Как написать покемон на английском языке

покемон — перевод на английский

покемон — pokemon

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покемон

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It indicates proper stress in pronunciation, just as an accent mark is intended to.

Natural pronunciation of words in English does not adapt well to Japanese loan words. The reason is stress patterns. For native English speakers, trochees, spondees, and dactyls are the most natural, especially with nouns. That said, we can safely assume that English speakers will emphasize the PO in POKEmon, but, as a foreign word with no established, entrenched pronunciation, the dactyllic stress pattern is often mistakenly applied — leading to a pronunciation something like POH-ka-mahn, for those who know the word to be three syllables, or POHK-mahn, for the more culturally challenged.

Japanese, unlike English, does not stress syllables. Rather, they have two tones, high and low, which serve an equivalent purpose. Tone variation can also be seen in English, for example, when we raise the pitch of our voices at the end of sentences to indicate questions (Japanese also do this). The tone pattern for Pokémon, in Japanese, is high-high-low-low (the final ‘n’ is a distinct syllable — unvoiced glottal stop). Illustratively, that could be written as POKEmon — the same result we get from forcing English speakers to accent the second syllable.

It indicates proper stress in pronunciation, just as an accent mark is intended to.

Natural pronunciation of words in English does not adapt well to Japanese loan words. The reason is stress patterns. For native English speakers, trochees, spondees, and dactyls are the most natural, especially with nouns. That said, we can safely assume that English speakers will emphasize the PO in POKEmon, but, as a foreign word with no established, entrenched pronunciation, the dactyllic stress pattern is often mistakenly applied — leading to a pronunciation something like POH-ka-mahn, for those who know the word to be three syllables, or POHK-mahn, for the more culturally challenged.

Japanese, unlike English, does not stress syllables. Rather, they have two tones, high and low, which serve an equivalent purpose. Tone variation can also be seen in English, for example, when we raise the pitch of our voices at the end of sentences to indicate questions (Japanese also do this). The tone pattern for Pokémon, in Japanese, is high-high-low-low (the final ‘n’ is a distinct syllable — unvoiced glottal stop). Illustratively, that could be written as POKEmon — the same result we get from forcing English speakers to accent the second syllable.