著者
緑川 伝作
出版者
横浜国立大学
雑誌
横浜国立大学人文紀要. 第二類, 語学・文学 (ISSN:0513563X)
巻号頁・発行日
vol.8, pp.15-32, 1962-03-30

The title may seem somewhat ambiguous, but it really means Coordinate Conjunction 'But' weak in its function of introducing 'a statement of the nature of an exception, objection, limitation, or contrast to what has gone before'. The 'But' treated in this thesis is that which, in its function, has virtually lost its proper sense. Upon [A] and [B], except Matzner and Poutsma, most grammarians seem not to have touched. Moreover middle-grade dictionaries such as C.O.D., U.E.D., etc. have no mention of them. For the completion of this thesis I am greatly indebted to O.E.D., W.N.I.D. and Matzner. The examples cited in this thesis, except those which have such indications as O.E.D., W.N.I.D., Matzner, or cf. N.B., are all collected by me. They are mostly rather long, because I should like to make clear the context in which the word in question is used. Most English-Japanese dictionaries have taken up [A], though their explanations are not satisfactory. But we could hardly find any English-Japanese dictionary which has touched upon [B]. In view of the fact, I have devoted much more space to [B] than to [A] and treated [B] elaborately, giving as many and various examples as I can. The following is the outline of the present thesis: [A] 'But' after an interjection or exclamation: (a) Expressing some degree of the feeling of opposition, objection, protest, etc., that is, some degree of adversative feeling. (b) Expressing mere surprise. (c) Expressing mere recognition of something unexpected. [B] 'But' merely expressing disconnexion, or emphasizing the introduction of a distinct or independent fact: (a) Merely expressing disconnexion. (b) Merely emphasizing the introduction of a distinct or independent fact, (as the minor premiss of a syllogism), in short, marking a transition of thought.
著者
小栗 敬三
出版者
横浜国立大学
雑誌
横浜国立大学人文紀要. 第二類, 語学・文学 (ISSN:0513563X)
巻号頁・発行日
vol.12, pp.1-16, 1965-11-30

Japanese students of English, like most foreigners, are apt to use the strong form, when the weak form is required, in their pronunciation of English. They tend to pronounce the second syllables of purchase, village like chase, age and put the same vowel quality to the vowel "o" of confide, confidence; politics, political; come, welcome. Hardly any distinction is made between the vowel "u" of suppose and that of supper. In pronouncing I.P.A. [ə], we should be on our guard against the use of such vowels as [a], [ɑ] in place of murmuring obscure vowels. The strong [i] vowel is to be used in the first (not in the second) syllables of city, busy, women, pretty, etc. We have to learn that the weak form [əm] (and contracted form [m]) is usual in a sentence like I am [I'm] tired, whereas the strong form is always used in I really am tired. The same is true of is in Who is coming?-He is. It is well known that the pronunciation of British English has, on the whole, greater varieties of weak forms than the American pronunciation, in which the secondary stress is of greater significance. In this paper I have tried to point out, with many examples of words and sentences, the importance of learning and using the weak form, which plays a far more important role in the pronunciation of English than in other European languages and in Japanese.
著者
水落 一朗
出版者
横浜国立大学
雑誌
横浜国立大学人文紀要. 第二類, 語学・文学 (ISSN:0513563X)
巻号頁・発行日
vol.21, pp.32-39, 1974-10-05

In the previous play, Richard II, Henry of Bolingbroke plays the role of a heroical usurper of the throne as a true representative and inheritor of the royal blood of Edward III, a hero-king. He slays the deposed king in a ritualistic manner in the up-side-down situation. In the following play, Henry IV, the situation has reversed itself and he now must confront the same fate as Richard. Harry Percy appears on the stage as a possible candidate who will assume the role of an anarchic, but heroical usurper. At this critical moment Harry Plantagenet performs a miraculous transformation by slaying his opponent Percy. Although this story seems, superficially, to be another well-made version of popular legends of Prince Hal, Shakespeare manages not to repeat a miracle story, but adds new elements which enables him to reorganise the ritualistic rebirth of a hero-king.