ナナイの大冒険

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Brambly Hedge by Japanese Translater Story 野ばら村の物語

2021/08/07
BramblyHedge・野ばら村の物語
ブランブリー ヘッジ のばら村のけっこん式 翻訳 特殊 才能 社会貢献
こんにちわ♪ナナイです。

外国語の絵本を日本語に翻訳するのは、難儀な技が必要です。
日本には幼稚言葉、丁寧語、小学生向けの言葉、中高生向けの言葉、女性向けの語り口の言葉(これによって出身が上流階級なのか下層階級なのかもお察しできます。また上から目線な言葉など。)
この海のような大海から適切な言葉を選んで、感動をよぶような名文をつくるにはあるいみ特殊な才能がいります。

日本語は綺麗で芸術的な言葉ですが、つなぐ要素要素が重要です。

翻訳者の方はこれでとても悩みます。

のばら村の物語の翻訳者のこみやゆう氏は、勇気のある熱弁家の方のようです。

野ばら村の結婚式
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私の祖父は、仏教学者でチベット文学者でもあったので、辞書を大学の同僚と執筆したり、共同で出版したりもしました。
原本は諸事情があり手元にはありませんが、国会図書館、日本の主要な大学・著名な国外の大学の学術機関などで文献を検索すると存在するので、少しは貢献してます。また祖父が殆ど翻訳及び執筆をしたのにもかかわらず全く名前が日本語でも英語でも記載されていない、望月信亭仏教大辞典などもあります。望月辞典世界中に置かれているリスト

著作権がきれており尚且つ、勝手に著作権がないかたが全集をDVDソフトで出版されて販売されてしまったりと心境は複雑です。

祖父は1959年に亡くなっているので、祖父の同級生+同僚で同じ年の塚本善隆氏が編纂したことについては、仕方のないことだとはわかってます。ですが、もやっとします。
これじゃ浮かばれないと・・。塚本善隆はもう40年以上前に亡くなってます。

そうそう、翻訳家や辞書執筆家というのは、影の存在です。執筆をしても表舞台に立つことはないのです。
ですが、翻訳家がいないとせっかくの辞書と言う大作業をしたものを世界に普及するという社会貢献ができなくなります。
特にこの辞典は、望月氏が、私財を投じて出版した貴重な辞書です。

これがひとの為に役立つということです。
望月信亭は、人格の優れた方でした。私の祖父と塚本善隆を師弟ただけでなく、大切な後継者として育てたと記憶しています。

Wikiに書かれてあることが、事実と違っているのでこちらに書かせていただきますが、望月氏には、実子がいませんでした。それでお弟子さんの中から優秀で人格のある養子を迎えました。こちらについて書こうか迷いました。
自分と血が繋がっているかはどうかは問題ではなく、自分の後継者として資質をもった子を探すというのが、知識人の役割です。
この時代は特にそうでした。望月氏の息子さんはその役割を果たしている思います。

後半はこみやゆうさんのインタビュー全編を英訳して載せてます。野ばら村の結婚式の翻訳者の方です。
このサイト現在、90%が英語圏からの訪問者で、ほとんどスマフォです。
1000人前後の訪問者の中の900人です。友人の何人かに日本語をわざわざ英語で翻訳してまで閲覧はしないわよ。
といわれたので、、、こちらはよけいなお節介かもしれません。

野ばら村のピクニック
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Hello... I'm Nanai.

Translating a picture book from a foreign language into Japanese is a difficult skill.
In Japan, there are many kinds of Japanese words, such as kindergarten words, polite words, words for primary schools students, words for junior high and high school students, words for women (you can guess whether they are from the upper or lower class by these words. (It can also tell you whether you come from a high or low class background, or whether you speak from the top down.
It takes a special kind of talent to choose the right words from this ocean of words and create a great sentence that will move you.

Japanese is a beautiful and artistic language, but it is the elements that connect it that are important.

Translators have a lot of trouble with this.

Mr Komiya Yu, the translator of the story of the Brambly Hedge , seems to be a courageous and passionate speaker.

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My grandfather, who was a Buddhist scholar and Tibetan literature scholar in some in Japanese University untill 1959, wrote and co-published a dictionary with his university colleagues.
For some reason we don't have the original, but a search of the National Diet Library, major universities in Japan and academic institutions of prominent foreign universities shows that it does exist, so we have made some contribution. There is also the Mochizuki Shintei Buddhist Dictionary, which my grandfather translated and wrote most of, but whose name is not mentioned in either Japanese or English. List of universities holding Mochizuki Buddhist Dictionaries 10 Volume Set

This is the first time that I have been able to find a list of all the dictionaries in the world.

My grandfather died in 1959, so I know that it is inevitable that his classmate and colleague Yoshitaka Tsukamoto, who was the same age as my grandfather, compiled the book. But I'm frustrated.
I feel that this is not a good thing. Yoshitaka Tsukamoto died more than 40 years ago.

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Yes, translators and dictionary writers are in the shadows. They may write, but they never appear on the stage.
However, without translators, we would not be able to make the social contribution of disseminating the great work of dictionaries throughout the world.
This dictionary, in particular, is a valuable one, which Mr Mochizuki has published with his own money.

This is what it means to be of service to others.
Nobutei Mochizuki was a man of great character. I remember that he not only trained my grandfather and Tsukamoto Yoshitaka as his teachers, but also raised them as his important successors.

As the Wiki is not true, I would like to write here that Mr Mochizuki did not have any children of his own. He had no children of his own, so he adopted a son from among his pupils, a man of great talent and character. I was not sure if I should write about this.
The role of an intellectual is not to look for a child who is related to you by blood or not, but to look for a child who has the qualities to be your successor.
This was especially true in this period. I believe that Mr Mochizuki's son fulfils that role.

In the second half of the article, I have included an English translation of the entire interview with Mr Komiya Yu. He is the translator of the wedding in Brambly Hedge.

Currently, 90% of the visitors to this site are from English-speaking countries, mostly on smartphones.
That's 900 out of around 1000 visitors. Some of my friends told me that they don't bother to translate Japanese into English to browse the site.
I don't want to be a burden to them.

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This is a translation from Japanese to English of the full article of the interview with Komiya Yu.
I think this is a message for the UK publisher and the family who own the copyright.


Picture book author interview with Mr Yu Komiya

Yu Komiya

Born in 1974 in Tokyo. After graduating from an university, she worked for a children's book publishing company. After graduating from university, she worked for a children's book publishing company, and after studying in Canada, she became involved in the translation and editing of children's books. She runs a home library "Konoa Bunko" in Asagaya, Tokyo. Her main works are "Ai-chan no Onepiece" (illustrated by Satoko Miyano, Kodansha), "Sekai Ichiiyi Soup" and "Oka no Ue no Gillis" (translated by Iwanami Shoten), "Tanjo-bi Taisho! (Nagasaki Shuppan), and Tamagotte Fushigi (Kodansha).

My grandfather was a translator and my parents were children's book specialists
Taketombo, a children's book shop

Taketombo, a children's book shop run by Yuu Komiya's parents in Aso, Kumamoto.

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My parents used to work for a publishing company in Tokyo, but they quit when I started primary schools and started a children's book shop in my mother's hometown, Kumamoto. "It's called Taketombo, and last year it celebrated its 30th anniversary.

What I am grateful for now is that my parents never forced me to read books. But they always had a lot of books in front of them, so I started to look at them. When I was in primary school, I read "Journey to the West", "The Untold Story" and "The Chronicles of Narnia". But I also read manga in general, and I was more of a boy who liked playing outside more than reading.

It wasn't until I was in my third year of high school that I really discovered the fun of books. I had been recommended for university and had time on my hands. So I decided to read the novels of Tolstoy that my grandfather, Jiro Kitamimon, had translated. I started with the trilogy "Resurrection", "Anna Karenina" and "War and Peace" and was immediately drawn into Tolstoy's literature.

When I was at university, I spent my days asking myself questions such as "what is man", "what is God" and "what is life". I was afraid to get involved with other people, and I was in a kind of reclusive state.

Then, one day, I came across Taketombo's bookshelf. As I picked up some of the books and read them, I realised that Tolstoy and children's books are the same at their core. It may sound flimsy in words, but I think it can be summed up in one word: love. It was only then that I realised that my father and mother had started a children's book shop because they wanted to convey this message.



The translator is the "black man", translating with clarity and rhythm

After graduating from university, I went to Tokyo to work for a children's book publisher. As a salesman, I visited more than 1,000 elementary schools throughout Japan. During the course of the job, I also worked as an editor, editing translated picture books, but I became acutely aware of my lack of English. ...... I quit the company and went to Canada to study for about a year to improve my English.

After I came back to Japan, I worked for a publishing company again, in sales and editing, but I left the company about three years ago and now I work as a freelance translator and editor.

When I was in Canada, I started collecting foreign books for children. There are about 700 books on the first floor of my house. There are still a lot of fun books that have not been published in Japan. After I left the company, I spent a year doing rough translations of Western books that I wanted to publish. Then I took them to publishers and asked them to consider them for publication.

My mentor as a translator was Ruriko Mazaki, with whom I worked most frequently as an editor. I have also worked with Masako Shimizu, Rieko Nakagawa and Kyoko Matsuoka. What I learned from working with these people is that a translator is a black person. I try to translate in a clear and rhythmic way, without letting my own personality show.

As a translator, it's not so much how much English you know, but how much Japanese you know. Japanese is a very diverse and delicate language, and the words you choose can make a big difference to the impression you get. That's why I pay a lot of attention to the words I choose.

We sometimes choose words that we would never use in everyday conversation. This is because I believe that one of the roles of picture books is to convey beautiful Japanese to children. Of course, I don't want to make the book too difficult, but I always try to use the Japanese that I want to convey to the children.

Like an archaeologist, I dig up great picture books

I often refer to myself as an "archaeologist" - an archaeologist who digs up works from the golden age of American picture books, from the 1930s to the 1960s and 1970s. New picture books and award-winning picture books from overseas are being introduced in Japan. But there are also books that have simply been buried in time, and if only someone would dig them up, they could still shine. There are books that should be introduced only in this day and age. I have decided to introduce as many of these books as possible to the children of Japan.

I think that my greatest value in the children's book industry is not so much my ability to translate, but rather my ability to find hidden foreign books. I would say that 70% of my job is done when I have a good eye. I think I developed this discernment by growing up surrounded by good-quality books, and also by working as a professional.

Of course, I don't take translation lightly. I think that translation is a subject that I need to work on more and more.






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