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PHONETIC FUSIONS IN JAPANESE

100%

Rumánek I. R. V.

Asian and African Studies

2004

tom 13

nr 1

81 - 103

The study concentrates on the phonetic fusions in Japanese, which is a feature typical of flective languages. It also poses the question whether the inflective features are relics of more ancient phases of the language or rather of the recent : What is the tendency, from inflective to agglutinative or vice versa, and is fusion in Japanese declining or developing?

PHONETIC FUSIONS IN THE LANGUAGE OF OKINAWA AND A COMPARISON WITH MAINLAND JAPANESE

100%

Rumánek I. R. V.

Asian and African Studies

2004

tom 13

nr 2

179 - 190

The Ryukyus (generally called Ruuchuu in the local dialects) with the central island of Okinawa (Uchinaa) are inhabited by people whose tongue is a very curious idiom which some linguists regard as an extreme branch of southern Japanese dialects. It seems, however, more correct to specify it as a separate language and the only language relative to Japanese. A survey of its fusional features will serve to support this claim, as they are of a much more radical nature and interfere with the fundamental character of the language much more than is the case with mainland Japanese.

Okuni sóši - medzižánrový doklad o prechode od nó ku kabuki

100%

Rumánek I. R. V.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2013

tom 16

nr 1

102-117

The study focuses on the texts linked to the earliest phase of kabuki – the dance-and-sung performances of the girl named Izumi-no Okumi in Kjoto, 1603. Obtaining those texts at a study stay in the Theatre Museum of Waseda University (Tokio), the author has aimed to prove the relation of early kabuki performances and the antecedent tradition of nó theatre. One of the texts proves to be monogatari – a prose version of Okuni's story speaking about her and her performance, the other looks like a libretto to this performance; thus, it is difficult to say to what extend this libretto may prove authentic. Its first part has an inner structure similar to that in nó drama, a fact which clearly demonstrates the interconnection of both forms. Nevertheless, the libretto gradually changes into a brand new form – that of the earliest version of the rising kabuki theatre.