Kishōtenketsu
Kishōtenketsu (起承転結) describes the structure and development of classic Chinese, Korean and Japanese narratives. The structure originated in China and was called qǐ chéng zhuǎn hé (起承转合) and used in Chinese poetry as a four-line composition, such as Qijue. From there, it moved to Korea where it is called gi seung jeon gyeol (Hangul: 기승전결; Hanja: 起承轉結). Finally, the art style came to Japan, where the name Kishotenketsu originates. It is also referred to as kishōtengō (起承転合) in Japan.
Regionalities
There are variations of this dramatic structure based on region due to differences in how the Chinese characters are interpreted per the country and culture.
China
The Chinese interpretation is:
起: means start or introduction, usually meaning the reason something started
承: meant handling, process, or hardships
转: turn, turning point, crescendo
合: result.
Note that the character for 转 is different from the Japanese one later.
| Original Chinese | English Translation |
|---|---|
| 送 別
王 維 山 中 相 送 罷 ， 日 暮 掩 柴 扉 。 春 草 明 年 綠 ， 王 孫 歸 不 歸 。 |
Farewell
by Wang Wei (699-759) qi: After a farewell in the mountain, chen: Dusk falls, and I shut my firewood-made gate. zhuan: When the spring grass is green next year, he: I wonder if my friend will return. |
| 非走不可的弯路
张爱玲 起: 在青春的路口，曾经有那么一条小路若隐若现，召唤着我。 母亲拦住我：“那条路走不得。” 承: 我不信。 “我就是从那条路走过来的，你还有什么不信？” “既然你能从那条路走过来，我为什么不能？” “我不想让你走弯路。” “但是我喜欢，而且我不怕。” 母亲心疼地看我好久，然后叹口气：“好吧，你这个倔强的孩子，那条路很难走，一路小心！” 转: 上路后，我发现母亲的确没有骗我，那的确是条弯路，我碰壁，摔跟头，有时碰得头破血流，但我不停地走，终于走过来了。 。。。 合: 在人生的路上，有一条路每一个人非走不可，那就是年轻时候的弯路。不摔跟头，不碰壁，不碰个头破血流，怎能炼出钢筋铁骨，怎能长大呢？ |
A Must-go Curvy Road by Zhang Ailing (1920 - 1995) qi: At the intersection of youth, there was an obscure narrow road calling for me. Mother said, “That is not the road to go.” chen: I didn’t believe what she said. “I was from that road. What else can’t you believe me?” “If you could take that road, why can't I?” “I don’t want you to take a curvy road?” “But I like it, and I am not scared.” Mother worriedly looked at me for a long time. She then sighed: “Alright, you are a stubborn child. That road is rough. Take care of yourself!” zhuan: When I was on my way, I found my mother didn’t lie to me. The road was indeed very curvy. I bumped my head, fell over, cut myself, and bled, but I continued to walk. Finally, I got through the road. he On the road of our life, there is a road that everybody must go. It is the curvy road when we are young. If we don’t fall over, bump our head, and bleed, how can we become strong and grow up? | |
Korea
The Korean interpretation is
기 : raising issues and introducing characters
승 : the beginning of the action (But not to solve a problem, necessarily more for self realization)
전 : a change in direction or reversal
결 : the thing to be concluded and any lessons gained through the process or results.
| Original Korean | English Translation |
|---|---|
|
정지상의 송인(送人) 기구 雨歇長堤草色多 비 갠 긴 강둑에 풀빛 파릇한데, 승구 送君南浦動悲歌 남포에서 임 보내며 구슬픈 노래 부르네. 전구 大同江水何時盡 대동강의 물은 언제 마르리오? 결구 別淚年年添綠波 이별 눈물이 해마다 푸른 물결에 보태지네. |
Escort by Jeong Ji Sang Gi Multicolored green grass on the banks of a long river. Seung He's singing a sad son in Nampo. Jeon When is the water of Daedong dry? Gyeol Every year, farewell tears add to the blue waves. |
|
황조가 고구려 유리왕 起句 翩翩黃鳥 펄펄 나는 저 꾀꼬리 承句 雌雄相依 암수 서로 정답구나. 轉句 念我之獨 외로워라 이 내 몸은 結句 誰其與歸 뉘와 함께 돌아갈고. |
Hwangjo (Yellow Tide) By King Yuri of Goryeo Gi Fluttering Yellow Birds Seung male and female depend on each other Jeon Lonesome self Gyeol Who will go home with me? |
Japan
However, the Japanese interpretation of it is introduction, kiku (起句), development, shōku (承句), twist, tenku (転句), and the last character indicates conclusion or kekku (結句). 句 is the phrase (句, ku), and gō (合) means "meeting point of introduction 起 and twist 転" for conclusion.
Media the structure is used in. The following is an example of how this might be applied to a fairytale.
- Introduction (ki): introducing characters, era, and other important information for understanding the setting of the story.
- Development (shō): follows leads towards the twist in the story. Major changes do not occur.
- Twist (ten): the story turns toward an unexpected development. This is the crux of the story, the yama (ヤマ) or climax. In case of several turns in the narrative, this is the biggest one.
- Conclusion (ketsu), also called ochi (落ち) or ending, wraps up the story.
The same pattern is used to arrange arguments:[1]
- Introduction (ki): In old times, copying information by hand was necessary. Some mistakes were made.
- Development (shō): Copying machines made it possible to make quick and accurate copies.
- Twist (ten): Traveling by car saves time, but you don't get much impression of the local beauty. Walking makes it a lot easier to appreciate nature close up.
- Conclusion (ketsu): Although photocopying is easier, copying by hand is sometimes better, because the information stays in your memory longer and can be used later.
In the structure of narrative and yonkoma manga, and even for document and dissertation, the style in kishōtenketsu applies to sentence or sentences, and even clause to chapter as well as the phrase for understandable introduction to conclusion.
| Original Japanese | English Translation |
|---|---|
|
San'yō Rai Osaka Honcho Itoyano Musume Anewa Juroku Imotowa Jyushi Shokoku Daimyowa Yumiyade Korosu Itoyano Musumewa Mede Korosu |
Sanyō Rai (頼山陽): Ki Daughters of Itoya, in the Honmachi of Osaka. Shō The elder daughter is sixteen and the younger one is fourteen. Ten Throughout history, daimyōs killed the enemy with bows and arrows. Ketsu The daughters of Itoya kill with their eyes.[2] |
The concept has also been used in game design, particularly in Nintendo's video games, most notably Super Mario games such as Super Mario Galaxy (2007) and Super Mario 3D World (2013); their designers Shigeru Miyamoto and Koichi Hayashida are known to utilize this concept for their game designs.[3]
See also
- Dramatic structure
- Contrastive rhetoric
- Cross-cultural communication
- Jo-ha-kyū, contrasting 3-part structure
- Writing
- Yonkoma
References
- Lucy K. Spence, Yuriko Kite (2017-06-10). "Beliefs and practices of writing instruction inJapanese elementary schools" (PDF). www.palaumoe.net. Retrieved January 28, 2021.
- Maynard, S. K. (1997). Japanese communication: Language and thought in context. Honolulu, HI: University of Hawai'i Press, 159-162.
- Tom Phillips (2015-03-17). "Nintendo's "kishōtenketsu" Mario level design philosophy explained". Eurogamer.net. Retrieved September 16, 2016.