Download - M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

Transcript
Page 1: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

68

2015 27 10 24 25

1

840-8502 1

812-8581 6 19 1

TEL (092) 642-2393 FAX (092) 642-2393 E-mail: [email protected] HP: http://kyushu-elsj.sakura.ne.jp

Page 2: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

2015-16

2015-16

Page 3: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

840-8502 1 TEL 0952-28-8113

•! ���/,-0.2$(/,%� 15 � 4 �&)'!$( �/, " 4 �#�����1���3���)1�����4 "11 �#����1���� "12 �#����1���� "63 �#�����1���3���)1�����4 % ���!��

•! ���$(.*+2%� 10 � •! ����$(.*+2%� 20 �

2 http://kyushu-elsj.sakura.ne.jp/

Page 4: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

http://www.saga-u.ac.jp/gaiyo1/campusmap/index.html

208

1,000

Page 5: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

840-8502 1

Page 6: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121
Page 7: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

10 24

13

13 30 14 10

1 111 2 121 3 125

15 17 30 1 111 2 121 3 125

18 30 20 30 5,000 3,000

10 25

10 10 40 11 20 12 12 40 1 111 2 121 3 125 4 129

14 00 211 15 30 211

1 1 122 124

123 1 1

1 2

Page 8: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

68

2015 10 24 25

1 10 24

1 1

13 00

13 30 14 10

1 111 1. Under Western Eyes

2. The Collector

2 121 1.

2.

3 125 1. Adjunction LF

2. A Contrastive Study of Negative Polarity Items between Chinese and English The Case of renhe and any WANG JINDAN

Page 9: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

15 17 30

1 111

2 121

3 125

____________________________________________________________________________

18 30 20 30 CAFE SONESS 5,000 3,000

840-8502 1 TEL 0952-40-2911 → 1

_____________________________________________________________________________

2 10 25 9 20 1

10 10 40 11 20 12 12 40

1 111

1.

2.

3.

4.

Page 10: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

5. Records of Early English Drama

2 121

1. The Haunted Man

2.

3. Wild Irish and Gentle English Stereotypical Imagery in Grace Stebbing’s “Wild Kathleen, or Both Sides

of the Channel” Nikolay Gyulemetov

4. 18

5.

3 125 1.

2. Tim O’Brien If I Die in a Combat Zone The Things They Carried

3.

4. Karen Tei Yamashita

5.

4 129

1.

2. There

Page 11: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

3. ―

4.

5.

14 00 211

15 30 211

Page 12: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

1 10 24

-------------------------------------------------------------

1 111

1.

Under Western Eyes

19 20

Joseph Conrad1857-1924 Under Western Eyes 1911 20

Under Western Eyes Razumov Conrad

2.

The Collector

John Fowles The Collector

Jean Baudrillard

Miranda Clegg

Clegg

Page 13: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

2 121

1.

196050

1965

1988/

20

1960

/

2.

1986

Page 14: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

3 125

1. Adjunction LF

― scopeRaising (Kayne

(1994)) Orphanage (Cinque (2008)) Adjunction (Del Gobbo (2003, 2007))

DP LFCP

Del Gobbo LFillocutionary

force/clause type 2. A Contrastive Study of Negative Polarity Items between Chinese and

English: The Case of renhe and any WANG JINDAN

This study is a tentative research to characterize the syntactic properties of negative polarity items through the observation of the phenomena in Chinese and English, paying attention to the contrast between renhe and any. (1) a. I have*(n't) got any medicine. b. wo *(bu) renshi renhe ren.

I not know any person “I don’t know anybody” (2) a. *Any student did not come to school. b. * renhe xuesheng meiyou wenti.

any student not have questions “No students have questions.”

(3) a. Did you eat anything? b. ni chi *renhe/shenme dongxi le ma?

you eat any/what thing ASP Qu? “Did you eat anything?” There are both similarities and differences between the NPIs in Chinese and English. Although both require negative expressions with a specific syntactic relation as in (1) and (2), renhe cannot be used in questions unlike any, as in (3). In place of renhe, an indefinite wh-phrase shenme is widely. In this study I want to explicate the distribution of renhe and identify its NPI status in light of the minimalist theory. Based on this syntactic study, I want to see whether Chinese has the same structure as English in negative sentences.

Page 15: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

---------------------------------------------------------

1 111

2016

(1595)

15

(1599)

15

Page 16: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

1790 1820

20

20 “John Bull”

“John Bull” 20

Page 17: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

2 121

1960

50

1950 Saul Bellow

“I am an American” Augie March

WASP Henderson the Rain King (1959)

100

1960 1950

Page 18: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

Javier Moscosotheatrical ―

Hans-Thies Lehmann

Tennessee

Williams Rajiv Joseph Sarah KaneVito Acconci Ron Athey

Ellen Bryson The Transformation of Bartholomew Fortuno Steven Millhauser “The Barnum Museum” Mark Z. Danielewski

House of LeavesEvelyne Ender

Page 19: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

3 125

Chomsky (1995)

(phase) (Chomsky (2000, 2001, 2008))

(extraposition)

(labeling algorithm) (Chomsky (2013, 2014))(gerund)

(fragment) (free indirect speech/represented speech)

(1) (direct speech)(indirect speech) (free indirect speech/represented speech)

(1) a. The small boy could not understand. He thought, “What is work? Why is my brother

working? What delight comes to a man from working?” (direct speech) b. The small boy could not understand. He asked himself what work was, why his

brother was working and what delight came to a man from working. (indirect speech) c. The small boy could not understand. What was work? Why was his brother working?

What delight came to a man from working? (free indirect speech)

Crnič and Trinh (2009)

Page 20: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

(root sentences)(Hiroe (2013, 2014))

2

(1) (1)! I saw a boy yesterday that I didn’t know.

(2)! I saw [DP a boy tCP ] yesterday [CP that I didn’t know].

― ―

(3)! I saw [DP a boy] yesterday [CP that I didn’t know].

(2)

― Internal Merge External Merge

― ―

Chomsky (2013, 2014) Internal Merge External Merge

Merge Merge over MoveMerge

transfer (interpretation) phase(evaluate) Chomsky ― phase

Page 21: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

Minimalist

GB Abney

(1987) Phase Pires (2006)Phase

― CP ―

Minimalist

(Sentence Fragment)

Page 22: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

2 10 25

------------------------------------------------------------- 1 111

1. 2.

1812

3.

‘authority’

3 65 1

Page 23: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

4.

(1564 - 1593) (1592)

Vice Devil

5. Records of Early English Drama

REED Records of Early English Drama 16 17

197923 REED

1583

REED

Page 24: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

2 121

1. The Haunted Man

Charles Dickens The Haunted Man― Dickens 19

Redlaw Milly2 influence

2. ――

(Thomas Hardy) (Far from the Madding Crowd, 1874)

Page 25: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

3. Wild Irish and Gentle English Stereotypical Imagery in Grace Stebbing’s “Wild Kathleen, or Both Sides of the Channel”

Nikolay Gyulemetov

“Wild Kathleen, or Both Sides of the Channel” (published serially in 1881) is a short novel by Grace Stebbing about three young girls in late Victorian England. Throughout the story Kathleen is depicted as a rebel, refusing to conform to the rigid image of a Victorian lady, challenging the rules and getting herself and her friends in trouble. The depiction and development of the characters shows a variety of stereotypical imagery (social, gender, moral and ethnic) about what young girls are and can aspire to be. The purpose of this presentation is to discuss the role and influence of this imagery as part of Stebbing's work as well as its position in the Victorian educational system for young girls.

4. 18 ――

18Max Novak ‘Age of

Disguise’18

19―

5.

3 125 1.

Page 26: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

2. Tim O’Brien If I Die in a Combat Zone The Things They Carried

Tim O’Brien If I Die in a Combat Zone 20The Things They Carried 2

O’Brien

Tim O’Brien If I Die in a Combat Zone The Things They Carried

3.

(CE IV 8) (CE IV 14)

(CE XIV 173)

1857

(Nondescript)

4. Karen Tei Yamashita

Page 27: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

Karen Tei Yamashita

YamashitaYamashita

Yamashita

5.

4 129 1.

2. There

There 2 (Milsark (1974))

(1)

a. There is a man in the room. b. There exists a man in the park.

(2) There (Rochemont & Culicover (1990)) a. There walked into the bed room a unicorn. b. There crossed her mind a most horrible thought.

bethere (1)

Nakajima (1996) Nishihara (1999)

there

there Rizzi (1997)CP vP (Maeda

(2008))

Page 28: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

3. ―

Chomsky (2013, 2014) ―

TP CP

Chomsky (2014) TP CT ―

Wh C φ ― Q ―T wh TP

wh whwh

4.

(1976) (1981) Hinds (1986) (2004, 2009) (2005) (2005)(2014)

natural pathnatural path cf. Langacker (1991)

5.

Page 29: M m q E Æ µ < ô ( X xÆkyushu-elsj.sakura.ne.jp/68thprogram.pdf5. i q ^ À Ã G @Records of Early English Drama AS ®G Ö Z7'5< ö x h Ï ^ Ü Ï @ á ù A µ x B * y æ V (2 @121

211

The Great Gatsby Great Expectations “An

Occurrence at Owl Creek Bridge” 19741946 1962

26YouTube

1956 1984 Dickens in Japan: Bicentenary Essays (

) 20

Thomas Hardy, The Hand of Ethelberta (Everyman Paperback) Wilkie Collins, Miss or Mrs?, The Haunted Hotel, The Guilty River (Oxford World’s Classics) Norman PageMary Elizabeth Braddon, John Marchmont’s Legacy (Oxford World’s Classics) Norman Page

G. K. Chesterton, Charles Dickens (Wordsworth Editions) Oxford Reader’s Companion to Hardy (Oxford UP) Charles Dickens in Context (Cambridge UP)