The use of the second person singular pronoun anata ‘you’ in modern Japanese has long been regarded as mysterious and problematic, generating contradictory nuances such as polite, impolite, intimate, and distancing. Treated as a troublesome pronoun, scholars have searched for a semantically loaded meaning in anata, under the assumption that all Japanese personal reference terms involve social indexicality. This book takes a new approach, revealing that anata is in fact semantically simple and its powerful expressivity is explained only in pragmatic terms. In doing so, the study brings to bear a thorough understanding of key issues in pragmatics, such as common ground, sociocultural norms, and shared understandings, in order to fully grasp the meaning and usage of this single linguistic item. This book will be of interest to scholars and students in a range of linguistic fields, such as semantics, pragmatics, sociolinguistics, discourse analysis, anthropological linguistics, linguistic typology, cultural linguistics, as well as applied linguistics.

This collection on legal interpretation in a broad sense presents state-of-the-art linguistic approaches that are applied for studying interpretation and meaning generation in various legal settings. It covers different aspects of the concepts like judicial dissent, court argumentation, investigating sociological meaning, or comparing legal meaning in comparative law. Scholars can turn to the volume for methods and findings to ground their own inquiries, and students will find guides to topics and methods in the field of law, meaning generation, and language.

This book explores how the greater amount of pragmatic information encoded in Korean and Japanese can result in pragmatic (in)visibility when translating between those languages and English. Pragmatic information must be added when translating from English to Korean or Japanese and is easily lost when translating in the other direction. This book offers an analysis of translations in Japanese and Korean of Harry Potter and the Philosopher’s Stone and The Hobbit, or There and Back Again to show how the translated versions crystallise the translators’ interpretations of relationships in the way characters address one another. This book discusses fan translations of Korean and Japanese to English of various popular media, observing that the emotional meanings easily lost when translating in this direction are often deemed important enough to warrant the insertion of additional explanatory material. The book additionally discusses the role of fan translation in the construction of international online communities and a heightened communal commentary on translation. Western translation commentary has historically lacked sufficient emphasis on translation to and from East Asian languages, and these case studies help to address a problem of central importance to translation to and from languages that encode interpersonal dynamics in dramatically different ways to English. This book will be of interest to students and researchers in translation studies, particularly in Korean and Japanese translation. The book will also appeal to students and researchers of the Korean and Japanese languages.

The acclaimed actress and legendary singer, Yamaguchi Yoshiko (aka Li Xianglan, 1920-2014), emerged from Japan-occupied Manchuria to become a transnational star during the Second Sino-Japanese war. Born to Japanese parents, raised in Manchuria, and educated in Beijing, the young Yamaguchi learned to speak impeccable Mandarin Chinese and received professional training in operatic singing. When recruited by the Manchurian Film Association in 1939 to act in "national policy" films in the service of Japanese imperialism in China, she allowed herself to be presented as a Chinese, effectively masking her Japanese identity in both her professional and private lives. Yamaguchi soon became an unprecedented transnational phenomenon in Manchuria, Shanghai, and Japan itself as the glamorous female lead in such well-known films as Song of the White Orchid (1939), China Nights (1940), Pledge in the Desert (1940), and Glory to Eternity (1943). Her signature songs, including "When Will You Return?" and "The Evening Primrose," swept East Asia in the waning years of the war and remained popular well into the postwar decades. Ironically, although her celebrated international stardom was without parallel in wartime East Asia, she remained a puppet within a puppet state, choreographed at every turn by Japanese film studios in accordance with the expediencies of Japan's continental policy. In a dramatic turn of events after Japan's defeat, she was placed under house arrest in Shanghai by the Chinese Nationalist forces and barely escaped execution as a traitor to China. Her complex and intriguing life story as a convenient pawn, willing instrument, and tormented victim of Japan's imperialist ideology is told in her bestselling autobiography, translated here in full for the first time in English. An addendum reveals her postwar career in Hollywood and Broadway in the 1950s, her friendship with Charlie Chaplin, her first marriage to Isamu Noguchi, and her postwar life as singer, actress, political figure, television celebrity, and private citizen. A substantial introduction by Chia-ning Chang contextualizes Yamaguchi's life and career within the historical and cultural zeitgeist of wartime Manchuria, Japan, and China and the postwar controversies surrounding her life in East Asia.