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Amele is a Trans-New Guinean languagespoken in Madang Province, Papua New Guinea.Amele has a strict subject–object–verbword order and rich verbal and nominal morphology.Roberts (1987) has already describedthe grammar of Amele based on the Haia dialect.His description is exhaustive, but thealternations of intransitive or transitive verbshave not been explained adequately, and thereis room for further examination. Moreover, hisresearch was conducted in the 1980s, and it ispossible that Amele has undergone changes inits grammatical properties from then on. Theauthor of this paper visited an Amele-speakingarea in 2006, and then started describing itsgrammar based on the Huar dialect. The authorhad already found several differencesbetween the Haia and Huar dialects in phonology,morphology and usages of discourse.This study examined verbal transitivity (i.e.,alternations of intransitive and transitive verbs)in Amele based on interviews and questionnairesto speakers of the Huar dialect. During2012–2013, this research was conducted by usinga questionnaire of 18 verbs from Nichols etal.’s (2004) list. They claimed that the sampleof 18 verbs can be classified as transitivizing, intransitivizing,neutral, and indeterminate types.For example, English “laugh” shows the transitivityalternation, i.e., intransitive “laugh” andtransitive (causative) “make laugh.” In this case,the verb “laugh” is transitivizing. Another verbpair, “die” and “kill,” are in lexical alternation,and they are realized in verb alternation by suppletion.Such suppletion is classified as anindeterminate type. This study examines Nicholset al.’s (2004) verb list in Amele, resulting inthe discovery of semantic orientations of verbalternations in Amele.First, Amele has many indeterminate-typeverbs, and some verbs such as “die” and “kill”have lexical alternations, and other verbs areambitransitive, formally identical in both intransitiveand transitive forms. Second, Ameledoes not have an intransitivizing type, as far asthe sample 18 verbs are concerned.Finally, this study claims that Amele does notappear to have an intransitivizing orientation,and the relations between intransitive and transitiveare realized using causative verb(s),identical (ambitransitive) forms, or lexical suppletion.Conversely, this study found that thereis a partial lack or omission of verbal inflections,particularly tense forms, person, andnumber, due to the oral investigation and spokendiscourse.

2023-02-28 15:27:29
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http://hdl.handle.net/10441/13842

1 0 0 0 OA 鷹・鷹献上と奥羽大名小論

著者: 長谷川成一
出版者: 本荘市史編さん室
雑誌: 本荘市史研究 (ISSN:02855674)
巻号頁・発行日: no.1, pp.27-44, 1981-07-31

2023-02-28 14:17:00
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http://hdl.handle.net/10129/1977

1 0 0 0 OA 薬物犯罪者の責任能力―東京高裁平成20年3月10日判決を素材として―

著者: 緒方あゆみ
出版者: 明治学院大学法学会
雑誌: 明治学院大学法学研究 = Meiji Gakuin law journal (ISSN:13494074)
巻号頁・発行日: vol.88, pp.165-182, 2010-01-31

【論説/Article】

2023-02-28 13:32:24
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http://hdl.handle.net/10723/1806

1 0 0 0 OA 司命神像の展開

著者: 稻畑耕一郎
出版者: 早稻田大學中國文學會
雑誌: 中國文學研究 (ISSN:03850919)
巻号頁・発行日: vol.5, pp.1-17, 1979-12-01

2023-02-28 11:42:07
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http://hdl.handle.net/2065/35156

1 0 0 0 OA 鉢植えと子どもたち : 映画『誰も知らない』分析を通して

著者: 猪俣佳瑞美
出版者: 法政大学大学院国際日本学インスティテュート専攻委員会
雑誌: 国際日本学論叢 = Journal of international Japanese-studies = 国際日本学論叢 = Journal of international Japanese-studies (ISSN:13491954)
巻号頁・発行日: vol.12, pp.60 (21)-51 (30), 2015-02-27

Analysis of the use of potted plants in different forms of media has shown that potted plants tend to appear in movies featuring children. One of these is the Japanese film Nobody Knows (Daremo Shiranai, 2004), written and directed by Koreeda Hirokazu. In the film, weeds growing in Styrofoam instant noodle containers are taken care of by abandoned children. This analysis of the use of potted plants in Nobody Knows explores the implicational meanings that potted plants connote and the reason why children and potted plants have often been featured together in certain films. Six symbolic meanings emerge around potted plants. First, the weeds represent the children's status of being "abandoned." Second, the seeds represent the children themselves. As weeds disperse seeds and find new places to grow, the children become free by breaking their mother's rules. Third, the shoots of the weeds represent the children's vitality and resilience. Without any kind of lifeline, the children desperately try to survive. Moreover, Styrofoam containers being used as flowerpots represent the fragile nature of the children's lives. As instant noodle containers are made of polystyrene, they are brittle and easily damaged or broken compared with conventional pottery or earthenware flowerpots. Likewise, the children living by themselves, without parental guidance or supervision, are socially weak. In addition, an important point to note is that pots as containers can be considered female symbols because of their similarity to a womb. Flowerpots offer an environment in which things can grow and live, as the womb of a mother does for her fetus. Finally, caring for plants is a metaphor for personal healing: the four siblings in the film have been abandoned by their mother and must live without parental guidance or supervision? especially the younger two, aged three and five. They are not only absorbed in taking care of their weeds; in doing so, they are also demonstrating how they would like to be treated by their mother.