Seiyashi

EDITORIAL NOTE: This thread is unfortunately on hiatus as I haven't had the time/energy to finish it. I hope to get back to it someday but in the meantime please be patient; if you have a burning question on the origin of a particular shikona, DM me and I'll try to respond. Inspired by the Endless Romanisation thread some time ago, @Asojima and I bring to you: The Shikona Translations & Trivia Megathread! Originally this thread contained a list of sekitori shikona. Each shikona is followed by a spoiler tag, which contains the following information pertaining to the shikona: However, after the initial postings, various facts of shikona lore (and the relative insignificance of the translations) became apparent. We are therefore updating the original data sets to better show how sekitori shikona are formed from heya traditions, hometown allusions, and personal references; a project that we expect to take some time. In the meantime, the original lists are archived at the following link within the thread. The new format, split into three blocks, is as follows. The more salient parts are the first and second bits, which actually relate to the shikona's formation; the translations have been relegated to the third part as an archive of work done and a rough idea of the meaning of the kanji, although as noted below they do not necessarily denote what the shikona means to the rikishi. This overhaul also introduces two changes: annotations and traditional Hepburn romaji. As this is a fair amount of visual clutter, the annotations will be confined to the Shikona History section of each rikishi's entry, while traditional Hepburn romaji will be included for the rikishi's real name and full shikona at the top of the entry if applicable. Annotations follow in the following form: * (asterisk): Denotes a heya component of a shikona. ^ (carat): Denotes a geographical component of a shikona. ' (apostrophe): Denotes a personal component of a shikona (whether a reference to the rikishi's real name or other reference to events in their life). Parentheses group together separate kanji in a shikona that belong to the same component. For instance, one might see an annotation thus: Koto*-(te-bakari)'. This indicates that there are three kanji in the shikona, that the "koto" element is a heya component, and the two kanji for "tebakari" together are derived from a personal reference. As for romaji, the romanisation system used primarily in this thread is modern Hepburn (the type generally used across Japan today). However, in deference to Kintamayama-san, where the traditional Hepburn romanisation of the shikona differs from the modern Hepburn (e.g. when it contains a long vowel), the traditional Hepburn romanisation will follow after the modern Hepburn, separated by a slash, and substituting full spellings for macrons (because they're a pain in the ass to type on the forum). General notes on translation: The translation of the shikona is to a certain extent divorced from the meaning of the shikona to the individual rikishi. An example would be Asashoryu's given name portion of his shikona, Akinori, which can be translated as Brilliant Virtue, but its connection to Asashoryu himself stems more from the same kanji being the name of his high school, Meitoku (an alternate reading of Akinori) Gijuku High School. With a lot of shikona having connections either to the rikishi's heya and/or the rikishi's hometown, the closest Western equivalent I can think of would be the process by which Lenin's nom de guerre was inspired by the river Lena, with much more abstract connotations, rather than directly meaning anything in and of itself. It doesn't help that translating Chinese/Japanese to English is confounded with several issues, a little like with hieroglyphs: Kanji can be used both for their sound value and their meaning value. These two don't necessarily coincide. For instance, Baruto's shikona consists of kanji that are almost certainly entirely used for their sound value, whereas the kanji in shikona like Futeno are used primarily for its meaning value. Very few shikona are aptronyms in both meaning and sound, and this tends to be more for foreign rikishi like Sentoryu and Osunaarashi. In a particularly devilish twist of Japanese, kanji can actually be explicitly assigned a non-standard sound value essentially for stylistic purposes. The shikona Hayateumi is an example: standard pronunciation would have it pronounced something like Oiteumi (as it shares characters with Oitekaze stable), but it's instead pronounced as the word for "hurricane/gale" in Japanese, which has a different set of kanji altogether. More famously, Hokutoumi also changed the standard pronunciation of the kanji for "win" (usually "sho"/"katsu") to "to" as a means of including the name of his hometown in totality (the first half as sound, the second half as kanji). In a more codified form, some kanji when paired together may also take standardised but non-obvious meanings that are metaphorical or allusions: the -asuka portion of Tamaasuka is an example. The -asuka portion is written with characters that mean "flying bird" and could be pronounced "hitori", but the kanji are codified as being pronounced as "asuka" in a practice dating from the eponymous Asuka period in Japanese history. So the translations are for the most part fan-generated trivia in and of themselves - interesting pieces of information given some relevance only because we are mostly external to the Japanese context in which they occur and hence have another cultural base to refer to. I know there have been a couple of shikona-oriented threads in the past in this subforum, but having glanced through them quickly I think we are very justified in saying that this list of 300 or so (including older rikishi) is the most extensive yet. Also, if there are any sekitori shikona that you would like a translation for but which isn't in the list, do drop a reply and I'll try to get to it. No promises as to when, though. (Toriteki shikona are preferably avoided because a lot more actual Japanese family names tend to be in there, which makes it a lot less meaningful.) Contents: Shikona A-C Shikona D-H Shikona I-K Shikona M-S Shikona T-Z Asojima's Kanji/Shikona Notes Changelog: 10 Aug 2021: Created. 11 December 2021: Introduced new format with explainer on annotations and traditional Hepburn romanisation. 14 December 2021: Asojima's archive uploaded

Has anyone had any experience framing up the 58 x 44 cm banzuke for display? I just finished unpacking and have decided to try and put up my copy of the Nagoya 2019 banzuke. The paper size is not exactly very common and it seems an A2 frame will leave some gaps - it'll work, but it won't be the cleanest. Anyone have any solutions for this?

Holy crap that's very svelte.

If the first two hit a 7-0 playoff they both get promoted, right?

And then, because it's late and everyone's too eager to hit up the bar, the messy section is completely forgotten. I know I've done something similar in my work before - pencil in a draft just to have something that's 80% there, move on, and just overlook it when reviewing.

Could someone explain when the scalper problem surfaced? I'm assuming the scalper problem came up during COVID? Back when there were same day tickets they would have acted as a damper, no?

Is Ōnosato going to be the first person to make Y without a MK?

Tokushōryū was 2019 no?

Sanshō committee can't help but rub in the choking, eh. That's a rare condition.

Fuck's sake.

The wheels are really coming off this basho, aren't they.

Same way how Ura's fluffing down of Shōdai last time was a hatakikomi too.

The course (or the par) might have changed slightly, though...

My bad.... Head post edited.

The joke was not to jinx him again, but never mind....

No, the club that says the first rule is that you never talk about the Takayasu yushō. The second rule is that you never talk about the Takayasu yushō.

A meeting of the Takayasu yushō club should be called soon, I think. Ōnosato is going to be one of those winningnest rikishi people love to hate, because his brand of sumo is so oppressively dominant in combination with his physique. On the other hand, Hōshōryū did a great job taking on Takanoshō at his own game today and winning. A much more technically rounded performance.

Hear, hear!

Most authoritative yokozuna sumo from Hōshōryū so far.

Just as a reminder, Takayasu has made it to 10-0 before.... Separately, I hope Ōnosato has learnt an abject lesson not to pull. He had most of the bout in the bag until he didn't.

Takayasu - Ura from this basho is a modern classic. Loads of tsuppari and a great slow motion finish.

Apropos of that bout, Ōhō lost more than Chiyoshōma won. The latter was just smart enough to know when to step aside.

One of them will need a name change anyway. I believe NSK requires shikona to be unique.

I see the new keshō mawashi set is ready as well.

It's unprecedented so we can't extrapolate, but it's very likely the existing yokozuna will be quietly told to hang on till replacements show up.