著者

村中 淑子

出版者

桃山学院大学総合研究所

雑誌

人間文化研究 = Journal of humanities research, St. Andrew's University (ISSN:21889031)

巻号頁・発行日

no.9, pp.23-50, 2018-11

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This article analyzes aspects of the dialect maintenance of "J-turn" migrantK in his 90s.K was born in a small village in the south of the Kaga district in IshikawaPrefecture, where he lived until he was 16 years old. Then he moved to Osakacity where he lived for a total of 20 years. He was then transferred to Tokyo,living there for about five years, and later moved to other cities. Since hisretirement at the age of 58, he has settled in Kanazawa city, the capital ofIshikawa Prefecture. We can call someone like him a "J-turn" migrant, becausehis movements resemble a U-turn but with slight differences.We investigated which of the four dialects he used: the south Kaga dialect,the Osaka dialect, the Tokyo dialect or the Kanazawa dialect. The items weanalyzed were his accent patterns when pronouncing two-mora nouns and hisusage of auxiliary verbs and particles.The results showed that he maintained the characteristics of the south Kagadialect well. In particular, concerning the accent patterns of two-mora nouns,he maintained the characteristics of his native village dialect, which is onevariety of the south Kaga dialect. In other words, it may be said that K maintainedthe dialect that he acquired at the village where he lived till the age of16, despite repeated migration for several decades.We considered the factors behind K's dialect maintenance from the followingfive viewpoints :(1) Common ground and differences between the Kaga dialect and the Osaka dialect(2) Properties of the community where he belonged to in migration(3) His language environment at home(4) How he regards the Kanazawa dialect and the south Kaga dialect(5) The characteristics of the village where he was born

著者

梅山 秀幸

出版者

桃山学院大学

雑誌

人間文化研究 = Journal of humanities research St. Andrew's University (ISSN:21889031)

巻号頁・発行日

no.2, pp.363-386, 2015-03-23

著者

軽部 恵子

出版者

桃山学院大学

雑誌

人間文化研究 (ISSN:21889031)

巻号頁・発行日

no.4, pp.323-326, 2016-02-26

著者

佐々木 英哲

出版者

桃山学院大学

雑誌

人間文化研究 (ISSN:21889031)

巻号頁・発行日

no.1, pp.29-81, 2014-11-28

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Melville acquired the knowledge of Gnosticism in 1849, when he bought Dictionnaire historique et critique [The Historical and Critical Dictionary] by Pierre Bayle. Gnosticismmay have helped Melville unlock the door to a realm beyond the wall or the realm hidden behind the mask, the hidden knowledge. According to Foucault, knowledge in the ages from enlightenment to (post-) modernism was not so much truth or untruth as control and possession, in short, hegemonic power. Melville's attraction to Gnosticism is unsurprising if we recall that he possessed and was possessed with knowledge, but dispossessed of power (unpopular in literary circles) and destitute as a consequence. Curiously, however, the author allowed Pierre to nearly become a member of the mysterious mock-commune presided over by Plinlimmon, the man who happens to have the same given name as the third century anti-Gnostic, Plotinus. This paper tries to clarify (1) what factor(s) impel(s) Pierre to accept Isabel's /Plinlimmon's (anti-)Gnostic influence, (2) the direction in which Pierre finally goes, and (3) the pessimistic message, or oracle if you like, that Melville tries to transmit through Pierre's abrupt suicide, the nullification of his progress towards possible liberation for himself and his half-sister. Pierre is snugly bathed in "the brilliant chandeliers of the mansion of Saddle Meadow" as an inheritor-to-be. Pierre unknowingly follows the mode a white male (is forced to) make[s], the mode that perpetually (de)stabilizes his subject position, with recourse to false reality/ identity perception and / or reality/ identity fabrication. Pierre is too embarrassed to stay calm after hearing Isabel recount her life story. He tries to regain his subject position by stealing and lying beneath the "Terror Stone" or the "Memnon Stone" of the Delphi Omphalos (the "navel," or center of the world, in Greek). From there, Pierre says to Isabel, "[T]ell me every thing and any thing. I desire to know all." His burning desire for knowledge about Isabel's identity has a great deal to do with Foucauldian power-compared knowledge. As the intimacy with Isabel deepens, Pierre loses his subjective authority and veers towards Isabel, the representation of Gnosticism. Isabel appears in the occult atmosphere and misuses esotericism/ Gnosticism as an alternative to orthodox Christianity, leaving Pierre with an impression of epiphany, and thus prompting him to lean toward Gnosticism. Under her influence, he debunks his deceased father's genteel middle-class image, dethroning him to the equivalent of Demiurge. Moreover, Pierre is a symbolic look-alike of Simon Magus, the founder of Gnostic heresy, in gleaning inspiration from a suspicious (licentious) woman, Isabel (as Simon does from Helen(a)/Sophia). Imitating the Gnostic and dethroning his Demiurgeous father, Pierre flagrantly compares himself to "the heavenbegotten Christ" and falls into the fallacy of becoming the Demiurge or anti- God. Pierre happens to read a lecture pamphlet allegedly written by Plinlimmon and relapses again into the Anglo-European-centric mentality. This retreat is incited by Plinlimmon, the mysterious man whose surname sounds like Memnon (recalling the Memnon Stone that lies, according the Greek, in the center of the earth) and who shares the same given name as the anti-Gnostic Plotinus. Thus, Plinlimmon, the blue-eyed anti-Gnostic, is a stark opposite to Isabel, the "dark, olive cheek[ed]" (46) pro-Gnostic. Seen from another angle, this implies that Pierre, the nineteen-year-old preparing for initiation into mature adult life, desperately needs knowledge and mock-Messiahs to prop him up. The opposite two, the pro-Gnostic Isabel and the anti-Gnostic Plinlimmon, merge in Pierre's psyche. This is not necessarily to say that Pierre retreats to his starting point. Pierre holds himself so as not to entirely commit himself to the community provided over by Plinlimmon, the mock-utopia of sorts with its potential to change into a radically violent group. Pierre breaks this apparent vicious circle by taking poison from the bosom of Isabel. Thus, it turns out that unlike Foucault, Pierre exposes the inefficiency of Western knowledge, and that unlike Derrida and Levinas, Pierre exposes his pessimistic view about the futility of seeking (a) Messiah(s) in other being(s). He finally realizes that he is heading for a postmodern nowhere where one cannot or should not expect epiphany of a Messiah. In Pierre, Melville warned of the futility of Messiah-seeking. Melville could textually allow Pierre to solve his Messiah problem, but the author could not solve his own Messiah problem, the problem attributed to his traumatic experience of being virtually deserted by Hawthorne, the object of his love and worship.

著者

島田 勝正

出版者

桃山学院大学

雑誌

人間文化研究 (ISSN:21889031)

巻号頁・発行日

no.2, pp.5-30, 2015-03-23

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In the process of learning a language, students naturallymake errors. The purpose of the present study is to examine the mechanism by which Japanese learners of English make errors, and how teachers of English should deal with the errors our students make in the classroom. First, we will look briefly at the language development of both young native speakers of English and classroom learners of English as a foreign language, with a special reference to errors they make in the process of learning. In the case of the latter, it should be noted that their errors mainly come from overgeneralization and negative transfer from their native language. We will then consider two approaches to the handling of learners'errors. In the Audio-lingual approach,errors are bad habits that should be corrected as soon as possible. The communicative approach, on the other hand, urges teachers totake a flexible attitude toward grammatical errors, especially local ones. Finally, we will examine Hendrickson's (1978) five crucial questions aboutcorrective feedback: (1) Should learners' errors be corrected ? (2) When should learners' errors be corrected ? (3) Which errors should be corrected ? (4) How should errors be corrected ?(5) Who should do the correcting ? Special attention will also be paid to implicit vs. explicit and input-providing vs. output-prompting ways of giving corrective feedback.

著者

梅山 秀幸

出版者

桃山学院大学

雑誌

人間文化研究 = Journal of Humanities Research,St.Andrew's University (ISSN:21889031)

巻号頁・発行日

no.7, pp.41-65, 2017-11-27

著者

王 竹

出版者

桃山学院大学

雑誌

人間文化研究 (ISSN:21889031)

巻号頁・発行日

no.3, pp.121-145, 2015-10-27

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In Chapter 21 of the Dream of the Red Chamber, after directly quoting the Quejia-pian section of Zhuangzi 荘子, Cao Xueqin 曹雪芹creates an unconventional scene by having the hero Jia Bao-yu 賈宝玉write a continuation of the section. Though less than 1000 words in length, the sequel keeps the original style of the Quejia-pian. It not only shows us how much the hero loves the Zhuangzi, but also the extent to which Zhuangzi pervades Jia Bao-yu's daily life. Analyzing the sequel section in the light of Jia Bao-yu's `three serious illnesses' in Chapter 21, we can clearly know what the hero thinks in his heart, and that all three `illnesses' come from his love for Zhuangzi. Moreover, reading Chapter 22, we find that Jia Bao-yu continues to write the sequel, a symbol of his long-lasting pursuit of the absolute freedom espoused by the Zhuangzi. By having his hero write a sequel to the Quejia-pian section, Cao Xueqin tells readers more effectively how much the hero longs for the perfect world of Zhuangzi, and how similar their two lifestyles are. This scene may be said to be the most important in the entire novel for understanding how Zhuangzi's ideals provide the basis for the hero's values, his way of thinking, and his world view (and, by extension, for those of Cao Xueqin himself).

著者

吉田 一穂

出版者

桃山学院大学

雑誌

人間文化研究 (ISSN:21889031)

巻号頁・発行日

no.4, pp.139-159, 2016-02-26

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When we consider the works of Charles Dickens (1812-70) from the viewpoint of gender, we can safely state that Dickens represents the collapse of the patriarchal myth but he does not represent the women who assert equal rights of men and women. In Dombey and Son (1848), Dombey's family has a system where the male head of the family has nearly absolute authority and the oldest male child falls heir to his father's property. The father's love and hopes are centered in Paul, Dombey neglects his daughter, Florence, and the estrangement is increased by the death of her brother. The representation of Florence's flight from her father takes the initiative in Dickens's later representations of feminism, but Florence's return is different from the return of Louisa Gradgrind in Hard Times (1854), because Florence asks her father to forgive her for her running away from home. In Hard Times, Gradgrind imposes his sense of values of materialism on Louisa, and she gets married to Bounderby to obey her father's will and support her brother. However, she cannot go against her nature and gets out of her life with Bounderby. In both Dombey and Son and Hard Times, Dickens represents the collapse of the patriarchal myth. It shows his affirmation of women's right, but the two works does not show that Dickens completely approves of women's advances into society. Bleak House gives a clue to it. In Bleak House, Mrs. Jellyby neglects her domestic responsibilities because of her mission in Africa. Her telescopic philanthropy causes her neglect of her family when her young son Peepy gets his head caught in the area railing. John Stuart Mill (1806_73) showed his opinion about Bleak House in the letter to Harriet Taylor : `Hard Times has the vulgar impudence to ridicule rights of women. It is done in the very vulgarest way-just the style in which vulgar men used to ridicule `learned ladies' as neglecting their children and household etc.' Mill's opinion admits of refutation, because it is likely that Dickens emphasizes the bad side of Mrs. Jellyby who neglects domestic responsibilities, in Bleak House which shows both the situation of Esther as an orphan and the lack of responsibility of Mrs. Dedlock. Dickens did not deny the right and the conspicuous activity of women. He also knew the usefulness of women who contributed to society. As the granddaughter of Thomas Coutts, founder of the London bank, Angela Burdett-Coutts (1814-1906) was one of the wealthiest woman in Victorian England. She was one of the busiest as well, not only helping to manage the bank, but also engaging herself very activity in an enormous range of philanthropic project. Urania Cottage, at which fallen women could acquire new skills, was set up with Dickens's assistance. Although Dickens knew the usefulness of women like Angela Burdett- Coutts, he represented the negative side of Mrs. Jellyby. His representation of Mrs. Jellyby might come from his own experience. Dickens had a bitter experience with his own mother : she was against the plan that he would be released from the blacking factory, and tried to keep him there. Dickens unconsciously reveals his conviction that maternal love is important in his works. In Bleak House, the absence of mother has a great influence on Esther's life and Esther feels a deep sense of isolation. Therefore Dickens might have used his past experience with his own mother.

著者

国松 夏紀

出版者

桃山学院大学

雑誌

人間文化研究 = Journal of humanities research, St. Andrew's University (ISSN:21889031)

巻号頁・発行日

no.4, pp.241-252, 2016-02