeat/being shy

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This product packaging for ミニ雪見だいふくdisplays all four world types in Japanese. Firstly, going throught the product name, the gairaigo word ミニ is being used in the word creation process of affixation, denoting the smaller size of this product. The following 雪見 (ゆきみ) is an example of the compounding of two wago words, as they both keep their kunyomi pronunciation. This is somewhat unique, since Kango tends to have much more utility when it comes to creating words from compounding. Finally, だいふく, though it is written in hiragana, is actually a kango word. One can tell this without even searching for the kanji as it begins with the だ sound, which does not happen in the case of wago. Looking below the name, we can also see the phrase 弾むぷにぷにモチ. 弾む(はずむ) is a wago verb which means “to bounce”, and is followed by the phenomime ぷにぷに, which describes a squishy or springy texture. Finally, it ends in the word モチ, which is wago. I also noticed that the small pink square in the bottom right contains a compounded word made from two gairaigo, シェアパック.

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This page from Jojo’s Bizarre Adventure depicts a character interacting with their supernatural abilities for the first time. This character sees “ドヒュウウウ” written on the door and touches it out of curiosity, causing a huge gust of wind to suddenly pick up. The phonomime ヒュー, which represents the sound of the wind, has been elongated and ド has been attached to the beginning. I think these changes help communicate the violent intensity of the wind, which actually blows this character backwards in the following panel. The addition of the powerful sounding ド to the beginning of many mimetics was a trend I noticed throughout Jojo’s. There are two additional phonomimes in this scene, starting with ピト, which is used to express the noise of contact being made with the door, and also わあー, which represents the character’s actual noises as the powerful wind starts to blow. The remaining dialogue contains a mix of Gairaigo (ドア、エコーズ), Kango (文字), and Wago (the particles に、の、が).

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This image is a screen capture of one of the first things you see from the ジャンボ website.  Like we discussed in class, the use of mimetics in brand advertisements (food, drink, beauty products, etc.) is an almost necessary part of such marketing practices.   This ad is no exception.

In the image, we repeatedly see the mimetic word パリパリっ (paripariQ).  If we refer to the generalizations described in the reading regarding mimetics, we can begin to understand this word better.  For instance, the initial ‘p’ in this instance describes the taut surface and the nature of a breaking sound, while the suffixal ‘-Q’ indicates a indicates a sense of punctuality and that the break is carried out forcefully in a single direction.

The word パリパリ (paripari), meaning crunchy, is already applicable to this product.  However, adding the suffixal geminate consonant really ads a sort of intensity to that crunchiness.  I personally am a fan of this ice cream, and I think this mimetic descriptor is spot on—so spot on, that there really isn’t a need for any other descriptors to be on the packaging other than the flavor, as you can see.

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This is an excerpt from the first volume of Attack on Titan/進撃の巨人。On this page, they are discussing the wonders of the outside world, which is highly taboo as their government has forbidden the topic. What appealed to me is the use of mimetics, specifically giongo/giseigo when Eren throws the rock into the pond in the third panel. ヒュッ (hyu-) mimics the sound of the rock being thrown, while ポチャン (pochan) mimics the sound of the rock breaking the surface tension in the water. Something that caught my eye was the noticible size difference of "ポチャン (pochan)", noting the different level of volume of each of the sounds. Something else I noted was how Isayama uses Katakana instead of kanji or hiragana when Eren says おれ｜俺｜オレ. Since katakana is used in instances to make certain words stand out, I feel as if the author's choice of alphabet here is foreshadowing the strength of Eren's will.

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This is a screenshot from the first episode of Delicious in Dungeon (ダンジョン飯) that notably contains the loanword(gairaigo) ドラゴン。I'm not completely sure where this word would have come from; it seems likely that it's from English, but the word "dragon" originally comes from French, and I even found some sources saying the word came from China, so I don't know which is correct. I think this is interesting because while in English, we have one word for dragons, "dragon," in Japanese there are at least two, the other being 龍(りゅう) (I think). One usually refers to dragons in eastern mythology while the other usually refers to western dragons. I think this is a good example of why loanwords are adopted in Japanese: it gives people an effective way to refer to foreign concepts that doesn't require long or overly descriptive words. I kind of wish we had more specific words for things in English. The most notable change in pronunciation from dragon to ドラゴン is the addition of the 'o' vowel in ド、which is not present in the original "dragon."

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This is an excerpt from Kaguya-sama: Love is War(かぐや様は告らせたい).There's only one example of mimetics here but I found it interesting. This panel shows the mimetic word(s?) ポワポワ / ポワ―ン、which, from what I could find out online, usually indicates a soft, soothing, or gentle feeling. This is consistent with the context of the panel, although in this case it also seems to be indicating a certain amount of naïveté or cluelessness on the part of Fujiwara, as evidenced by the narration, as well as the English version translating the mimetics as "Lalala." Because of this, I think this could probably be considered to be either a phenomime or a psychomime, since it's describing both the atmosphere/vibes that the character gives off, as well as implying something about their psychological state. It could even be a phonomime too since it was translated as "lalala" and it kind of makes sense as a sound of her humming or something. This is all also consistent with the patterns from Hamano 1988 in the slideshow from class that would predict this word to indicate something light and faint or hazy.

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This is a page from the book "占いレストラン" or The Fortune Teller Restaurant. The three mimetics listed on this page are: バタバタ、ととん、and カァ. The first one is used as an adverb. バタバタと meaning flipping or noisily、カラスが一羽、バタバタとおりきて、わたしのまえに、とんと、たちました。The crow, descending, flipping his its wing, impatiently stood in front of me. とんと means impatiently. And カァ is the sound the crow makes. バタバタ and カァ are giseigo because they are sounds produces by the animal one by its movement and the other its vocalization, the third とんと is gitaigo because it describes its state, being in a hurry, which isn't an actual sound.

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This is a page from a discontinued ‘gyaru’ magazine called Egg.  Just this one page is already loaded with different linguistic phenomena, but to keep this text an appropriate length, I want to focus on just two areas.

First, as we know, the world of Japanese fashion is filled with gairaigo.  In the top-center of the page, we can observe an example of back-clipping in the word Tシャツワンピ  where the final ―スis dropped .  It is easy to guess the meaning of this clipped word (t-shirt one-piece, or shirt-dress).  Often the forefront of such words leaves much context for us to draw from and is more important than what has been deleted towards the end.

Second, at the top of the page, we see the phrase かわものザックザク.  The choice to use the mimetic ザックザク in this case is very interesting.  ザックザク is a word which has a few different meanings, one of which expresses the state of having a lot of gold, like a pirate’s treasure chest overflowing.  In this example, we can gather that this brand resale website is absolutely packed full and overflowing with cute things.

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This page of the Made in Abyss manga contains an English loan word (gairaigo) with the phrase “nanbaawan” or “number one”. This passage also contains many mimetic expressions from both Riko and the world around her, distinguished using speech bubbles. “boko” conveys the noise of a pickaxe breaking stone. “too” and “oou” represent exertion and are likely not to be taken as her literal pronunciation. “sorya” and “kokoda” are real words so they are taken literally.

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This page from volume one of the Made in Abyss manga mentions the fantastical creature called “tsuchibashi”. The name is a compound of the words “tsuchi”, meaning hammer, and“kuchibashi”, meaning beak. This passage also contains many mimetic words. Riko’s own voicings are made clear using speech bubbles. The noise coming from the tsuchibashi is represented with “バクンッ”, which in my mind translates to something like a startled chicken. the sounds “キュ” and “ぐいっ” represent Riko adjusting the microscope.

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This is an excerpt from “あずまんが大王” (Azumanga Daioh). The character is using gairaigo while she sings 「ラブラブラブレ」 which is taken from the English word “love letter” which has been accustomed to fit the Japanese language by pronouncing it as “rabu reta” due to the differences in vowel sounds and lack of the letter L found within the language. An interesting thought to this is how the reverse would go in English, where the vowel of [a] fits much better to repeat back than an [o] sound. Lalala-love and rara-rabu. The being sound of the word love, makes more of an [a] sound rather than an [o], thus interpreting it as [ra] in Japanese works with how verbally the word is pronounced.

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This is an excerpt from デビルマン (Devilman) by Go Nagai. In this scene, the mimetic words  [ギゃあああ] and [うわああ] are creating a phonomime (giongo) for the reader which represents a screaming noise. However, uniquely, I believe it can almost be a form of psychomimes (gijōgo) as well when interpreting the context of this scene. In this scene, Akira is forced to wear a demon mask which will tell him all the history of the demons. The only person emitting a sound in this scene is the other character Ryo who uses wago words(見るんだ！＋それが）, Akira is not emitting any sound but is instead witnessing a narrative play in his head. The reason why this can be either a phonomime or psychomime, is using the idea that either Akira could be hearing screams (phonomime) while wearing the mask, or he is instead experiencing a state of fear and doom from what he is seeing, thus the mimetic interpret his emotional state (psychomime).

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This is a panel from the manga 娘の家出(娘の家出) or The Runaway Daughter. Here it can be seen that they are discussing having lunch. The mimetics here on the left of the girl "ガタ" from ガタガタ which means trembling, quaking, grumbling, bellyache among other meanings. So in this conext it refers to her stomach growling out of hunger. And on the right it says "ガタン" which translate to with a bang, with a crash, with a jolt, etc. Which in connection with the other mimetic in this context seems to refer her getting really hungry all of a sudden. The ガタガタ is cut in half and followed up by ガタン which to me seems that even though it is a repeating sound it captures the sudden urge to eat, so much so that even the mimetic was cut in half. There are context clues and the additional dialogue outside of the speech bubbles "だへよ" "だへよ" "ゴハン". Both mimetics have 2 mora..

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べん

The first scene I’ve chosen displays two girls playing the shamisen. When considering Hamano 1998, we see that the initial /b/ sound in be can represent “a taught surface”, and the /n/ sound in C2 can represent “elasticity”. These two adjectives accurately describe the behaviour of the strings on this instrument

キャプテン

The second excerpt I chose is of a character (Shachi) exclaiming the loan word ‘kyaputen’. Initially, I thought this was a play on words. I thought the loan word would simply be ‘kaputen’, and the [y] was added in due to the nature of how the word was being said. Shachi was expressing shock and admiration. ‘Kya-’ is a mimetic which can be described as such.

This however is not the case. The loanword does originally include the /y/ sound. I believe that this is to better mimic the /æ/ sound used in the English word. In Japanese, ‘a’ (a, ka, sa, etc) sounds typically make more of an /a/ or /ɑ/ sound. However by adding the glide /y/ to transition between the /i/ and /a/ phonemes, an /æ/ sound is produced, which better mimics the sound produced in the English word.

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This is an excerpt from volume 1 of 薬屋のひとりごと (Apothecary Diaries). There are a couple of different word formation processes present in these panels. First, 呼ぶ (to call) and 出す (to summon) are compounded to become 呼び出す (to summon), which is then converted to noun form as 呼び出し (a summons). 中央 is a compound consisting of the morphemes ちゅう and おう, meaning "inside" and "center"; 宮官長室 is a four-character compound consisting of the characters meaning "palace", "bureaucracy", "leader", and "room". Altogether, this location is roughly the "center palace leader's room". Finally, 人手不足, meaning "labor shortage", is a compound of 人手 ("labor") and 不足 ("deficiency"), with れんだく added on the second compounded word.

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This is an excerpt from 風が強く吹いている (Run with the Wind) vol. 1. There are various mimetic expressions utilized on this page. First, we have ギシッ, later repeated as ギシギシ. This is a phonomime representing the squeaking noise of the floorboards as the characters stand on them. The former expression represents a single creak cut short, while the latter represents a repeated creaking. According to Hamano (1998), the first consonant "g" is associated with a heavy, large, or coarse hard surface, while the second consonant "s" is associated with soft contact or friction, which is consistent with the actual meaning. Similarly, ガタガタ and ミシミシ are phonomimes representing clattering and creaking, respectively, although ミシミシ may also be a phenomime representing the visual decrepit state of the room.

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This panel from One piece has an example of mimetic language with 「ドン」this is formed with do with Do which is a solid surface being struck and n which completes the sound so it is short and only once. The complete word represents the main character hitting the ground with great force and also highlights the characters dominating presence.

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This is an excerpt from a manga where these two characters are outside in the countryside. The use of mimetics here creates the sense of overwhelming repetitive sound made by the wildlife in this area. グエーグエー are sounds created by the frogs which are not repetitive but would be loud and is continuous. The smaller ゲロゲロ are also sounds made by frogs and the repetition of the mimetic word shows the on going but less intrusive nature of these sounds. All of the mimetics used give a sense of isolation within the countryside with only these sounds being present.

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In this excerpt from Bocchi The Rock, there are multiple examples of the linguistic examples we have looked at in class. For example, in the first speech bubble I believe there is a morphological alternation with the affix of (r) onto the english loan word ミス (meaning mistake).

In the second speech bubble there appears to be an example of Morpho-orthographic truncation with M C, which likely means "master of ceremonies", or the person who gives speeches between band performance.

There is also an example of morphosemantic compounding in the word "バンドマン", combining the loan words band and man to create a word that doesn't exist in English.

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This is a page from the first volume of One Punch Man. The first panel has an example of a mimetic, written as リリリ (ɾiɾiɾi), which is an example of giongo. The repeated syllable illustrates the nature of the alarm clock's repetitiveness. In the last panel, there is another example of a mimetic, 「チュン、チュン、チチチ」 It is also a phonomime, but this is giseigo, imitating the sound of a bird/birds chirping. The repeated チ could serve to represent the continuation of bird chirping. Both of these mimetics help to illustrate through sound that it is morning.

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Again with mimetics, this one conveys more meaning than the previous one, because we have to version of the same mimetic. As per Hamano 1998, ボ is used to designed a taunt surface, probably describing the area being pressured by chakra. As for the second character, the use is different between Naruto and Iruka. Iruka's one is ン、lack of force, or in this case, a proper use of force. In Naruto's case, the author use ウ, presumably do indicate a lack of control on Naruto's part and also an unfinished action (jutsu in this case).Therefore, Iruka's mimetic indicate control and stability, while Naruto's indicate the opposite.

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This is a page taken from the first volume of Naruto. I find the use of mimetics really intriguing here because they are adapted to the action going on in the scene. In here, the characters ザツare used to mimic the sound of the Hokage moving really fast and hitting the ground. By Hamano 1998, we can assume that the author hoped to convey the feeling of quietness and effectiveness by using ザas the first consonant. For the ツ, it is used to indicate contact with the surface.

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<Jordan White>

This is an excerpt from the "Nichijou" manga. This excerpt features examples of two different mimetics, one being giongo ("doQ") and one being gijogo ("atafuta"). According to Hamano (1998), the giongo example's initial consonant of "d" represents a heavy/large sound associated with a lack of surface tension, and as such can be described as a heavy impact that is not resisted. In this case, this giongo represents the heavy strike of the deer's head landing on a region without surface tension that warps under its power, in this case the man's stomach. Additionally, the addition of the "Q" ending, representing a glottal stop or sudden end to the noise, gives the giongo the context of being a single quick sound that ends abruptly. As for the second example, as gijogo this mimetic "atafuta" represents the girl's emotional state of being in a panic/hurried, rather than any associated to her actual movement.

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This is an excerpt from はじめ の一歩 (Hajime no Ippo) volume 1. On this page, we see the mimetic "HyuuN". According to Hamano (1998), For the first consonant in the word "HyuuN" which is ''hy", "h" represents softness, while "y" represents a swinging motion. Along with the second consonant in the word "HyuuN", which is "n" representing elasticity. Not to mention that if we look at the last panel, we can see that the mimetic "HyuuN" has been shortend to "HyuN", indicating speed. With these clues from Hamano (1998), we can determine that our main character Ippo, is not actually hitting his opponent, but in fact is actually moving side to side in a figure 8 motion very fast with great agility and is getting faster. Most likely to either out maneuvering his opponent or building up energy to prepare for a striking blow, which is a very famous move Ippo does in many of his fights.

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<Jordan White>

This is an excerpt from the "Sazae-San" manga. This except depicts two different uses of the same giongo, "gara" in different panels. According to Hamano (1998), a consonant of "g" in the first mora represents something heavy or large and is associated with a "hard surface", while the initial consonant of "r" in the second mora represents a rolling or fluid motion. As such, the combination of "gara" can be said to express a rolling or fluid motion that moves a hard surface. In addition to the "gara" giongo, the mimetic is also followed by symbols that look like multiple instances of the Japanese "ku" mora, which is a classic symbol of reduplication. In the left panel, The "gara" sound represents the door sliding open, with the two reduplications (likely expressing an additional two "gara"s) representing the door rattling more than normal due to the person opening the door harder or more roughly than usual with their foot. In the right panel, "gara" is still used to represent a rolling/fluid motion of a hard surface (in this case, the noise of the sewing machine), though the inclusion of a second "gara" and the extra reduplication symbols gives this instance a distinct "repeating" context of the ongoing operation of the machine that the first example lacks.

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This is an Excerpt from the first volume of 転生したらスライムだった件. (Regarding Reincarnated to Slime)

On this page the reader is able to find a lot of mimetic reaching from a dynamic ボヒャソBohyaso, what regarding to Hamano (1998) with the b coming implies a taut surface with heavy sounds, the hya implying a swinging or unreliable motion, the last vowel of s gives a soft contact or friction across the surface, to a repeating ボイボイボイ boi boi boi. What also indicates a repeating hit on a taut surface that makes heavy sounds, in between you can find the describing sound of something splashing against a wall what is described with ビタソbitaso here as well is found the repeating use of the b this this time in connection with t and s giving the feeling of hitting the surface or coming into close contact with something while the s loud signals once again soft contact or friction. The last mimetic is symbolic for the sliding down the wall followed by ズル。。。zuru, giving the reader, the feeling of a non viscous body and quietness while the r gives the image of a rolling or fluid movement.  Furthermore, you can find the gairaigo wordスキルwhat comes from the English word Skill. Also able to be found is the word 水圧推進 what shows the characteristics of a kango word. Followed by the the two wago words 獲得 andしました .

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This is an excerpt from Volume 1 of 文豪ストレイドッグス (Bungo Stray Dogs). There are two mimetic words within this excerpt. Depicted on the left panel, "kehai" is an example of gijogo, the main character notices something going on in the back. "keho" depicted on the right is an example of giongo. According to Hamano (1998), the "k" from "keho" is associated with a "light, small or fine , hard surface", and the "h" in "keho" symbolizes "breath". So the sound "keho" symbolizes the "soft sound his mouth colliding to make the 'k' sound, and inhaling with 'h'".

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<Atsushi Hasegawa>

This is an excerpt from "寄生獣” (Parasyte). There are two mimetic words in this excerpt. "piQ" (2 morae) is a giongo, depicting the sound of catching the knife while "petiN" (3 morae) is a giongo expressing the sound of the knife cut into halves. According to Hamano (1998), "p" in petiN is associated with "taut surface" while "ti" is related to "coming into close contact." Therefore, "petiN" expresses the sound of "two objects with taut surfaces coming into close contact."