令和 5 年度

福岡女子大学大学院人文社会科学研究科言語文化専攻博士前期課程 英語圏言語文化コース[春季日程] 一般選抜筆記試験問題
１０：００ ～ １２：００(120 分)注意事項
１

問題はⅠ．共通問題 （１）事項説明（２）英作文、Ⅱ．専門問題があります。

２

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I.

共通問題

（１）事項説明
次の中から７項目を選び、３～４行程度の日本語で説明しなさい。

③ Geoffrey Chaucer ④ Flannery O'Connor⑥ dissimilation⑦ Historicism⑧ Truman Capote⑨ unreliable⑩ Arts and Crafts Movement⑪ showing and telling⑫ Local Color① dative infinitive⑤ Hamletnarrator⑬ grammatical gender⑰ subjunctive mood② Romanticism⑭ Mark Twain⑱ Japonism⑮ Neoclassicism⑲ palatalization⑯ the Trail of Tears⑳ Charlotte Brontë

（２）英作文
以下の文を英語に訳しなさい。
秋になると日本の山野には赤く色づいた果実をつけた灌木がたくさんみられる。これらの果実は、実は昆虫でなく、おもに小鳥類と関係をもち、小鳥が種子散布の機能を果たすよ※この問題は、著作権の関係により掲載できません。
う進化してきたものである。これらの果実の共通点は、小鳥が食べるに適した大きさ、甘い果肉、硬い種子が入っていることなどで、未熟のときは緑色で目だたないが、成熟すると赤くなる。未熟のときは果実は硬く、渋味があったりするが、成熟すると甘くなり、香りをだしたりする。これは言うまでもなく、小鳥に食べてもらうためである。
中尾佐助『花と木の文化史』（岩波書店, 1986）pp. 5-6.

II.

専門問題

この問題は、出願時に希望した専門分野のみを選択して解答しなさい。
アメリカ文学
次の資料を読み、設問に日本語で答えなさい。
African American novels, here defined as novels written by African Americans, areoften distinct from—whileremaining a significant part of—the broader tradition※この問題は、著作権の関係により掲載できません。
of American novels. Given (a)the history of slavery, Jim Crow segregation, the Civil
Rights Movement, and persistent systemic racial inequity in the United States,
African American writers have had particularly fertile ground for crafting novels2

of social and political critique. With 18th-century philosophers such as ImmanuelKant, David Hume, and Thomas Jefferson arguing that people of African descent
did not have the intellectual capacity to create art or literature, the stakes for
producing literature were high for the first African American novelists writing in
the 19th century. At a basic level, that early African American literature by its very
existence claimed a place for African Americans in the human family. Many
African American writers further chose, and continue to choose, racial oppression
or racial identity as their subject matter and use their novels not only to expose
the cruelties and inconsistencies of the U.S. racial system, but also to present
African American characters who are at the very least the social, intellectual,economic, or moral equals of their fictional white counterparts. Twentieth-century
African American novels often engage *intraracial (rather than interracial)
identity, black pride and black power, and a transcontinental connection withpeople of the African diaspora. Not all African American novels, however, centeron race. Indeed, African American novels range over a wide spectrum of genres,from science fiction to satire to romance, and engage a *plethora of topics
restricted only by the limits of the human imagination. Arguably, then, (b) theAfrican American novel does not exist, for African American novels are as varied
as the authors themselves.
※この問題は、著作権の関係により掲載できません。
...
The racial unrest and social protest of the 1940s and 1950s matured in the
Civil Rights Movement of the following decades. Although African Americans werecertainly writing novels during the 1960s, the decade witnessed a stronger waveof black autobiography, essays, and poetry that focused directly on issues of black
power, racism, equality, and the failings of democracy. The 1970s, in comparison,birthed novels that not only critiqued the inequity of the American social structure
and continued to expose the high psychological and physical costs of racism, butthat also reclaimed and rewrote African American history in powerful ways.
Margaret Walker's Jubilee (1966), an intergenerational account of African
American women, ushered in other narrative explorations of history, including
Ernest J. Gaines’s The Autobiography of Miss Jane Pittman (1971), Gayl Jones’sCorregidora (1975), and Alex Haley's Roots (1976). These texts *harken back to theslave narratives of the mid-19th century as they situate contemporary social
conditions as developing from America’s distinct racial history. This narrative
reclamation and exploration of history has continued through the last two decadesof the 20th century and includes novels such as Sherley Anne Williams's Dessa
Rose (1986), a tale of African Americans who went West to escape slavery andSouthern persecution; Toni Morrison’s Beloved (1988), the fictionalized account of3the escaped slave Margaret Garner who killed her child; Lalita Tademy’s CaneRiver (2001), an intergenerational account of one family’s women; and Alice
Randall's The Wind Done Gone (2001), a parody of Margaret Mitchell’ best seller
Gone With the Wind (1936). Evincing the U.S. public’ interest in its racial past,
many of these fictionalized histories have been made into major motion pictures
and television series. The novelists of these decades, however, were not allconcerned with exploring or reframing the past. Many were interested inrepresenting a present *replete with new forms of racism, violence, and identity
crises. Thus rose “gangsta” literature and authors such as Iceberg Slim and Donald
Goines, whose novels focus on the lives of young, black, inner-city youths raised ina world of violence. Goines, who wrote his first two novels in jail, was shot to deathin 1974.
...
※この問題は、著作権の関係により掲載できません。
Regardless of era, genre, style, subject, or intended audience, taken together
African American novels reflect the *trope of the “talking book,” a trope thatconnects the written text to the complex oral and musical traditions that circulate
in African American culture. Writers, from Harriet Jacobs to Langston Hughes toZora Neale Hurston to Ishmael Reed to Alice Walker to Sister Souljah, incorporate
not only in their dialogue but in the very structure of their novels the rhythms,
sounds, values, and traditions of African American storytelling. Furthermore, asHenry Louis Gates Jr. has suggested, African American books “talk” to each other.
That is, the stories, themes, and characters in African American fiction carryforward with them what has come before in African American culture and combine
it with ever developing styles, structures, and stories. Contemporary authors
continue to revise and retell in new settings stories of triumph, defeat, despair, andsurviving humanity in the face of continued racism and social inequity, and thus
African American novels not only talk to each other, but also talk to contemporary
readers of all races, ethnicities, and nationalities.
Julie Cary Nerad, "African American Novels," Ethnic American Literature.
註 definitions
intra-: on the inside; withina plethora of: a large or excessive amount ofharken back: mention or remember sth from the past
replete with: filled or well-supplied with sth
trope: a figurative or metaphorical use of a word or expression

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【設問】
問１ 下線部(a) について、これらを題材にした作品の例をアメリカ文学の領域からひとつ選んで、その作品の概要を説明しなさい。本文で言及されていない作品でもよい。
問２ 下線部(b)が意味していることを、例を用いながら説明しなさい。ただし、"the"がイタリックスで表記されている理由を含めること。
問３ 1960 年代と 1970 年代におけるアフリカ系アメリカ小説の特徴とはそれぞれどのようなものか。著者の説明に基づいて述べなさい。
問４ 20 世紀最後の 20 年間に発表されたアフリカ系アメリカ小説が示している二つの傾向とは何か。著者の説明に基づいて述べなさい。
問５ 最後の段落から一部分を引用し、その内容を説明したうえで自分なりに論じなさい。

文化研究
次の英文を読んで、設問に答えなさい。
As noted above, there have been a number of suggestions of variations from themodel, Baum (1998 suggesting an ‘exit’ stage; and in particular, Agarwal (1994;1997; 1999; 2002) who has argued powerfully for the examination of restructuring
as a factor in the development of the cycle and possible adjustment of stages in thepost-stagnation* period. The need for or justification of additional stages in thecycle could be explored in much more detail than has been done to date (...). Gale(2007: 29) has noted that a problem with uni-linear models is that they do not※この問題は、著作権の関係により掲載できません。
address structural changes such as economic restructuring and (a)cultural changes
in societies which clearly influence resort relevance in the postmodern world (...).
Also in the spirit of moving from “what” to “why”, it is of critical importance toidentify triggers which affect the transition process from one stage of development
to another.(...) Important questions include whether there is a consistent set oftriggers that operate throughout a destination’s cycle, or if different triggers are
more influential at different stages; whether specific triggers only affect5

destinations of particular types or in specific locations; and whether such triggers
can be controlled and managed or only dealt with in a reactive manner. (...) Clearlydestinations are not passive phenomena, and those individuals, businesses andorganisations managing, planning and controlling destinations need not react
passively to influences, either external or internal. They can, and perhaps should
be more pro-active in determining stage shifting in a destination, (b)as called for in
the original model (Bramwell and Lane 2000). (...)
The vulnerability of destinations to both internal and (c)external “shocks” is an area
also warranting more detailed examination. Endogenous* influences often reflect
local politics and viewpoints (Martin 2006), an issue that has received attention
from tourism researchers for several decades, Doxey (1975) being one of theearliest studying the changing attitudes of local residents in destinations, and thisarea has been the focus of many other researchers since (...). Exogenous influences(such as the introduction of low cost airlines noted above), however, have been
investigated less, and yet they have the potential to create massive impacts upon
destinations. (...) Russell and Faulkner (1999) brought some of the issues raised
above together in their examination of individuals (chaos-makers) involved in
tourism development and their role in the changing fortunes of destinations. (d)The
key importance of individuals in changing the face of tourism in general has been
※この問題は、著作権の関係により掲載できません。
explored only briefly, and is a topic that needs further examination, both in thecontext of tourism broadly (Butler and Russell 2010) and specifically at thedestination level, where single individuals can be both initiators of development(Butler and McDonnell 2010) and agents causing a destination to move from one
stage to another (Butler and Russell op cit).
One other area which has not been investigated to any degree is that of multiple
cycles at work in a destination. This author has suggested previously (Butler 2009)that it is highly likely that many destinations are not on one single curve or cycle
but rather are experiencing a series of cycles at different stages of development. It
is likely that some of these will be in their early stages, some at their peak and stillothers in decline. The TALC curve for a destination, therefore, may represent
represents the overall aggregated pattern of development based on these multiplecycles. Different market segments will be at different stages in a destination at
any point in time, some markets will be growing and some declining. The same canbe said of the products or attractions (facilities, activity opportunities) that a
destination is offering.
Butler, R.W. (2011) Tourism Area Life Cycle in: Contemporary Tourism Review
p.14-156

註endogenous: (adjective) produced, originating or growing from within.
stagnation: (noun) inactivity【設問】
著者がバトラーの 1980 年代の Tourist-Area-Life-Cycle (TALC)-Model (Involvement– Exploration - Development – Consolidation – Stagnation – Rejuvenation orDecline)に対する改善案・注意点を考察している。
問１ 考察された改善案・注意点を日本語でまとめなさい。
問２ 下線部⒜ (c)について、具体例を２つ日本語で書きなさい。
問３ 下線部⒝ (d)を日本語で説明しなさい。
問４ 著者の考察に対する自分の所感を書きなさい。

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