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Selecting the English Translation of Modern Japanese Literature in an EFL
Reading Course: Yukio Mishima’s Short Story, “Swaddling Clothes”

Cheena Fujioka
University of Marketing and Distribution Sciences

Abstract
This article describes the use of modern Japanese literature, translated into English and tasks
which were developed for teaching a university level EFL reading course in Japan. Rather
than Western literature which is normally used to teach literature, the translated version of amodern Japanese literature was intentionally chosen for the linguistic and psychologicalbenefits for the students. For this purpose, Yukio Mishima’s short story, “Swaddling Clothes”(Mishima, 1966), was utilized. In addition, his personal interview article in English was used
to assist the learners’ comprehension of the story and the issues described in the story and tofurther develop their critical thinking skills. A comprehensive class survey conducted at theend of the year provided positive support for this method of using literature as well asJapanese literature for motivating students, enhancing critical thinking skills and culturalawareness among the students.

Keywords: Japanese literature, critical thinking skills, symbolism, cultural awarenessIntroduction
Selecting teaching materials to motivate students has been an issue in university EFL
classrooms. Although teaching practical and communicative English including strategy
courses for the TOEIC exams seems to be stressed at most Japanese university settings, it issignificant for educators to keep searching for motivational teaching mediums so that L2
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learners can enhance their critical thinking skills as well in this globalizing world. As Hardley(1993) has pointed out, compared to learning portions of language separately by extensive
memorization and drilling, language learning in meaningful contexts would appeal more toboth students and educators. Therefore, using literature may offer something invaluable totheir EFL classrooms since literature can provide meaningful materials for such purposes.
Rather than classical Western literature that has been traditionally used, using modern
Japanese literature might be an eye-opener to them. For the last few years, even NHK(Japan’s public broadcaster) has provided listeners with radio programs for learning English,
using a popular Japanese novelist’s short stories entitled, Read Haruki Murakami’s Literary
Works in English (Murakami Haruki wo eigo de yomu) (Ozawa, Wako, & Emmerich, 2015),
for instance. Haruki Murakami has been both domestically and internationally one of the mostrecognized Japanese writers. This has resulted in the media’s reporting him to be a candidate
for the Nobel Prize in Literature in recent years. However, prior to Murakami, Yukio Mishima
has been one of the postwar Japanese writers most widely read, worldwide since the 1960s.
As “Japanese literature in the world” (sekai no nakano nihon bungaku) subtitled the text of
the NHK radio program mentioned above, it might be refreshing and stimulating for Japanese
university students to read such internationally recognized Japanese literature in English froma global point of view. Hence, in this paper, content-based literature instruction using
Mishima’s short story, “Swaddling Clothes” (Mishima, 1966), is examined as an effective
teaching medium, hoping to raise L2 learners’ overall English proficiency, critical thinking
skills, and cultural awareness in a university EFL classroom.

Literature Review
Benefits of Using Modern Japanese Literature and a Short Story
Traditionally in Japan, English had mostly been taught with Western classical ormodern literature at the university level. However, according to McKay (1982), the use of87
87Selecting the English Translation of Modern Japanese Literature in an EFL Reading Course: Yukio Mishima’s
Short Story, “Swaddling Clothes”

Western literary texts can be challenging for L2 learners since an unfamiliar cultural
perspective is often reflected in them. Moreover, Su (2010), in her study of teaching English
with Western literature in Taiwan, argues that using Western literature or any kind of literature
in English could cause “anxiety and frustration to a majority of EFL students” (p. 4). She also
claims that this is due to “linguistic intricacies of the target language, especially lexical andsemantic barriers, unfamiliarity with or remoteness of the cultural background” (Lazar;
Taglieber, Johnson & Yarbrough as cited in Su, 2010, p. 3).
It is precisely for this reason that Mishima’s short story, modern Japanese literature in
English translation was chosen to teach in a university EFL reading class. As Mckay (1982)
points out, “a reader’s familiarity with the cultural assumptions in it” (p. 535) determines theinteraction with a literary text. The use of modern Japanese literature can engage Japanese L2
learners in reading literary texts within a familiar cultural context that may encourage theirEnglish language learning in a more positive way. It becomes easier to identify withcharacters and plot development within the framework of one’s own culture. Througheliminating the barrier of cultural differences, meanings of the vocabulary may be more easily
contextually surmised. As a result, levels of anxiety and frustration when reading literary texts
in English may be significantly reduced and, therefore, grasping meaning may be enhanced.
Further evidence in support of this approach to language acquisition is based on a study
done by Steffensen et al. (as cited in Taglieber, Johnson & Yarbrough, 1988). According totheir study, the advantage of using reading materials from the students’ culture was
exemplified. That is, when college students from India and the U. S. read a passage about
their own culture, their reading speed and abilities to recall information improved, compared
to when they read information about a foreign culture.
It has been confirmed by the author’s teaching experience described in an earlier report(Fujioka, 2007) that Japanese EFL students who might feel reluctant to read Western literature
become more motivated to read literary texts in English translation from their own culture.
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Thus, modern Japanese literature in English translation can become a very effective medium
for them.
Regarding the benefits of using short stories, Kasper (2000) suggests that short stories
can supply a superior ground for introducing content-based themes and academic materials
themselves into lower level ESL classrooms. She claims that they are even beneficial for
beginning L2 learners because good, authentic short stories for native English speakers
capture the reader’s interest.

Why Use Mishima?
Among modern Japanese literature, Mishima’s short story was selected because he is
one of the few Japanese literary figures whose literary works have been both domestically andinternationally widely read. He has contributed to the spread of postwar Japanese literature
overseas with his distinctive works such as Confessions of a Mask (Mishima, 1958) and The
Temple of the Golden Pavilion (Mishima, 1959). His short story, “Swaddling Clothes,” hasbeen included in literature anthologies including Short Shorts: An Anthology of the Shortest
Stories (Howe & Howe, 1982) and The Riverside Anthology of Literature (Hunt, 1991). Theseanthologies are used as part of world literature English curricula at North American
universities. To illustrate Mishima’s recognition, he has often been the only Asian writerselected for inclusion in many short story anthologies along with other famous writers such as
Ernest Hemingway, Guy de Maupassant, and Leo Tolstoy. Interestingly, Donald Keen (2003),
the eminent scholar of Japanese literature, includes Yukio Mishima among the mostsuccessful postwar writers, stating he is “probably the most famous Japanese who ever lived”(p. 45) outside Japan. He states that this is not only due to his committing suicide in the
traditional style of “seppuku” in 1970, but even before his death, he was already chosen as
one of the “one hundred leading figures of the world” (p. 45) by Esquire magazine. His
nomination for the Nobel Prize in Literature three times (Liukkonen, 2008) attests to his8989Selecting the English Translation of Modern Japanese Literature in an EFL Reading Course: Yukio Mishima’s
Short Story, “Swaddling Clothes”

international renown. Despite his popularity and recognition as a writer, he ended his own life
in a shocking way, wishing to restore Japanese traditional spirit. Therefore, it would be
inspiring for Japanese university students to read a selected work in English by Mishima,
whose stories reflect their own culture, to experience why he has been well-known
among readers worldwide, and to reconsider their traditional culture in this fast globalizing
world.

Theme and Symbolism of “Swaddling Clothes”
In Mishima’s short story, “Swaddling Clothes” (Mishima, 1966), he describes thecultural clash between Japanese traditional values that were disappearing under Westernmodernization in postwar Japan and those that were taking place instead at that time. Heshows this cultural clash through “the incident” of the illegitimate baby wrapped inbloodstained newspapers that happened to one young married couple living in Tokyo, where
Western modernization was more intense than any other place in Japan. That is, the main
character, Toshiko is portrayed as someone who represents traditional Japanese values: she issensitive, sympathetic, and reserved in expressing herself. She feels extremely sorry for thebaby and his future, and becomes paranoid imagining what could happen to him and her own
child. In contrast, her husband is described as flamboyant, liberated, and materialistic,
representing Western modernization in postwar Japan. He talks jokingly about “the incident”
of the baby wrapped in bloodstained newspapers to his friends at a bar and does not seem tosympathize with the baby at all. As the character who represents the influence of Westernmodernization the most, Toshiko’s husband is inevitably portrayed negatively in this story(Cengage, n.d.). Through these two opposite characters, “the struggle of traditional Japanese
morals and ethics sustaining itself under the powerful influence of Western modernization” isdescribed (Cengage, n.d., p.1). Obviously, they show completely different attitudes to “theincident,” which brings tragedy to Toshiko in the end. By contrasting the behaviors between
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the husband and wife, the readers come to understand Mishima’s judgement that Westernvalues may be having a damaging effect on Japanese traditional norms. Through ending thestory ambiguously describing what happens to Toshiko who symbolizes Japanese traditional
values (for instance, she might be raped by the young homeless man or be killed; or she mightsurvive the attack), Mishima asks the readers to see the merits and demerits of “change andmodernization in a rapidly globalizing world and imagine what the fate of traditional values
and ethics might be” (Cengage, n.d., p.1). This seems to be the issue not only for the Japanese,but also the people in nations in the rest of the world, and might be one of the reasons why
this story has had universal appeal. This theme may be a subject that most Japanese university
students usually do not think about; therefore, in reading this story they may be able to look attheir own society objectively and critically.

Course Description
Students
The students were sophomores majoring in sociology at a private university in Osaka,
Japan. One reading course using different genres of literature such as drama, short stories, andessays was involved in two continuous semesters (spring and fall) of the academic year 2013.
The portion of using Mishima’s short story and interview article was conducted in the last
four and half classes of the fall semester. In this course, 35 students enrolled in the fallsemester. These student numbers include several students who dropped out from the classduring the semester. The class met once a week for 90 minutes. The students were evaluatedbased on: participation/classroom behavior (25%); pop quizzes/project (25%); homeworkassignments (25%); final exam (25%).

Teaching Materials and their Purposes
Yukio Mishima’s short story, “Swaddling Clothes” was originally published as91
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Selecting the English Translation of Modern Japanese Literature in an EFL Reading Course: Yukio Mishima’s
Short Story, “Swaddling Clothes”“Shinbungami” (newspaper in Japanese) in 1955 in his native country and has been included
in his several translated works such as Death in Midsummer and Other Stories (Mishima,1966) and in many world literature anthologies as a Japanese short story. The reasons forselecting this particular short story are: (1) even though the language used in the story israther complex for the students, it is only 6-pages long, and the setting of the story is in Japanin their own culture, so the students can imagine what happens in the story better; (2) due tothe intense, graphic narrative and the unpredictable plot, students would become engaged inreading the story until the shocking last sentence; and (3) this story has a clear theme andsignificant message from the author to the readers. The following lessons aimed: (1) tounderstand what Mishima wanted to show the readers and why Mishima wrote such a story,and (2) to look at their society objectively and to examine their identity, tradition, and thepostwar society of Japan critically. Due to the limited English proficiency of the students andthe complexity of the text, the instructional language was both English and Japanese.
Japanese was always used to explain complicated things such as the setting of postwar Japanand the issues described in the story and in Mishima’s interview.

Teaching Procedure
Class design. The lessons using four and half classes were conducted as follows:
1. Assign students to read the story before class and if time allows, give a pop quiz on thecontent of the material using wh-questions to check the reading assignment.
2. Read the story aloud to the students emotionally and also ask for some volunteers or callon students to read it aloud. Despite the time to take for doing so from each lesson,
reading aloud should be included for low or intermediate level L2 learners, in particular,
in order to enhance their language acquisition. While reading the story aloud, ask somefactual/inferential questions to check their comprehension, and then give a supplementary
explanation if necessary.
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3. Have students imagine and discuss what will happen to the main character, Toshiko, rightafter the shocking last scene in groups. Then, have them share their opinions as a class.
4. Before assigning them the homework of finding the symbolism of this story, explain whatsymbolism is and the usage of it in this story. As examples, in groups have them discuss
what the main character, Toshiko and her husband symbolize in the story.
5. Before or after submitting homework assignments, have them exchange their works inpairs to share, and have them write their comment on their peer’s homework.
6. After submitting homework assignments, go over each assignment as a class by callingon students to share their opinions and discuss as the whole class.
7. Assign them to read the interview of Mishima before class.
8. Finally, to wrap up the lessons, discuss what Mishima wanted to say to Japanese/readers
through the story and his interview article, first in groups and then as the whole class.

Tasks. For enhancing students’ comprehension of the story, critical thinking skills,
cultural awareness, and empathy, the following tasks using graphic organizers were developed
and conducted by the teacher. Students wrote their answers in English for task 1, but as fortasks 2 and 3, they could choose English or Japanese so that they could express their opinions
in detail. Due to the limited time of the class, these tasks were partially or all assigned as
out-of-class work in the following order:
1. Completing the story organizer
Aims: to enhance scanning, summarizing, writing, comprehension
After reading the story, in order to reinforce students’ understanding, have them organize
the information (setting and plot) of the story: title of the story, country of origin, time,
place, characters, events, and ending by filling in the table. Lead students to fill out thefirst half of the organizer: from the title of the story to the characters. To show how tosummarize the plot, write the ending of the story leaving several words blank on the board
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Short Story, “Swaddling Clothes”

so that the students could fill out the blanks as the whole class and see the sample of thesummary. Assign the part of the events to finish the organizer as homework. In thefollowing week, read a few works of the students aloud as good examples to share. When
students are more advanced, assign them to finish both the events and the ending of theplot in the organizer as homework.
2. Casting “Swaddling Clothes” as a producer
Aims: to enhance analytical skills, imagination, empathy, personalization
Each student is going to imagine being the executive producer of the movie/drama,“Swaddling Clothes.” As a homework assignment, have students pick suitable actors/
actresses for the characters: Toshiko, her husband, the nurse (mother of the baby), thedoctor, the homeless man, and the taxi driver, and writes down the specific reasons for the
choices in the table. Have them choose the soundtrack music to be used in themovie/drama as well. In the following week, have them exchange their homework in pairs
and write some comments on their partner’s choices in the table. Finally, sharing different
opinions as the whole class will be very engaging and inspiring.
3. Finding symbolism in “Swaddling Clothes” (see Appendix)
Aims: to enhance scanning, analytical skills, critical thinking skills
Have students figure out what each character symbolizes: Toshiko, Toshiko’s husband, thenurse (mother of the baby), the doctor, and the homeless man, and support their ideas withspecific reasons. If they can find other symbolism, have them think about what they may
symbolize. The table for this task consists of three columns: characters, what issymbolized, and reasons (students can quote from the story or use their own words). After
explaining what symbolism means, discuss what Toshiko and her husband symbolize as
samples for the whole class. Assign the rest of the characters to finish as homework.
Sharing different opinions as the whole class will be inspiring and thought-provoking in
the following week.
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4. Reading the interview of Mishima: “On Trying to Reclaim Japanese Culture” (Hunt, 1991)
Aims: to enhance reading, critical thinking skills, cultural awareness
Read the article of Mishima’s interview aloud, and have a few volunteers or call on
students to read the rest of it aloud. After that, clarify the content of the interview anddiscuss his message in the interview. Then, have them underline the most impressive lines
for them and call on a few students to let them share their choices with the class.

Teaching Outcomes
Questionnaire Design and Results
On the final day of the academic year of 2013, in order to investigate the educational
effectiveness of this course using various genres of literature, a Likert-type self-reportquestionnaire with two open-ended questions in Japanese developed by the teacher (see Table1) was given to the students who had taken this course for two continuous semesters. The
items of the questionnaire were conducted with a five-level modulated response scale ranging
from “strongly disagree (1), disagree (2), neither agree nor disagree (3), agree (4), andstrongly agree (5).” The students chose the number (1-5) that indicates their opinion for eachquestion. Out of 15 items of the questionnaire, 12 items of the questionnaire were related to,or asked about, the particular lessons using Mishima’s short story; therefore, those 12 items
were selected to show the results for this paper. First, Items 1-4 investigated the effectivenessof using literature as well as students’ empathy to the characters in literature. Second, Items
5-8 focused on the degree to which the students felt they improved their reading, vocabulary,grammar, and critical thinking skills as well as imagination. Third, Items 9-12 investigated thebenefits of using Japanese literature translated in English. A total of 24 students (n=24)
participated in the questionnaire, and every student answered all the multiple-choice items
regarding this course using literature. One of the last two items, 13, was an open-ended
question regarding their personal feedback about Mishima’s lessons. For this question, 22 out
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Short Story, “Swaddling Clothes”

of 24 students responded. Lastly, for the 14th item, the students were asked to write down thetask/homework assignment that they thought was the most useful in this course. Microsoft
Excel was used to organize and analyze the data.
The following table (see Table 1) shows the results of the selected items of the classsurvey related to the lessons using Mishima’s story. The 12 items of the questionnaire weredivided into 3 elements by the categories of the question items as follows: (1) effectiveness ofreading literature (4 items), (2) impact on L2 and critical thinking skills as well as imagination(4 items), and (3) effect of reading Japanese literature in English translation (4 items).
The first category of the question items (Items 1-4) indicates the effectiveness of using
literature in an EFL reading class. Remarkably, most students seemed to like learning English
through literature (Item 1); 87.5% of the students answered agree (4) and strongly agree (5)with the highest mean of 4.08 of all. The sense of accomplishment after reading theunabridged short stories (Item 2) received 66.7% of the students’ agreement with the second
highest mean of 3.91. 62.5% of the students agreed that they could empathize with a character/characters in literature (Item 3), although they responded to these question items looking
back to all the literary works that they read in this course. Interestingly, 75% of them felt
reading a novel could impact their life (Item 4), which was better than was expected andshowed the potential of literature for the purposes being presented and described herein. The
overall mean of these question items was 3.85, which indicates that using literature is quite
effective for the students overall.
The second category of the question item (Items 5-8) focused on the degree to which
the students felt the lessons effective on their L2 learning, critical thinking skills, andimagination. 66.7% of the students thought their reading skills had improved through thiscourse (Item 5). Similarly, 62.5% of them felt their vocabulary had improved (Item 6). This
result is supported by the study of Gareis, Allard, and Saindon (2009) that authentic literature
can provide great opportunities for vocabulary development. According to them, due to words
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related to memorable characters and plots, through reading novels L2 learners find vocabularydevelopment easier than through regular textbooks or other texts. This is probably why thestudents responded favorably for learning English through literature. On the other hand, theimprovement of their English grammar (Item 7) gained only 37.5% of their agreement. This
would be due to not stressing teaching grammar during the course. As for improving theircritical thinking skills and imagination (Item 8), importantly, 70.8% of them responded
positively with a mean of 3.87, which indicated the effect of literature in developing students’critical thinking skills and was one of the main objectives for this course. The total mean, 3.64
implies that using literature is somewhat beneficial for enhancing their L2, critical thinking
skills and imagination overall.
The impact of using Japanese literature translated into English is shown in the last
category of the question items (Items 9-12). Interestingly, 33.4% of the students found readinga Japanese novel in English translation easier to understand the content of the story (Item 9)with a mean of 3.04. This suggested that even though Mishima presents a story within theirown culture, the postwar cultural aspects described in the complex language was rather
difficult for the students. Meanwhile, they agreed that it was easier for them to imagine thescenery and emotions of the characters in a Japanese novel in English translation (Item 10) by
giving 70.9% favorable counts with a mean of 3.66. This indicates the merit of reading theliterature from their own culture. However, the students who found it easier to empathize withthe characters in this particular Japanese novel (Item 11) counted for 29.2% of their lower
agreement. This was due to a very distinct plot and characters in this story. Lastly, half of thestudents admitted that they became more interested in reading Japanese literature in English
translation (Item 12). This implied that they enjoyed the opportunity to read literature fromtheir own culture and were inspired to explore it more. The overall mean of this section was
3.33, which seemed to reflect only a moderate impact. This is due to the different types ofquestion items which account for the mix of positive and negative feedback.
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Selecting the English Translation of Modern Japanese Literature in an EFL Reading Course: Yukio Mishima’s
Short Story, “Swaddling Clothes”

Table 1
Distribution of Item Responses
Percentage of Students Selecting Option
Item Category and Number

(1)

(2)

(3)

(4)

(5)

M

SD

0.0%

4.2%

8.3%

62.5%

25.0%

4.08

0.71

0.0%

4.2%

29.2%

37.5%

29.2%

3.91

0.88

3. I could empathize with a character/characters in literature.

0.0%

8.3%

29.2%

50.0%

12.5%

3.66

0.81

4. I felt reading a novel could impact my life.

4.2%

8.3%

12.5%

58.3%

16.7%

3.75

0.98

0.0%

8.3%

25.0%

50.0%

16.7%

3.75

0.84

6. Through this course, my vocabulary has improved.

0.0%

8.3%

29.2%

50.0%

12.5%

3.66

0.81

7. Through this course, my English grammar has improved.

0.0%

12.5%

50.0%

33.3%

4.2%

3.29

0.75

0.0%

4.2%

25.0%

50.0%

20.8%

3.87

0.79

0.0%

33.3%

33.3%

29.2%

4.2%

3.04

0.90

0.0%

8.3%

20.8%

66.7%

4.2%

3.66

0.70

0.0%

12.5%

58.3%

25.0%

4.2%

3.20

0.72

0.0%

16.7%

33.3%

37.5%

12.5%

3.45

0.93

Effectiveness of Reading Literature
1. I like learning English through literature.
2. I felt a sense of achievement after reading the unabridged shortstories.

Effect on L2, Critical Thinking Skills & Imagination
5. Through this course, my reading skills have improved.

8. Through this course, my critical thinking skills and imagination
have improved.
Effect of Using Japanese Literature
9. Reading a Japanese novel in English translation was easier tounderstand the content of the story.
10. It was easier to imagine the scenery and emotions of thecharacters in a Japanese novel in English translation.
11. It was easier to empathize with the characters in the Japanesenovel.
12. I became more interested in reading Japanese literature in
English translation.
Note. The response options were: (1) strongly disagree, (2) disagree, (3) neither agree nor disagree, (4) agree, and (5) strongly
agree.

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Results of the Open-Ended Question
Additionally, the students were asked to write down their personal feedback regarding
the course using literature including the Japanese literature. All the students except for two
responded, and a total of 17 students out of 22 students commented on learning with theMishima’s translated version of Japanese literature. There were 4 students who said it wasdifficult to understand the story, although there was no specific negative feedback to thiscourse. Here are some positive comments that the students actually wrote which weretranslated from Japanese into English by the author. The first few ones show appreciation forreading Japanese literature in English:
Regarding the translation of the Japanese literature, being able to imagine thesetting and scenery helped me understand the story better.

It was great for me to experience reading a masterpiece of Japanese literature in
English translation.

I read the Japanese literature in English translation for the first time, but I’ve got a
totally different impression from reading American literature. The image thatpopped up in my head was totally different, although I cannot put what is different
into words. It was interesting for me to compare them by reading both.

There were also some comments indicating that their critical thinking skills were stimulated
by reading this story as follows:

By reading the story in English translation, I felt I could think of the story from adifferent perspective than reading it in Japanese. I came to understand the postwar
Japanese society which is the setting of the story.



By learning about the traditional Japanese values that today’s Japanese don’t have,
I found what I lack now. This story made me think about what is really right and I
appreciate this great opportunity to think about what I usually wouldn’t think ofwhile reading it.
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Short Story, “Swaddling Clothes”

This was the first time for me to read a story with a message for Japanese people
after the war, so it was difficult to understand what each character symbolizes. As I
haven’t read stories from such a viewpoint before, this story made me feel likereading contemporary novels considering if they have any messages from now on.

Student Responses to the Tasks
In order to assist the students to organize what they just read and learned, tocomprehend the content of the story and the characters, and to foster their critical thinking
skills and imagination, the four types of tasks (mostly using graphic organizer) were utilized
for this story and they appeared to be very productive for these purposes. Due to the limited
time to cover the story in several classes at the end of the academic year, most of these tasksneeded to be assigned as homework.
First, completing the story organizer was helpful for the students to organize the setting
and the plot of the story and to reinforce their comprehension of the story. As most students
seemed not to have summarized a story in English before, writing the plot by themselves waschallenging for many students. Therefore, showing how to summarize the ending of the story
in class led by the teacher appeared to be helpful for them before trying to summarize theevents for homework on their own.
Casting “Swaddling Clothes” as a producer was the task which was favored the mostby the students. This is also indicated in the results of the class survey. Their imagination was
stimulated a great deal by first selecting each suitable character and then enacting avisualization of each, and they indicated they enjoyed the task very much. Writing the reasonsfor their selections required a good understanding of the story. Some of the students
impressively expressed their deep understanding and analytical skills for the characters andthe story in this task.
Finding symbolism in “Swaddling Clothes” (see Appendix) appeared to be the most100
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challenging, but an intriguing task for them. Although a literary term, symbolism, seemed to
be unfamiliar to them first, they seemed to grab the concept after figuring out what the main
character, Toshiko, and her husband symbolized respectively as the whole class led by theteacher. Through this task, many of them showed how deeply they could understand thecharacters and the story, while their critical thinking skills and analytical skills weredeveloped.
Lastly, reading the interview of Mishima: “On Trying to Reclaim Japanese Culture”(Hunt, 1991) was definitely beneficial for the students to comprehend the story more deeply
and the message from Mishima. Due to the complex language and narrative and also thesetting of postwar period, many students first seemed to struggle to understand the story itself
and then attempt to understand what Mishima’s intention was in having written it. However,reading his interview helped the students understand both a great deal, which was implied intheir comments in the class survey as well as their written answers in the final exam.
Furthermore, his words appeared to inspire them to notice what they did not think of before
such as their identity, the postwar society, and the influence of Western cultures. Thus, they
seemed to appreciate the opportunity to consider these through this story.
Additionally, at the end of the second semester, the students selected one piece ofliterature that was used in class and made their own projects, which consist of the summary of
the story in English and art inspired by the story. Following submission of their work, theMVP (class award) was awarded by the teacher to the individual student whose work wasoutstanding. The student who earned the MVP happened to be given to the one who made her
personal project on “Swaddling Clothes.” She made a brilliant newspaper article consisted of
the summary of the story with a picture of a new-born baby in swaddling clothes, the reviewof the story written by herself, and the short biographical information of Mishima with his
picture. This original newspaper article was wrinkled and partially torn, intentionally pasted
on the collage of several English newspapers.
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Short Story, “Swaddling Clothes”

The last question item in the class survey asked the students to write down thetask/homework assignment that they thought was the most effective throughout the year. 17
out of 24 students responded to this item. The task/homework assignment which wasappreciated the most by them was “casting as a producer,” receiving 9 students’ approval.
This would be because by this task, they could visualize each character and personalize thestory. “Completing the story organizer” and “personal project” were in the second place,receiving 3 students’ approval. Finally, one student chose “finding symbolism.”

Conclusion
This paper has presented content-based literature instruction utilizing an internationallyrenowned Japanese writer, Yukio Mishima’s short story, “Swaddling Clothes” (Mishima,1966) in English translation, as a stimulating teaching medium for a university reading course.
Instead of using excerpts from Western literature or simplified versions of Western literature(often used to teach literature), the translated version of a modern Japanese literature wasintentionally selected, based on the linguistic and psychological benefits, for teaching
Japanese EFL students. The tasks described in this paper were designed to enhance students’comprehension of the story, critical thinking skills, cultural awareness, and empathy, as wellas language learning. Assessing overall student performance included the assigned tasks andgroup/class discussions, student attitude toward the lessons, and the class survey, each ofwhich illustrated that the use of the translated modern Japanese literature in teaching reading
is beneficial. Due to Mishima’s complex language translated into English and the setting of
postwar Japan, understanding this story was rather challenging for most students. However,
introducing them to his distinct narrative and symbolism that he used throughout the story,
along with his interview which had been done a few months before his death, turned out to beeffective for helping students to understand the story and to maximize their appreciation forthe story and his message to the readers. As a result, these led the students to be drawn into
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the story and inspired to contemplate their identity, traditional culture, and the postwar societyof Japan critically as well as objectively, probably a new learning experience for most ofthem.
It must be noted that the focus of the instruction was on the comprehension of andappreciation for the content of the material, not on measuring improvement of English
proficiency by these lessons. Thus, the students were not tested to measure the effect of theselessons to improve their English proficiency. In order to measure the effectiveness of such acontent-based literature instruction on students’ English proficiency, a separate research study
would be required.
Finally, Krashen (1997) has pointed out something to remember: “When we teachpopular literature, we are not dealing with a canon; rather we are trying to introduce students
to a wide variety of possibilities in the hope that they will find what they are interested in andestablish a reading habit” (p. 24). Hopefully, through this learning experience with Mishima’s
story, students will develop more pleasure of reading literature from their own culture as welland gain a better understanding of their tradition and identity in this fast globalizing world inwhich they live.

Notes
1. This paper is a modified version of the oral presentation given at the JACET Kansai
Chapter conference at Ryukoku University on November 29th, 2014.
2. The question items of the class survey were translated from Japanese for Table 1.

Referencesᑠ⃝ⱥᐇ࣭㍯†⨾ᕹ࣭Michael Emmerich (2015)ࠗⱥㄒ࡛ㄞࡴᮧୖ᫓ᶞ㸵̺ୡ⏺ࡢ࡞࠿ࡢ᪥ᮏᩥᏛ̺
ࠕTV ࣆ࣮ࣉࣝࠖ࠘NHK ฟ∧

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Short Story, “Swaddling Clothes”

Retrieved from http://www.enotes.com/swaddling-clothes//print
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Mishima, Y. (1966). Swaddling clothes. In Death in midsummer and other stories (E. G.
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Appendix
Task 3: Finding symbolism in “Swaddling Clothes”

Symbolism in Swaddling Clothes
Directions: Think about what each character symbolizes in this story and support your ideas with good reasons.
If you can think about others to symbolize something, you may add those.
Character

What is symbolized

Reasons (you may quote from the story, or use your own words)

Toshiko- traditional Japanesevalues- genuineness- sensitive- reserved in expressing herself- has sympathy for the illegitimate baby and replaced the newspapers
with flannel cloth

Toshiko’s husband- westernization- materialism- dressed in his American-style suit- gesturing flamboyantly- took out the rug before the nurse would ruin it and showed nocompassion for her and her baby

Nurse
(mother of the baby)

DoctorHomeless man

Others:105
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JACET Kansai
Kansai Journal,(2016)©JACET
Kansai
Chapter
JACET
Journal,18,
18,106-125.
106-125.
(2016)©JACET
Kansai
Chapter
ISSN1880-2281
1880-2281
ISSN

Printedin inJAPAN.
PrintedJAPAN.

ᩥἲᣦᑟ࡬ࡢព࿡ㄽⓗ࢔ࣉ࣮ࣟࢳ㸸ゝㄒኚ໬ࡢࠕᩥἲ໬ࠖࢆ౛࡟
A Semantic Approach to Grammar Teaching: the Case of Language Change,
Grammaticalizationᨋ ᥓᤘ੩ㇺᄢቇᄢቇ㒮ඳ჻ᓟᦼ⺖⒟࡮ᣣᧄቇⴚᝄ⥝ળ

Abstract
The aim of this study is to examine (i) a possible way for the application of a semantic
approach to teaching English grammar, and (ii) its “pedagogical soundness” (cf. Takaki 2009).
As a case study, one of the semantic aspects of language change, grammaticalization from theverb go into the future-tense marker be going to and be gonna is introduced in the class. For the
analysis, thirty-one Japanese learners are divided into two groups and lectured expressions
using be going to, be gonna and will; the concept of grammaticalization is not introduced in thecontrol group. The participants are asked to (i) make English composition using these
expressions, (ii) make discussion to check the answers, and (iii) write comments freely for eachactivity. Their responses in the class and comments on the response sheet are analyzed
qualitatively. The result indicates that (i) the introduction of grammaticalization has a potential
for evoking learners’ interests on English. Regarding (ii), on the other hand, this approach does
not have enough “pedagogical soundness” because many misunderstandings are found in thecomments of the control group.

ࠠ࡯ࡢ࡯࠼㧦ᗧ๧⺰‫ޔ‬ᢥᴺᜰዉ‫⺆⸒ޔ‬ᄌൻ‫ޔ‬ᢥᴺൻߪߓ߼ߦ ⸒⺆ቇߩℂ⺰߆ࠄ‫⺆⧷ޔ‬ᢎ⢒߳ߩ␜ໂࠍᓧࠃ߁ߣߔࠆേ߈߇޽ࠆ‫⺆⸒ޔߢ߹ࠇߎޕ‬ቇ

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ᨋ ᥓᤘ⠪ ߦ ࠃ ࠆ ‫ ⺆ ⸒ ޟ‬ቇ ℂ ⺰ ߩ ⧷ ⺆ ᢎ ⢒ ߳ ߩ ᵴ ↪ ‫ ߁ ޿ ߣ ޠ‬ឭ ᩺ ߇ ⴕ ࠊ ࠇ ߡ ߈ ߚ ߇ 㧔 cf. ⮮ ↰ ࡮᧻ ᧄ ࡮ ఽ ₹ ࡮ ⼱ ญ , 2012㧕‫ ޟߢ ߹ ߊ ޽ ߪ ࠄ ࠇ ߘ ޔ‬ᢎ ⢒ ߳ ߩ ␜ ໂ ‫ ߁ ޿ ߣ ޠ‬ᒻ ߩ ‫ ޟ‬ឭ ᩺ ‫⇐ ߦ ޠ‬߹ࠅ‫⺆⧷ޔ‬ᢎ⢒ߩ⃻႐ߦ߅޿ߡਈ߃ࠆലᨐ‫ޔ‬ᅷᒰᕈ‫᦭ޔ‬ലᕈߦߟ޿ߡߩታ⾰⊛ߥᬌ⸛߇චಽߦⴕࠊࠇߡ޿ࠆߣߪ޿޿߇ߚ޿‫ޕ‬ᨐߚߒߡ‫⺆⸒ޔ‬ಽᨆߦ㓙ߒߡ↪޿ࠄࠇࠆ⸒⺆ℂ⺰ߪ‫⺆⧷ޔ‬ᢎ⢒ߦߟ޿ߡ߽᦭↪ߢ޽ࠆߣ޿߃ࠆߩߛࠈ߁߆‫⎇ᧄޕ‬ⓥߪ‫ߩߎޔ‬໧㗴ߦኻߔࠆ৻ߟߩขࠅ⚵ߺߣߒߡ‫ޔ‬‫ ⺆ ⸒ ޟ‬ℂ ⺰ ߩ ⍮ ⷗ ࠍ ᢥ ᴺ ᜰ ዉ ߦ ዉ ౉ ߔ ࠆ ‫ ߩ ߺ ⹜ ߁ ޿ ߣޠ‬ታ 〣 ႎ ๔ߣ‫⹏ߩߘޔ‬ଔࠍ⧷⺆ᢎ⢒ߩⷰὐ߆ࠄⴕ߁ߎߣࠍ⋡⊛ߣߔࠆ‫⺆⸒ޕ‬ℂ⺰ߦࠃࠅવࠊࠆ⍮⷗߇‫ޔ‬ቇ⠌⠪ߩℂ⸃ߦኻߒߡߤߩࠃ߁ߥ৻ഥߣߥࠅ߁ࠆߩ߆‫⎇ᧄޔ‬ⓥߢߪ‫⺞࠻࡯ࠤࡦࠕޔ‬ᩏߦࠃࠆ⾰⊛ߥᬌ⸛ࠍⴕ߁‫ޕ‬ ᧄ⺰ߩ᭴ᚑߪએਅߩㅢࠅߢ޽ࠆ‫⺆⸒ޔߕ߹ޕ‬ℂ⺰ࠍ⧷⺆ᢎ⢒߳ߣᔕ↪ߒࠃ߁ߣ޿߁⹜
ߺߩ⃻⁁ࠍ᭎ⷰߒ‫ࠍࠄࠇߘޔ‬Ꮌࠆ໧㗴ὐࠍᢛℂߔࠆ‫ޕ‬ᰴߦ‫ߩߘޔ‬໧㗴ὐߦኻߒ‫ߩ⺰ᧄޔ‬⎇ⓥ⺖㗴ࠍ⸳ቯߒ‫⺞ޔ‬ᩏߩ᭎ⷐߣᣇᴺࠍㅀߴࠆ‫ౕޕ‬૕⊛ߦߪ‫ޔ‬ታ〣ႎ๔ߣߒߡ⸒⺆ℂ⺰
ࠍᢥᴺᜰዉߦ߅޿ߡዉ౉ߒߚ଀ߩႎ๔ࠍⴕ߁‫⚿ޔߡ޿⛯ޕ‬ᨐࠍ〯߹߃‫࠻࡯ࠪ࠻ࡦࡔࠦޔ‬ߩౝኈࠍㅢߒߡ⾰⊛ߦ⹏ଔߔࠆߎߣࠍ⹜ߺ‫ᦨޔ‬ᓟߦ߹ߣ߼ߣ੹ᓟߩ⺖㗴ߦߟ޿ߡㅀߴ‫ޔ‬⚿⺆ߣߔࠆ‫ޕ‬వⴕ⎇ⓥ⸒⺆ℂ⺰ࠍ⧷⺆ᢎ⢒߳ᔕ↪ߔࠆ⹜ߺ ᧄ▵ߢߪ‫ޔ‬వⴕ⎇ⓥ߆ࠄ‫⺆⸒ޔ‬ℂ⺰ࠍ⧷⺆ᢎ⢒߳ߣᔕ↪ߒࠃ߁ߣߔࠆ⹜ߺࠍ᭎ⷰߒߡ޿ ߊ ‫ ޕ‬ㄭ ᐕ ߦ ߅ ߌ ࠆ ৻ ଀ ߣ ߒ ߡ ߪ ‫ ⼱ ࡮ ₹ ఽ ࡮ ᧄ ᧻ ࡮ ↰ ⮮ ޔ‬ญ (2012) ߇ ᜼ ߍ ࠄ ࠇ ࠆ ‫ߎ ޕ‬ߎߢߪ‫↢ޔ‬ᚑᢥᴺ‫⹺ޔ‬⍮⸒⺆ቇ‫⺆⸒ࠬࡄ࡯ࠦޔ‬ቇ‫ޔ‬㖸㖿⺰‫ޔ‬᭴ᢥ⎇ⓥࠍߪߓ߼ߣߔࠆᄙ
ᓀߥ⎇ⓥ㗔ၞߢᵴべߔࠆ⸒⺆ቇ⠪ߩ┙႐߆ࠄ‫ޔ‬ᢥᴺ⎇ⓥߩਥⷐ࠻ࡇ࠶ࠢࠍ⺰ߓ‫⺆⧷ޔ‬ᢎ⢒߳ߩ␜ໂߣឭ⿠߇‫ޔ‬᭽‫⎇ߥޘ‬ⓥ⠪ߦࠃࠆነⓂ⺰ᢥߣߒߡነߖࠄࠇߡ޿ࠆ‫ޕ‬ ⸒ ⺆ ቇ ߣ ⧷ ⺆ ᢎ ⢒ ߩ 㑐 ଥ ࠍ ‫ ޔ‬቟ ੗ (1963, p. 144) ߪ ‫ ޟ‬ၮ ␆ ⑼ ቇ ߩ ᔕ ↪ ⑼ ቇ ߦ ኻ ߔ ࠆ ነਈ ߣ ޿ ߁ ᒻ ߢ ⴫ ⃻ ߔ ࠆ ߎ ߣ ߇ ߢ ߈ ࠆ ‫ ߣޠ‬ㅀ ߴ ࠆ ‫ޔ ߚ ߹ޕ‬቟ ੗ ߪ ‫ޔ‬‫ߩߘޟ‬ነਈ߇ᦨ߽᣿⊕ߥᒻࠍߣࠆߩߪᢎ᧚ߩ✬㓸ߦ߅޿ߡߢ޽ࠆ‫⃻ޕ‬࿷ߩ⸒⺆ቇߪ‫ޔ‬ᄙߊߩ႐ว‫ޔ‬㒢ࠅߥߊᄙߊ

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬޽ࠆ⸒⺆⊛᧚ᢱߩਛ߆ࠄ‫ޔ‬૗ࠍㆬ߮಴ߒ‫ߥ߁ࠃߩߤޔ‬㗅ᐨߦਗߴࠆߩ߇ᦨ߽⢻₸⊛ߢ޽ࠆ ߆ ‫ ࠍ ߣ ߎ ߁ ޿ ߣޔ‬᳿ ቯ ߢ ߈ ࠆ ࠃ ߁ ߥ ℂ ⺰ ⊛ ၮ ⋚ ࠍ ឭ ଏ ߔ ࠆ ߎ ߣ ߇ ߢ ߈ ࠆ ‫ޕ ࠆ ޿ ߡ ߒ ߣޠ‬ߘߩᜰ៰ߩㅢࠅ‫੹ޔ‬ᣣߦ߅޿ߡ߽‫⺆⸒ޔ‬ቇ⊛ߥ⍮⷗ߦၮߠ߈‫ޔ‬ᢎ᧚ߣ޿߁ᒻߢ⧷⺆ᢎ⢒߳ߩㆶరࠍ⋡ᜰߔേ߈߇ߺࠄࠇࠆ‫ޔߜ߁ߩࠄࠇߘޕ‬ㄭᐕߦ಴ߐࠇߚ߽ߩߣߒߡߪ‫⹺ޔ‬⍮ ⸒ ⺆ ቇ ߦ ၮ ߠ ߊ ೨ ⟎ ⹖ ߩ‫ ޟ‬ၮ ᧄ ࠗ ࡔ ࡯ ࠫ ‫ ⸥ ࠍޠ‬ㅀ ߒ ߚ ૒ ‫( ᧁ ޘ‬2014) ߇ ޽ ࠆ 1 ‫ࠃ ߩ ߎޕ‬߁ߥ‫ޟߩ⺆⸒ޔ‬ᗧ๧⺰‫⊛ޠ‬஥㕙ߦᵈ⋡ߒߚ⧷⺆ᢎ⢒߳ߩࠕࡊࡠ࡯࠴ߣߒߡઍ⴫⊛ߥ߽ߩߦ ‫ ⹺ޔ‬⍮ ᢥ ᴺ ࠍ ෳ ᾖ ߒ ‫ ⹺ޔ‬⍮ ⢻ ജ ‫ޔ‬り ૕ ᕈ ‫ ⹺ޔ‬⍮ ࿑ ᑼ ߩ ᔕ ↪ ࠍ ⹜ ߺ ߚ ੹ ੗ (2010) ߩ‫ ޟ‬ᗵⷡ ⧷ ᢥ ᴺ ‫ޔ ߦ ࠄ ߐޕ ࠆ ޽ ߇ޠ‬‫ ⹺ ޟ‬⍮ ⸒ ⺆ ቇ ‫ ߣޠ‬᣿ ⸒ ߒ ߡ ޿ ߥ ޿ ߽ ߩ ߩ ‫ ↰ޔ‬ਛ࡮૒ ⮮࡮㒙 ㇱ(2006) ߩ ‫ ࠕ ࠦ ޟ‬࿑ ᑼ ‫ ޔޠ‬ᄢ ⷏ ࡮ ࡑ ࠢ ࡌ ࠗ (2009) ߩ ‫ ⧷ ࠫ ࡯ ࡔ ࠗ ޟ‬ᢥ ᴺ ‫ ⹺ ޟޔ ߪ ޠ‬⍮ ⸒ ⺆ ቇߩࠗࡔ࡯ࠫ࡮ࠬࠠ࡯ࡑߥߤߦኻᔕߔࠆ࠷࡯࡞ࠍ↪޿‫ޔ‬ቇ⠌⠪ะߌߩ⸥ㅀࠍⴕߞߚ߽ߩ‫ޠ‬ߣߒߡ‫ޔ‬‫ ⹺ ޟ‬⍮ ⸒ ⺆ ቇ ⊛ ߥ ᚻ ᴺ ࠍ ⧷ ⺆ ᢎ ⢒ ߦ ข ࠅ ౉ ࠇ ࠆ ⹜ ߺ ‫ ߣޠ‬૏ ⟎ ߠ ߌ ࠄ ࠇ ߡ ޿ ࠆ㧔 ⼱
ญ , 2011, p. 63㧕‫ ߪ ࠄ ࠇ ߎ ޕ‬ห ৻ ߩ ᣇ ะ ᕈ ࠍ ߽ ߟ ߣ ߐ ࠇ ࠆ ‫ޕ‬ ߹ߚ‫⹺ޔ‬⍮⸒⺆ቇߩߺߦ⇐߹ࠄߕ‫⺆⸒ࠬࡄ࡯ࠦޔ‬ቇ߆ࠄߩᓇ㗀ߣ޿߁ᨒ߆ࠄߺࠇ߫‫ޔ‬ᐢ ⟵ ߦ ߅ ޿ ߡ ߪ ‫ ޔ‬ᛩ ㊁ (2005)‫( ᧖ ৻ ޔ‬2005) ߥ ߤ ߽ ‫ ޔ‬ర ߪ ⸒ ⺆ ಽ ᨆ ߦ ↪ ޿ ࠄ ࠇ ߚ ࠦ ࡯ ࡄࠬ߇‫⺆⧷ޔ‬ᢎ᧚ߩ૞ᚑߦ߅޿ߡ߽⽸₂ߔࠆࠃ߁ߦߥߞߚߣ޿߁ὐ߆ࠄ‫⎇⺆⸒ޟ‬ⓥߣ⸒⺆ᢎ ⢒ ࠍ ߟ ߥ ߋ ਄ ߢ ߽ ᄢ ߈ ߥ ᓎ ഀ ࠍ ᨐ ߚ ߒ 㧔 ⍹ Ꮉ 2012, p. 3㧕‫ ࠆ ߃ ޿ ߣ ࠆ ޿ ߡ ޠ‬2 ‫ޕ‬⧷⺆ᢎ⢒߳ߩ‫ޟ‬ᗧ๧⺰⊛ࠕࡊࡠ࡯࠴‫ߩޠ‬ታ〣଀ ᧄ▵ߢߪ‫ޔ‬೨▵ߢ᭎ⷰߒߚᔒะᕈࠍ߽ߟ⎇ⓥߩ߁ߜ‫ޔ‬ᗧ๧⺰⊛ࠕࡊࡠ࡯࠴ࠍታ㓙ߩᢎ⢒ ߦ ߅ ޿ ߡ ↪ ޿ ߚ ታ 〣 ଀ ߣ ߒ ߡ ⼱ ญ (2011) ߣ Boers and Demecheleer (1998) ࠍ ߺ ࠆ ‫ޕ‬ ⼱ ญ (2011, p. 64) ߪ ‫( ࡓ ࡯ ࠜ ࡈ ࡮ ࡦ ࠝ ࡮ ࠬ ࠞ ࡯ ࠜ ࡈ ޟޔ‬Focus on Form; FonF)‫ ߣ ޠ‬๭ ߫ࠇࠆᢎ᝼ᴺߩࠬ࠲ࡦࠬߦ㑐ߒߡ‫ޔ‬‫ ޟ‬ၮ ᧄ ⊛ ߦ ࡏ ࠻ ࡓ ࠕ ࠶ ࡊ ߩ ┙ ႐ ࠍ ข ࠅ ߥ ߇ ࠄ ‫ޔ‬ᒻ ᑼ ߣ ᗧ๧㧔 ᯏ ⢻ 㧕ߩ ኻ ᔕ ߠ ߌ ߦ ቇ ⠌ ⠪ ߩ ᗧ ⼂ ࠍ ะ ߆ ࠊ ߖ ࠆ ᣇ ᴺ ࠍ ข ࠆ ‫ ߡ ߞ ࠃ ߦ ࠇ ߎޕ‬ቇ ⠌ ⠪ ߪ ‫ޔ‬ᒻᑼ߇ᗧ๧߿વ㆐ߩⷰὐ߆ࠄ߽㊀ⷐߢ޽ࠆߎߣߦ᳇ઃ߈‫ޔ‬ᢥᴺ㗄⋡߿᭴ᢥߩ⠌ᓧ߇ଦߐࠇ ࠆ ߎ ߣ ߇ ᦼ ᓙ ߐ ࠇ ࠆ ‫ ߣޠ‬ㅀ ߴ ‫ޔ‬‫߇⺆⸒ޟ‬ᒻᑼߣᗧ๧߆ࠄᚑࠅ┙ߟ⸥ภ⊛ᕈ⾰ࠍᜬߟߣ޿
߁⹺⍮⸒⺆ቇߩၮᧄ⊛ⷰᔨߦว⥌ߒߡ޿ࠆ‫⹺ޔߡߒߘޕࠆ޿ߡߒߣޠ‬⍮⸒⺆ቇߩℂᔨ߿

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ᨋ ᥓᤘ᭎ ᔨ ࠍ ╙ ੑ ⸒ ⺆ ⠌ ᓧ ߣ ᢎ ᝼ ߦ ข ࠅ ౉ ࠇ ࠆ‫ ޟ‬ᔕ ↪ ⹺ ⍮ ⸒ ⺆ ቇ (applied cognitive linguistics)‫ޠ‬⊛ ࠕ ࡊ ࡠ ࡯ ࠴ ࠍ ᵴ ↪ ߒ ߚ ଀ ߣ ߒ ߡ ‫ޔ‬ਇ ᄌ ൻ ⹖ up ߩ ᄙ ⟵ ᕈ ࠍ ข ࠅ ਄ ߍ ߚ ᝼ ᬺ ታ 〣 ࠍ ႎ ๔ ߒߡ ޿ ࠆ ‫ޕ‬ฃ ⻠ ↢ 12 ฬ ߇ ‫ޔ‬4 ฬ ߕ ߟ ߩ ࠣ ࡞ ࡯ ࡊ ࡢ ࡯ ࠢ ߦ ࠃ ࠅ ‫ޔ‬ਅ ⸥ ߩ ᚻ 㗅 ߦ ߡ ૞ ᬺ ࠍ ⴕ ߞ
ߚ : (i) ‫ ޡ‬e ࡊ ࡠ ࠣ ࡟ ࠶ ࠪ ࡉ ⧷ ๺ ਛ ㄉ ౖ ‫ޢ‬㧔 ዊ ቇ 㙚 㧕 ߦ ឝ タ ߩ up ߩ ೽ ⹖ ↪ ᴺ ߩ ߁ ߜ ‫ ޔ‬૏ ⟎߿ ᣇ ะ ࠍ ⴫ ߔ ⓨ 㑆 ⊛ ↪ ᴺ ࠍ ㆬ ߮ ಴ ߒ ‫ ࠍ ࡑ ࡯ ࠠ ࠬ ࡮ ࠫ ࡯ ࡔ ࠗ ߩ ߘ ޔ‬ឭ ␜ ߔ ࠆ ‫( ޔ‬ii) ⓨ 㑆 ⊛ߥ ↪ ᴺ ߇ ‫( ޔ‬i) ߩ ࠗ ࡔ ࡯ ࠫ ࡮ ࠬ ࠠ ࡯ ࡑ ߣ ߤ ߩ ࠃ ߁ ߥ 㑐 ㅪ ᕈ ࠍ ᜬ ߟ ߆ ࠍ ᬌ ⸛ ߔ ࠆ ‫( ޔ‬iii) upߩ ᄙ ⟵ ࡀ ࠶ ࠻ ࡢ ࡯ ࠢ ࠍ ૞ ᚑ ߔ ࠆ ‫( ޔ‬iv) (i) ߩ ࠗ ࡔ ࡯ ࠫ ࠬ ࠠ ࡯ ࡑ ߦ ၮ ߠ ߈ ‫ ޔ‬up ࠍ ฽ ߻ ࠗ ࠺ࠖ ࠝ ࡓ 㧔 ฏ േ ⹖ 㧕 ࠍ ℂ ⸃ ߔ ࠆ 㧔 ⼱ ญ 2011, pp. 67-68㧕‫ ߩ ࠄ ࠇ ߎ ޕ‬૞ ᬺ ࠍ ㅢ ߒ ߡ ‫ ޟޔ‬ฃ ⻠ ↢ߪ‫ޔ‬ㄉᦠߢ೎㗄⋡ߣߒߡ਄߇ߞߡ޿ࠆᗧ๧ߩਛߦ߽ᮮᢿ⊛ߥ㑐ㅪᕈ߇ߺࠄࠇࠆߎߣߦ᳇ઃ ߈ ‫ޔ‬ਣ ᥧ ⸥ ߔ ࠆ ߒ ߆ ߥ ޿ ߣ ᕁ ࠊ ࠇ ߇ ߜ ߥ ࠗ ࠺ ࠖ ࠝ ࡓ ߩ ᗧ ๧ ߽ ‫ޔ‬up ߩ ᄙ ⟵ ᕈ ߩ ᛠ ី ߩ ߽ߣ‫ࠆ޽ޔ‬⒟ᐲ੍᷹น⢻ߢ޽ࠆߎߣࠍ⹺⼂ߒߚࠃ߁ߢ޽ࠆ‫ߣޠ‬ㅀߴࠄࠇߡ޿ࠆ‫ޔߒߛߚޕ‬ߎߩࠃ߁ߥᜰዉࠍⴕ߁ߦ޽ߚߞߡߪ‫ޟ‬ᜰዉ⠪஥ߦ߽ᗧ๧᜛ᒛߩࡔࠞ࠾࠭ࡓߦኻߔࠆℂ⸃߇ ਇ น ᰳ ߢ ޽ ࠆ ‫ ߣ ޠ‬ㅀ ߴ ࠄ ࠇ ߡ ޿ ࠆ 㧔 એ ਄ ‫ ⼱ ޔ‬ญ , 2011, p. 72㧕 3 ‫ޕ‬ Boers and Demecheleer (1998) ߪ ‫ޔ‬behind ߩ‫ ޟ‬ේ ࿃ ‫ ߩޠ‬ᗧ ๧ ߩ ⢛ ᓟ ߦ ‫ࠃ ߦ ࡯ ࠔ ࡈ ࠲ ࡔޔ‬ߞߡᚑࠅ┙ߟⓨ㑆⊛ᗧ๧߆ࠄߩᲧ༙⊛ᗧ๧᜛ᒛ߇޽ࠆߣ޿߁ߎߣߦᵈᗧࠍ༐⿠ߔࠆߎߣ
ߦࠃߞߡ‫ޔ‬ቇ⠌⠪ߩℂ⸃߇ଦㅴߐࠇࠆߩߢߪߥ޿߆‫ߣޔ‬઒⺑ࠍ┙ߡ‫ޔ‬ᢥ┨⺒⸃ߩℂ⸃ࠍ໧ ߁ ⺖ 㗴 ࠍ ታ ᣉ ߒ ߚ ‫ ޕ‬ᬌ ⸽ ߦ ߅ ޿ ߡ ‫ ޔ‬behind ߩ ⓨ 㑆 ⊛ ᗧ ๧ ߩ ⹺ ⍮ ᗧ ๧ ⺰ ⊛ ቯ ⟵ ߩ ߺ ߇ ⸥ߐ ࠇ ߚ ⺆ ᒵ ⴫ 㧔 behind ߩ Ყ ༙ ⊛ ᗧ ๧ ߦ 㑐 ߒ ߡ ߪ ‫ ߩ ߽ ޿ ߥ ޿ ߡ ࠇ ߐ ⸥ ޔ‬㧕 ࠍ ਈ ߃ ࠄ ࠇ ߚ ቇ↢ ߪ ‫ ޔ‬Cobuild English Dictionary ߦ ߅ ߌ ࠆ behind ߩ ቯ ⟵ 㧔 Ყ ༙ ⊛ ᗧ ๧ ߩ ቯ ⟵ ߽ ⸥ ߐ ࠇ ߡ޿ࠆ㧕ࠍ⸥ߒߚ⺆ᒵ⴫ࠍਈ߃ࠄࠇߚቇ↢ߣห᭽ߦ‫ޔ‬ਈ߃ࠄࠇߚ⺖㗴ࠍోߡߎߥߔߎߣ߇
ߢ߈ߚ‫ޕ‬એ਄ࠍ〯߹߃‫⹺ޔ‬⍮ᗧ๧⺰ߩ⍮⷗߇ᢎ⢒⊛ᢥ⣂ߦ߅޿ߡ᦭⋉ߣߥࠅ߁ࠆὐߣߒߡ એ ਅ ࠍ ᜼ ߍ ߡ ޿ ࠆ : (i) ᄙ ⟵ ⊛ ߥ ⺆ ᒵ 㗄 ⋡ ࠍ ᢎ ᝼ ߔ ࠆ ߣ ߈ ‫ ࠆ ߥ ⇣ޔ‬ᗧ ๧ ߩ 㑆 ߦ ሽ ࿷ ߔ ࠆ‫ ޟ‬᭎ ᔨ ࡝ ࡦ ࠢ ‫ ࠍ ޠ‬ㄡ ࠆ ߎ ߣ ߇ ‫ ߩ ㉼ ⸃ ޔ‬໧ 㗴 ࠍ ੍ ᗐ ߔ ࠆ ਄ ߢ ᦭ ⋉ ߢ ޽ ࠆ ߎ ߣ ‫( ޔ‬ii) Ყ ༙ ⊛᜛ ᒛ ࠍ േ ᯏ ߠ ߌ ࠆ ߎ ߣ㧔 ߔ ߥ ࠊ ߜ ‫ ߩ ⺆ ⸒ ޟࠆ ߌ ߅ ߦ ⺰ ᧄޔ‬ᗧ ๧ ⺰ ⊛ ஥ 㕙 ߩ ዉ ౉ ‫ޠ‬㧕ߪ ℂ ⸃ࠍଦߔߣ޿߁ὐߦ߅޿ߡ‫ޔ‬ᄙ⟵⊛ߥ⺆ᒵ㗄⋡ߩᗧ๧⺰ࠍ⴫⃻ߔࠆ৻ഥߣߥࠆ‫ޕ‬

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬⃻⁁ߣ໧㗴ὐ ೨▵ߢߪ‫⺆⸒ޔ‬ℂ⺰ߩ߁ߜ‫ޔ‬ᗧ๧⺰⊛ߥࠕࡊࡠ࡯࠴ࠍ⸒⺆ᢎ⢒߳ߣᔕ↪ߒࠃ߁ߣ⹜ߺ
ߚታ〣଀ࠍ᭎ⷰߒߡ߈ߚ‫ߩࠄࠇߎޔߒ߆ߒޕ‬ขࠅ⚵ߺߪ‫⹏ߦ߁ࠃߩߤޔ‬ଔߐࠇࠆߴ߈ߥ
ߩߢ޽ࠈ߁߆‫ߦ࠴࡯ࡠࡊࠕߥ߁ࠃߩߎޔߪߢ▵ᧄޕ‬㓙ߒߡ⠨ᘦߔߴ߈ὐߣ໧㗴ὐߦ㑐ߒߡ ‫ޔ‬వ ⴕ ⎇ ⓥ ߦ ߅ ߌ ࠆ ᜰ ៰ ࠍ ߺ ߡ ޿ ߊ ‫ޕ‬቟ ੗ (1973, p. 123) ߪ ‫ޔ‬‫ޟ‬ᣂߒ޿⸒⺆ℂ⺰ߩᚑᨐߩ߁ߜߢ‫⺆⧷ޔ‬ᢎ⢒ߦߣߞߡᓎߦ┙ߟ߽ߩߪ‫⺆⧷ࠍࠇߎޔ‬ᢎ⢒ߩਛߦขࠅ౉ࠇࠆߴ߈ߢ޽ ࠆ ‫ ৻ ޕ ࠆ ޿ ߡ ߒ ߣ ޠ‬ᣇ ߢ ‫ ޔ‬቟ ੗ (1973, p. 131) ߪ ‫ ⺆ ⸒ ޟ‬ቇ ߇ ⧷ ⺆ ᢎ ⢒ ߦ ኻ ߒ ߡ ߥ ߒ ߁ࠆነਈߪ‫ޔ‬㑆ធ⊛ߥ߽ߩߢ޽ࠅ‫ߩߎޔ‬ነਈ⥄૕‫ޔ‬ㆊᄢߦ⹏ଔߐࠇߡߪߥࠄߥ޿‫߽ߣޠ‬ㅀߴ ࠆ ‫ޔ ࠄ ߥ ߗ ߥޕ‬‫ ⺆ ⸒ ޟ‬ቇ ⠪ ߇ ⸒ ⺆ ℂ ⺰ ࠍ ⚵ ߺ ┙ ߡ ࠆ ߣ ߈ ‫ ⺆ ⧷ޔ‬ᢎ ⢒ ߣ ޿ ߁ ࠃ ߁ ߥ ታ 㓙 ໧㗴ߪ‫ߩࡓ࡜ࠣࡠࡊߩߘޔ‬ਛߦߪ޿ߞߡ޿ߥ޿ߪߕߢ޽ࠆ‫ߩߤߥޠ‬ℂ↱߇᜼ߍࠄࠇࠆߚ߼ߢ ޽ ࠆ (቟ ੗ , 1973, p. 129)‫ޕ‬ 㜞 ᧁ (2009, p.133) ߪ ‫ ޟޔ‬ᢎ ⢒ ⊛ ஜ ో ߐ (pedagogical soundness)‫ ⺆ ⸒ ޟ ߣ ޠ‬ቇ ⊛ ஜ ో ߐ(linguistic soundness)‫ ࠍޠ‬඙ ೎ ߔ ࠆ ᔅ ⷐ ᕈ ࠍ ⺑ ޿ ߡ ޿ ࠆ ‫ޕ‬೨ ⠪ ߪ ‫ ࠆ ޽ޔ‬ᜰ ዉ ᢎ ᧚ ߿ ᣇ ᴺ ߇ ‫ޔ‬↢ᓤߩ⸒⺆ቇ⠌࡮⠌ᓧࠍេഥ࡮ଦㅴߢ߈ࠆߎߣ‫⺆⧷ޔࠅ޽ߢޠ‬ᢎ⢒ߦ߅ߌࠆ‫ޟ‬ታ↪ᕈ࡮ታ ⴕ น ⢻ ᕈ (practicality)‫ ࠍޠ‬ᜰ ߔ ߣ ߐ ࠇ ࠆ ‫ޕ‬ᓟ ⠪ ߪ ኻ ┙ ᭎ ᔨ ߣ ߐ ࠇ ‫ޔ‬‫ࠆ޽ޟ‬੐ᨩ߇⸒⺆ቇ
㧛⑼ቇߦ߅ߌࠆᱜߒߐ࡮ᅷᒰᕈࠍᜬߞߡ޿ࠆߎߣ‫ࠍޠ‬ᗧ๧ߒ‫⺆⸒ޔ‬ಽᨆߦ߅ߌࠆ‫⑼ޟ‬ቇ㧛 ቇ ⓥ ⊛ ஜ ో ߐ (scientific/academic soundness)‫ ⹥ ߇ ޠ‬ᒰ ߔ ࠆ ‫ ޕ‬㜞 ᧁ (2009, p.133)ߢ ߪ ‫ޔ‬↰ ਛ࡮૒ ⮮࡮㒙 ㇱ (2006, p. 67, 103) ߩ‫ ޟ‬೨ ⟎ ⹖ ߩ ࠬ ࠠ ࡯ ࡑ ‫ޔ ߇ޠ‬ᢎ ⢒ ⊛ ஜ ో ߐ ߣ ⸒ ⺆ ቇ⊛ஜోߐߩਔᣇࠍḩߚߒߡ޿ࠆน⢻ᕈ߇㜞޿‫ޟ‬ℂᗐ⊛ߥᢎ᧚‫᦭ߩޠ‬ജ୥⵬ߢ޽ࠆߣㅀߴࠄ ࠇ ߡ ޿ ࠆ ‫ޔ ߚ ߹ޕ‬‫ ޟ‬ᢎ ⢒ ⃻ ႐ ߦ ߅ ޿ ߡ ߪ‫ ⺆ ⸒ ޡ‬ቇ ⊛ ஜ ో ߐ ‫ޢ‬‫ ⑼ ޡ‬ቇ ⊛ ᅷ ᒰ ᕈ ‫ ޡ߽ ࠅ ࠃޢ‬ᢎ⢒⊛ஜోߐ‫ޢ‬‫ ޡ‬ታ ↪ ᕈ ‫ ߇ޢ‬㊀ ⷐ ߢ ޽ ࠆ ‫ ߁ ޿ ߣޠ‬ὐ ߇ ᒝ ⺞ ߐ ࠇ ߡ ޿ ࠆ㧔 㜞 ᧁ , 2009, p. 134㧕‫ޕ‬ ߹ߚ‫ߦߢ߹ࠇߎޔ‬ㅀߴߡ߈ߚ⸒⺆ߩ‫ޟ‬ᗧ๧⺰‫⊛ޠ‬஥㕙ߦ⌕⋡ߒߚࠕࡊࡠ࡯࠴ߩᅷᒰᕈߦ 㑐 ߒ ߡ ߽ ‫ޔ‬ᘕ ㊀ ߦ ߺ ߡ ޿ ߊ ߴ ߈ ߣ ߔ ࠆ ┙ ႐ ߽ ޽ ࠆ ‫ ᧻ޕ‬੗ (2012, p. 92) ߪ ‫ޔ‬‫ޠࠫ࡯ࡔࠗޟ‬‫ޠࠣࡦ࡝࡯ࠖࡈޟ‬‫ ޟ‬ᗵ ⷡ ‫ ࠆ ߌ ߆ ߃ ⸷ ߦޠ‬ᢥ ᴺ ᜰ ዉ ߇ ౒ ㅢ ߒ ߡ ᦭ ല ߢ ޽ ࠆ ߽ ߩ ߣ ߒ ߡ ਅ ⸥ ࠍ᜼ ߍ ࠆ : (i) have, get, give, put, make ߥ ߤ ߩ ޿ ࠊ ࠁ ࠆ ‫ ޟ‬ၮ ᧄ േ ⹖ ‫( ޔޠ‬ii) in, at, on, out, overߥ ߤ ߩ ‫ ޟࠆ ࠁ ࠊ ޿ޔ‬೨ ⟎ ⹖ ‫ ޟߪ ߚ ߹ޠ‬ਇ ᄌ ൻ ⹖ ‫ ࠆ ࠃ ߦޠ‬ⓨ 㑆 ⴫ ⃻ ‫ ޟߪ ࠄ ࠇ ߎޔ ߡ ߒ ߘޕ‬ᗧ

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ᨋ ᥓᤘ๧ ⺰ ‫ ᦭ ߡ ޿ ߅ ߦޠ‬ല ߢ ޽ ࠆ ߇ ‫ޔ‬‫ ⺑ ߥ ߁ ࠃ ࠆ ߆ ࠊޔ ߩ ߼ ߚ ࠆ ߥ ߦ ߁ ࠃ ࠆ ߈ ߢ ޟ‬᣿ ⸥ ㅀ ‫⼾ ߇ޠ‬ንߢ޽ࠆ߽ߩߩ‫⸥ࠍߡోߢߌߛޠࠕࠦޟߩߘޔ‬ㅀߢ߈ࠆࠊߌߢߪߥ޿‫߁޿ߣޔ‬໧㗴ὐ߇޽ ࠆ ߣ ᜰ ៰ ߔ ࠆ 4‫ ߩ ߎ ޕ‬ᜰ ዉ ᣇ ᴺ ߇ ᦭ ↪ ߣ ߥ ࠆ ႐ 㕙 ߇ ሽ ࿷ ߔ ࠆ ߎ ߣ ߪ ⹺ ߼ ߟ ߟ ߽ ‫ߩ ߘ ޔ‬ቇ⠌ߦ㓙ߒߡߪᣣᧄ⺆ߦࠃࠆ⺑᣿߇ᔅⷐߣߥࠆߣㅀߴߡ޿ࠆ‫⺆⧷ޔߡߒߘޕ‬Უ⺆⹤⠪ߩ‫ޠࠫ࡯ࡔࠗޟ‬‫ޠࠣࡦ࡝࡯ࠖࡈޟ‬‫ ޟ‬ᗵ ⷡ ‫ ⺆ ⸒ ࠍޠ‬ൻ ߔ ࠆ ߚ ߼ ߦ ߪ ‫ ࠍ ࠄ ࠇ ߘޔ‬વ ߃ ࠆ ߚ ߼ ߩ‫ߎ ޟ‬ߣ ߫ ߦ ࠃ ࠆ ⸥ ㅀ ‫ ♖ ߩ ⺑ ⸃ ޔ‬ᐲ ࠍ 㜞 ߼ ࠆ 㧔 ᧻ ੗ , 2012, p. 98㧕‫ ޠ‬ᔅ ⷐ ߇ ޽ ࠆ ߩ ߢ ߪ ߥ ޿ ߆ ‫ޔ‬ߣឭ⿠ߒߡ޿ࠆ‫ޕ‬ᧄ⎇ⓥߩ᭎ⷐ⎇ⓥ⺖㗴 ਄ߢㅀߴߚ⢛᥊߆ࠄ‫⺆⧷ޔ‬ᢎ⢒ߦ߅ߌࠆᗧ๧⺰⊛஥㕙ߩዉ౉ߦ㑐ߒ‫ޔ‬ਅ⸥ 2 ὐߩᬌ⸛ߔ ߴ ߈ ὐ ߇ ᜼ ߍ ࠄ ࠇ ࠆ : (i) ᗧ ๧ ⺰ ⊛ ஥ 㕙 ߩ ዉ ౉ ࠍ ⴕ ߁ ᗧ ⟵ ࡮ ᦭ ല ᕈ 㧔 cf. ᧻ ੗ , 2012㧕‫ޔ‬(ii) ⸒ ⺆ ℂ ⺰ ߦ ၮ ߠ ߊ ᢎ ᧚ ߣ ߒ ߡ ߩ ‫ ޟ‬ᢎ ⢒ ⊛ ஜ ో ߐ ‫( ޠ‬cf. 㜞 ᧁ , 2009)‫ ޕ‬એ ਄ ࠃ ࠅ ‫ ޔ‬ᢥ ᴺ
ᜰ ዉ ߦ ߅ ߌ ࠆ ᗧ ๧ ⺰ ⊛ ஥ 㕙 ߩ ዉ ౉ ߩ ല ᨐ ࠍ ត ࠆ ߚ ߼ ‫ ޔ‬એ ਅ ߩ ⎇ ⓥ ⺖ 㗴 (1) ࠍ ⸳ ቯ ߒ ߚ ‫ޕ‬(1) ᗧ ๧ ⺰ ⊛ ࠕ ࡊ ࡠ ࡯ ࠴ ߩ ዉ ౉ ߪ ‫ ߥ ߁ ࠃ ߩ ߤ ޔ‬ᢎ ⢒ ⊛ ᗧ ⟵ ߣ ᦭ ല ᕈ ࠍ ᜬ ߟ ߩ ߆ ‫ޕ‬ ᧄ⎇ⓥߢߪ‫⺆⸒ޔ‬ᄌൻߩᗧ๧⺰⊛஥㕙ߦ㑐ࠊࠆᕈ⾰ߩ߁ߜ‫⺆⸒ޟ‬ᄌൻ‫ࠍޠ‬ขࠅ਄ߍ‫ޔ‬ᢥ ᴺ ᜰ ዉ ߦ ߅ ޿ ߡ ዉ ౉ ߔ ࠆ ᝼ ᬺ ታ 〣 ଀ ࠍ ႎ ๔ ߒ ‫ޔ‬ᗧ ๧ ⺰ ஥ 㕙 ࠍ ᢎ ᝼ ߔ ࠆ ᗧ ⟵㧔‫ ޟ‬ᢎ ⢒ ⊛ ஜో ߐ ‫ ࠍ ޠ‬฽ ߻ 㧕 ࠍ ⠨ ኤ ߔ ࠆ ‫ ޕ‬ታ 〣 ߦ ߅ ޿ ߡ ߪ ‫ ⺆ ⸒ ޟޔ‬ᄌ ൻ ‫ ߦ ޠ‬㑐 ࠊ ࠆ ‫ ޟ‬ᢥ ᴺ ൻ ‫ޔ ߣ ⽎ ⃻ ޠ‬ߘ ߩ ⸒ ⺆ ቇ ⊛ ․ ⾰ ࠍ ዉ ౉ ߔ ࠆ ‫ ޕ‬ᢥ ᴺ ൻ ࠍ ᛒ ߁ ℂ ↱ ߣ ߒ ߡ ‫ ޔ‬ਅ ⸥ ߩ ⇼ ໧ (2) ߇ ޽ ࠆ ‫ޕ‬(2) േ ⹖ go ߩ be going to, be gonna ߳ ߩ ᢥ ᴺ ൻ ߦ ߪ ‫ ᧄ ޔ‬േ ⹖ ߆ ࠄ ⃻ ࿷ ㅴ ⴕ ᒻ ‫ᧂ ߦ ࠄ ߐ ޔ‬᧪ ᒻ ߳ ߩ ຠ ⹖ ⊛ ․ ⾰ ߩ ᄌ ൻ ‫ޔ‬ౣ ಽ ᨆ ‫ޔ‬㖸 㖿 ❗ ⚂ ߣ ޿ ߞ ߚ ㊀ ⷐ ߥ ⸒ ⺆ ᄌ ൻ ߩ ․ ᓽ ߇ ߺ ࠄࠇ ࠆ ‫ ଀ ޕ‬ᢥ a, b, c ࠍ ଀ ␜ ߒ ‫ ޔ‬એ ਄ ߩ ᗧ ๧ ⺰ ⊛ ․ ⾰ ࠍ ᢎ ᝼ ߔ ࠆ ߎ ߣ ߦ ࠃ ߞ ߡ ‫ ↪ ޔ‬ᴺ ߩᏅ ⇣ ߩ ߺ ߦ ⇐ ߹ ࠄ ߕ ‫ ⺆ ⸒ޔ‬ᄌ ൻ ߦ ኻ ߔ ࠆ ℂ ⸃ ࠍ ଦ ㅴ ߔ ࠆ ߎ ߣ ߇ น ⢻ ߣ ߥ ࠆ ߩ ߢ ߪ ߥ ޿

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬߆‫ޕ‬a. I am going to marry Bill.
b. I am going to go to London.
c. I’m gonna go to London.

ᧄ ⎇ ⓥ ߢ ߪ ‫ޔ‬േ ⹖ go ߩ ᢥ ᴺ ൻ ࠍ ␜ ߔ ଀ ᢥ a, b, c ࠍ ⺞ ᩏ 㗄 ⋡ ߣ ߒ ‫ ⵍޔ‬㛎 ⠪ ࠍ ⛔ ೙ ⟲࡮ታ 㛎⟲ߦಽߌߡ⺞ᩏࠍⴕߞߚ‫ߩߘޕ‬ዉ౉ࠍ฽߼‫ޔ‬ታ㛎⟲ߦ߅ߌࠆ⻠⟵ߦ߅޿ߡ↪޿ࠄࠇߚ⾗ᢱ ߪ Appendix ࠍ ෳ ᾖ ߐ ࠇ ߚ ޿ ‫ ⾗ޕ‬ᢱ ਛ ߩ ᒁ ↪ ᢥ ₂ ߪ ‫ޔ‬ታ 㓙 ߩ ⻠ ⟵ ߦ ߅ ޿ ߡ ߪ ㈩ ઃ ⾗ ᢱ ߦߡឭ␜ߐࠇߚ߇‫⺰ᧄޔ‬ᢥߢߪ‫ޟ‬ෳ⠨ᢥ₂‫ߦޠ‬෼㍳ߐࠇߡ޿ࠆ‫ޕ‬⎇ⓥኻ⽎⠪ ෳ ട ⠪ ߪ ‫ޔ‬㑐 ⷏ ߩ ⑳ ┙ ᄢ ቇ㧔 4 ᐕ ೙ 㧕ߩ ਥ ߦ 2 ᐕ ↢ ߩ ℂ ♽ ቇ ↢ 31 ฬ ߢ ޽ ࠆ ‫ ⺞ޕ‬ᩏ ߪ ╩⠪߇ᜂᒰߔࠆᔅୃߩࠢ࡜ࠬߦ߅޿ߡታᣉߐࠇߚ‫⑼ޔߪࠬ࡜ࠢޕ‬ቇ⧷⺆⺰ᢥࠍ⺒⸃ߔࠆ਄ߢ‫ޔ‬ᔅⷐߣߥࠆ⢻ജߩ⠌ᓧࠍ⋡⊛ߣߒߡ߅ࠅ‫ޔ‬ฃ⻠↢߇⧰ᚻߣߔࠆ⧷ᢥ⺒⸃ߦ㓙ߒߡ᳞߼ࠄࠇࠆᢥᴺ㗄⋡‫⺆ޔ‬ᒵ㗄⋡ߥߤߩ✚ว⊛ߥᜰዉ߇ᔅ㗇ߢ޽ࠆ‫ޕ‬ฃ⻠↢ߩ࡟ࡌ࡞ߦ㑐ߒߡߪ‫ޔ‬ቇౝ⹜㛎ߦࠃࠅ⧷⺆ࠍ⧰ᚻߣߔࠆቇ↢߇㓸߹ߞߡ߅ࠅ‫ޔ‬೔㆐⋡ᮡߣߒߡ‫⺆⧷ޟ‬ᬌ
ቯ 3 ⚖ ‫ ޔ‬TOEIC ߦ ߅ ߌ ࠆ 350ޯ 400 ⒟ ᐲ ࠍ ₪ ᓧ ߔ ࠆ ⧷ ⺆ ജ ߩ ⠌ ᓧ ‫ ⸳ ߇ ޠ‬ቯ ߐ ࠇ ߡ ޿ ࠆ 5 ‫ޕ‬ᧄ⎇ⓥߢߪ‫ޔ‬ห৻࡟ࡌ࡞ߩ⧷⺆ജࠍ߽ߟቇ↢߇ฃ⻠ߔࠆ 2 ࠢ࡜ࠬ㧔⻠⟵ౝኈߪห৻㧕ߩ߁ ߜ ‫ ޔ‬㧝 ߟ ࠍ ⛔ ೙ ⟲ 㧔 14 ฬ 㧕‫ ߁ ߽ ޔ‬㧝 ߟ ࠍ ታ 㛎 ⟲ 㧔 17 ฬ 㧕 ߣ ߒ ߡ ⺞ ᩏ ࠍ ⴕ ߞ ߚ ‫ޕ‬⎇ⓥᣇᴺ࡮⇐ᗧὐ ਄ ㅀ ߩ ࠢ ࡜ ࠬ ߦ ߅ ޿ ߡ ‫ ޔ‬ቇ ⠌ ⠪ ߦ go, be going to, be gonna ߩ ᢥ ᴺ ᜰ ዉ ࠍ ⴕ ޿ ‫ࠍ ᧪ ᧂ ޔ‬
⴫ ߔ will ߣ be going to ࠍ ↪ ޿ ߚ ⧷ ૞ ᢥ ࠍ ⴕ ߞ ߚ ᓟ ‫ ⋧ޔ‬੕ ߦ ⼏ ⺰ ࠍ ⴕ ߁ ᵴ േ ࠍ ⴕ ޿ ‫ ᦨޔ‬ᓟߦ᝼ᬺ߳ߩᗵᗐࠍ⥄↱⸥ㅀߔࠆࠕࡦࠤ࡯࠻ࠍታᣉߒߚ‫ޔߒߛߚޕ‬ᵴേߦ㓙ߒߡߪ‫⺆⸒ޔ‬
ቇℂ⺰ߩ⍮⷗ࠍዉ౉ߔࠆߎߣߩᗧ⟵ࠍᬌ⸛ߔࠆߚ߼‫⛔ޔ‬೙⟲࡮ታ㛎⟲ߦߪ‫ޔ‬એਅߦㅀߴ
ࠆᏅ⇣ࠍ⸳ߌߚ‫ౕޕ‬૕⊛ߦߪᰴ▵ߦ߅޿ߡㅀߴࠆ߇‫⛔ޔ‬೙⟲ߦߪ‫⺆⸒ޟ‬ᄌൻ‫ߦޠ‬㑐ࠊࠆ

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ᨋ ᥓᤘ⸒ ⺆ ቇ ⊛ ⢛ ᥊ ߣ ߒ ߡ ߩ‫ ޟ‬ᢥ ᴺ ൻ ℂ ⺰ ‫ ⺑ ߩޠ‬᣿ ࠍ ⴕ ࠊ ߕ ‫ޔ‬ᢥ ᴺ 㗄 ⋡ ߣ ߒ ߡ ᧂ ᧪ ࠍ ⴫ ߔ will,
be going to ߩ ዉ ౉ ߩ ߺ ࠍ ⴕ ߞ ߚ ‫ ৻ޕ‬ᣇ ‫ޔ‬ታ 㛎 ⟲ ߦ ߪ ‫ޔ‬‫ ⺆ ⸒ ޟ‬ᄌ ൻ ‫ ⷰ ߩޠ‬ὐ ߆ ࠄ ዉ ౉ ࠍ ⴕ ޿ ‫ޔ‬ߘ ߩ ߭ ߣ ߟ ߣ ߒ ߡ േ ⹖ go ߆ ࠄ ᧂ ᧪ ᮡ ⼂ be going to, be gonna ߳ ߩ ᢥ ᴺ ൻ ࠍ ⚫ ੺ ߒ ߚ ‫ߘ ޕ‬ߩᓟ‫⛔ޔ‬೙⟲ߣห᭽ߩᚻ㗅ߦߡ⧷૞ᢥࠍⴕߞߚ‫ޕ‬ಽᨆߣ⠨ኤߪ‫⧷ޔ‬૞ᢥ‫ߩ⟵⻠ޔ‬ᗵᗐߥߤ ࠍ ⸥ タ ߔ ࠆ ࠦ ࡔ ࡦ ࠻ ࠪ ࡯ ࠻ ߦ ߅ ߌ ࠆ ⸥ ㅀ ࠍ ኻ ⽎ ߦ ⴕ ࠊ ࠇ ߚ 6‫ޕ‬
 ߥ߅‫⺞ޔ‬ᩏᣇᴺߦߪ‫ޔ‬㊂⊛࡮⾰⊛ߥࠕࡊࡠ࡯࠴߇⠨߃ࠄࠇࠆ߇‫⎇ᧄޔ‬ⓥߢߪ‫ߥ⊛⾰ޔ‬⹏ ଔ ߩ ߺ ߇ ⴕ ࠊ ࠇ ߚ ‫ ޕ‬೨ ㅀ ߒ ߚ Boers and Demecheleer (1998) ߪ ‫ ޔ‬beyond ߩ Ყ ༙ ⊛ ↪ ᴺࠍ฽߻࠹ࠢࠬ࠻ਛߩᢥࠍ⠡⸶࡮⸒޿឵߃ߐߖࠆߣ޿߁⺒⸃ℂ⸃⺖㗴ࠍታᣉߒ‫⚿ߩߘޔ‬ᨐࠍಽᨆߒߡ޿ࠆ߇‫ߥ߁ࠃߩߘޔ‬ቯ㊂⊛⹏ଔࠍⴕߞߡ޿ߥ޿‫ޕ‬ℂ↱ߣߒߡ‫ⵍޔ‬㛎⠪ߩ⺒⸃ജ‫ޔ‬ᢥᴺ੐㗄ߩቯ⌕ᐲߥߤࠍ⠨ᘦߒߚ਄ߢⴕࠊࠇߚ⃻ታ⊛ߥ‫ޟ‬᝼ᬺ⸳⸘‫߁޿ߣޠ‬ㆇ༡਄ߩ ໧ 㗴 ὐ ߇ ᜼ ߍ ࠄ ࠇ ࠆ ‫ ⵍޕ‬㛎 ⠪ ߣ ߥ ࠆ ฃ ⻠ ↢ ߪ ో ૕ ⊛ ߦ ⧷ ⺆ ࠍ ⧰ ᚻ ߣ ߒ ߡ ߅ ࠅ ‫ޔ‬be going
to, will ߩ ඙ ೎ ࠍ ቇ ߱ એ ೨ ߦ ୃ ᓧ ߒ ߡ ߅ ߊ ߴ ߈ ቇ ⠌ 㗄 ⋡ ߦ 㑐 ߒ ߡ ߽ ቇ ⠌ ߇ ᔅ ⷐ ߣ ߐ ࠇ ࠆ ‫ޕ‬߹ߚ‫ޔ‬ᔅୃ⑼⋡ߣ޿߁․⾰߆ࠄ‫ޔ‬ᔅߕߒ߽ోߡߩฃ⻠⠪߇㜞޿ቇ⠌ᗧ᰼ࠍ᦭ߒߡ޿ࠆߣߪ 㒢 ࠄ ߥ ޿ 7‫ ޔ ߼ ߚ ߩ ߘ ޕ‬᝼ ᬺ ߦ ߅ ޿ ߡ ߪ ‫ ޟ‬ᢥ ᴺ ੐ 㗄 ࠍ વ ߃ ࠆ ‫߳ ⺆ ⧷ ޔ ߽ ࠅ ࠃ ߁ ޿ ߣ ޠ‬ߩ⥝๧࡮㑐ᔃߩ༐⿠ߦ㊀߈߇⟎߆ࠇߚ‫ޕ‬ એ਄ࠃࠅ‫ޔ‬ᢥᴺ੐㗄ߩቯ⌕ᐲࠍ⹜㛎ߩᓧὐߦࠃࠅ᷹ࠆ⺞ᩏࠍㅢߒߡߪ‫ߩઁޔ‬ᢥᴺ੐㗄ߩୃᓧᅤ૗ߦࠃࠆᓇ㗀߇಴ߡߒ߹߁ߎߣ߇੍ᗐߐࠇ‫⎇ᧄޔ‬ⓥ߇⺞ᩏኻ⽎ߣߔࠆ‫⺆⸒ޟ‬ℂ⺰ߩዉ౉ߦࠃࠆᓇ㗀‫ࠍޠ‬ᱜ⏕ߦ᷹ቯߢ߈ߥ޿น⢻ᕈ߇㜞޿‫ޕ‬ᓥߞߡ‫⺞ޔ‬ᩏߦ߅޿ߡߪࠕ
ࡦࠤ࡯࠻↪⚕ࠍ↪޿ߡ⥄↱⸥ㅀࠍⴕ߁ߎߣߣߒ‫ߩߘޔ‬ౝኈࠍ⾰⊛ߦᬌ⸛ߒߡ޿ߊ‫ޕ‬

᝼ᬺᣇᴺ࡮ౝኈ ᧄ▵ߢߪ‫ޔ‬ታ㛎⟲࡮⛔೙⟲ߦ߅޿ߡታᣉߒߚ᝼ᬺࠍ᭎ⷰߔࠆ‫ޕ‬ ⛔ ೙ ⟲ ߦ ߅ ޿ ߡ ߪ ‫ ⺆ ⸒ ޟޔ‬ᄌ ൻ ‫ ޟޠ‬ᢥ ᴺ ൻ ‫ ৻ ߪ ⪲ ⸒ ߁ ޿ ߣ ޠ‬ಾ ↪ ޿ ߕ ‫ ᧪ ᧂ ޔ‬ᮡ ⼂ ࠍ ⴫ ߔᴺ ഥ േ ⹖ will ߣ be going to ߦ 㑐 ߔ ࠆ ᢥ ᴺ ᜰ ዉ ࠍ ⴕ ߞ ߚ 8 ‫ ߩ ߘޕ‬ᓟ ‫(ޔ‬i) ⧷ ૞ ᢥ ࠍ ⴕ ޿ ‫(ޔ‬ii)
๟࿐ߩฃ⻠↢ߣߩ࠺ࠖࠬࠞ࠶࡚ࠪࡦࠍㅢߒߡ⋧੕ߦࡈࠖ࡯࠼ࡃ࠶ࠢࠍⴕ޿‫⻠ޔ‬Ꮷߩ⊒໧ࠍ ੤ ߃ ߡ ⻠ ⹏ ߇ ߥ ߐ ࠇ ߚ ‫ ᦨ ޕ‬ᓟ ߦ ‫( ޔ‬iii) ࠦ ࡔ ࡦ ࠻ ࠪ ࡯ ࠻ ߦ ✚ ว ᗵ ᗐ ࠍ ⸥ ౉ ߒ ߚ ‫ޕ‬

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬ ৻ ᣇ ‫ޔ‬ታ 㛎 ⟲ ߢ ߪ ‫ ߕ ߹ޔ‬ዉ ౉ ߣ ߒ ߡ ‫ޔ‬‫ ⺆ ⸒ ޟ‬ᄌ ൻ ‫ ߩ ⺆ ⧷ޔ ߡ ޿ ߟ ߦޠ‬ᓇ 㗀 ߆ ࠄ ‫ޔ‬ᣣ ᧄ ⺆ߦ ߅ ޿ ߡ‫ޠ ߁ ߥ ޟ‬‫ ߩ ߤ ߥޠ ߕ ࠊ ޟ‬ᣂ ⺆ ߇ ⺀ ↢ ߒ ߚ ߎ ߣ ࠍ ‫ޔ‬ฃ ⻠ ↢ ߳ ߩ ⊒ ໧ ߣ ᧼ ᦠ ߦ ࠃ ࠅ ขࠅ ਄ ߍ ߚ ‫ ߩ ߘޕ‬ᓟ ‫ޔ‬Appendix ߩ ଀ ᢥ (1)(2)(3)ߦ ࠃ ࠅ ਅ ⸥ ߩ ࡊ ࡠ ࠮ ࠬ (3)Ԙ ԙ Ԛ ࠍ ⸃ ⺑ ߒ ߚ :(3) Ԙ to ਇ ቯ ⹖ ฏ ߇ ᧂ ᧪ ߩ ߎ ߣ ࠍ ᜰ ߔ ߚ ߼ I am going to marry Bill. ߩ ࠃ ߁ ߥ ᢥ ߢ ‫ ޔ‬begoing to ߇ ᧂ ᧪ ߩ ᗧ ๧ ࠍ ᜬ ߟ ࠃ ߁ ߦ ߥ ߞ ߚ ‫ޕ‬ԙ going to ߦ ⛯ ߊ േ ⹖ ߇ I’m going to like Bill.߿ I am going to go to London.ߩ ࠃ ߁ ߦ ‫ޔ‬‫ࠆߥ⇣ߪߣ㉼⸃ߩޠ⊛⋡ޟ‬ᢥ⣂ߢ↪޿ࠄࠇࠆࠃ߁ߦߥߞߚ‫ޕ‬ Ԛ -ing ߣ to ߩ 㑆 ߦ ‫ ޔ‬ฏ ߩ Ⴚ ⇇ ✢ ߇ ߥ ߊ ߥ ߞ ߚ 9 ‫ޕ‬ߘ ߩ ᓟ ‫ޔ‬ᢥ ᴺ ൻ ߩ ᭽ ‫ ߥ ޘ‬੐ ଀ ࠍ ⚫ ੺ ߒ ‫ ߔ ⴫ ࠍ ᧪ ᧂޔ‬will ߣ be going to ߪ ‫ޔ‬ᱧ ผ ⊛ ߥ ⿠ Ḯ߽ ⊒ ㆐ ߩ ࡊ ࡠ ࠮ ࠬ ߽ ⇣ ߥ ࠆ ߎ ߣ ࠍ ㅀ ߴ ߚ ‫ ޕ‬ห ߓ ‫ ޔ ߽ ߡ ߞ ޽ ߢ ⃻ ⴫ ߔ ⴫ ࠍ ޠ ᧪ ᧂ ޟ‬will ߦߪ ⹤ ߒ ᚻ ߩ ᗧ ᔒ ߇ ᛩ ᓇ ߐ ࠇ ‫ޔ‬ኻ ߒ ߡ going to ߦ ߪ ቴ ⷰ ⊛ ߥ ੐ ታ ࠍ ㅀ ߴ ࠆ ߣ ߈ ߦ ↪ ޿ ࠄ ࠇࠆ ߣ ㅀ ߴ ߚ㧔 cf. 㑐 , 2008, pp. 65-70㧕10 ‫ ߩ ߘޕ‬ᓟ ‫ ⛔ޔ‬೙ ⟲ ߦ ߅ ޿ ߡ ⴕ ߞ ߚ (i) ⧷ ૞ ᢥ ‫(ޔ‬ii)๟ ࿐ ߣ ߩ ⼏ ⺰ ‫( ޔ‬iii)㧔 ⻠ ⟵ ߩ ᦨ ᓟ ߦ ⸥ ౉ ߒ ‫ ޔ‬ឭ ಴ ߐ ࠇ ߚ 㧕 ✚ ว ᗵ ᗐ ߩ ⸥ ౉ ‫ ߩ ޔ‬૞ ᬺ ࠍ ⴕ߁ ೨ ߦ ‫ ⺆ ⸒ ޟޔ‬ᄌ ൻ ‫ ⷰ ߁ ޿ ߣ ޠ‬ὐ ߆ ࠄ ‫ ޔ‬ᢥ ᴺ ൻ ⃻ ⽎ ߣ ߒ ߡ will, be going to ߩ ᱧ ผ ⊛ ߥ ᚑ┙ࠍ⚫੺ߒߚ‫↪ߔ⴫ࠍ᧪ᧂޔߡߒߘޕ‬ᴺߩ᫮ߺಽߌ߇ⴕࠊࠇߡ޿ࠆℂ↱ߩ⢛ᓟߦߪ‫ޔ‬ᱧผ⊛ߥᚑ┙߇ⷐ࿃ߣߒߡ㑐ࠊߞߡ޿ࠆߣ޿߁ⷞὐࠍឭ␜ߒߚ‫ޕ‬ ߥ߅‫ޔ‬ਔࠢ࡜ࠬߦ߅޿ߡߪห৻ߩ⻠⟵ࠍⴕ߁ᔅⷐ߇޽ࠆߣ⠨߃‫ޔ‬ᓟᣣ‫⛔ޔ‬೙⟲ߦ߅޿ߡ ߽ ห ᭽ ߩ ౝ ኈ ߩ ⻠ ⟵ ߇ ⴕ ࠊ ࠇ ߚ ߎ ߣ ࠍ ઃ ⸥ ߒ ߡ ߅ ߊ 11 ‫ޕ‬

ಽᨆߣ⠨ኤ
⺞ᩏߩ⚿ᨐ
 ߎߎߢߪ‫⛔ޔ‬೙⟲‫ޔ‬ታ㛎⟲ߦ߅ߌࠆⵍ㛎⠪ߩ᭽ሶߩ᭎ⷐࠍ⸥ߔ‫⛔ޔߕ߹ޕ‬೙⟲ߢߪ‫ޔ‬ታ㛎⟲ߣᲧセߒߡ‫ߩࠬ࡜ࠢޔ‬㔓࿐᳇߅ࠃ߮࠺ࠖࠬࠞ࠶࡚ࠪࡦߪ᭎ߒߡᖡߊᗵߓࠄࠇ‫ޔ‬ㅌዮ ߐ ࠍ ᗵ ߓ ߐ ߖ ࠆ ࠦ ࡔ ࡦ ࠻ ߇ ߺ ࠄ ࠇ ߚ ߩ ߇ ․ ᓽ ߢ ޽ ࠆ ‫ޕ‬ឭ ಴ ߐ ࠇ ߚ ⧷ ૞ ᢥ ߪ න ⚐ ൻ ߐ ࠇ ‫ޔ‬

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ᨋ ᥓᤘ

ⶄ㔀ߥᢥᴺ㗄⋡ࠍ↪޿ࠄࠇߡ߅ࠄߕࡒࠬߪዋߥ߆ߞߚ‫ޕ‬ ৻ᣇ‫ޔ‬ታ㛎⟲ߦ߅޿ߡߪ‫ޔ‬ฃ⻠↢ߦߪ⥝๧ᣰ⋓ߥ᭽ሶ߇ᗵߓࠄࠇ‫ࡦ࡚ࠪ࠶ࠞࠬࠖ࠺ޔ‬߽೨ะ߈ߦⴕࠊࠇᵴ⊒ߥ᭽ሶ߇ߺࠄࠇߚ‫ޕ‬ឭ಴ߐࠇߚ⧷૞ᢥߦ߅޿ߡߪ‫ޔ‬೽⹖ߥߤࠍ↪
޿ߚഃᗧᎿᄦ߇ߺࠄࠇߚ৻ᣇ‫ޔ‬ᢥᴺߩࡒࠬ߇ᢔ⷗ߐࠇߚ‫ߩ⺆⸒ޕ‬േ⊛ߥ஥㕙߳ߩ⥝๧࡮㑐ᔃ߇ᷓ߹ߞߚ᭽ሶ߇ᗵߓࠄࠇߚ৻ᣇߢ‫⺆⸒ޔ‬ᄌൻ‫ޔ‬ᢥᴺൻߣ޿߁᭎ᔨߩዉ౉߇‫ޔ‬ฃ⻠↢ߩᷙੂࠍ᜗޿ߚ߽ߩߣ੍ᗐߐࠇࠆ‫ޕ‬ ᰴ▵߆ࠄ‫⛔ޔ‬೙⟲࡮ታ㛎⟲ߩߘࠇߙࠇߦ㑐ߒߡ‫⚿ޔ‬ᨐࠍឭ␜ߒ‫ޔ‬ಽᨆߣ⠨ኤࠍⴕ߁‫ޕ‬ᰴ ▵ ߦ ߡ ⛔ ೙ ⟲ ‫ ߡ ޿ ⛯ ޔ‬ታ 㛎 ⟲ ߦ ߟ ޿ ߡ ‫( ޔ‬i) ⧷ ૞ ᢥ ‫( ޔ‬ii) ๟ ࿐ ߣ ߩ ⼏ ⺰ ‫( ޔ‬iii)㧔 ⻠ ⟵ ߩᦨ ᓟ ߦ ⸥ ౉ ߒ ‫ޔ‬ឭ ಴ ߐ ࠇ ߚ 㧕✚ ว ᗵ ᗐ ‫ ߥ ⚦ ⹦ ߩޔ‬ಽ ᨆ ࠍ ⴕ ߁ ‫ ⺞ޕ‬ᩏ ߦ ߅ ޿ ߡ ߪ ‫(ޔ‬iii) ߩઁߦ‫߮ࠃ߅ࡦ࡚ࠪࠢ࠳ࡠ࠻ࡦࠗޔ‬ฦ૞ᬺ㧔⧷૞ᢥ‫ޔ‬๟࿐ߣߩ⼏⺰㧕ߩ⋥ᓟߦ◲නߥᗵᗐߣࠦࡔࡦ࠻ࠍ⸥౉ߒߡ߽ࠄߞߚ߇‫߽ࠄࠇߘޔ‬ಽᨆኻ⽎ߣߔࠆ‫ޕ‬એਅߢߪ‫࡯ࠪ࠻ࡦࡔࠦޔ‬࠻ߦ⸥タߐࠇߚᣣᧄ⺆ߩᗵᗐᢥ‫⧷ޔ‬૞ᢥࠍᒁ↪ߔࠆߎߣ߇޽ࠆ߇‫ޔ‬ᣣᧄ⺆ߩ⺋⸥ߥߤߦ㑐ߒߡߪ‫ޔ‬ᔅⷐߦᔕߓߡ╩⠪߇ୃᱜࠍⴕߞߚ‫ޕ‬⛔೙⟲ ߹ ߕ (i) ⧷ ૞ ᢥ ߦ 㑐 ߒ ߡ ‫ ⛔ ޔ‬೙ ⟲ ߢ ߪ ‫ ޔ‬ታ 㛎 ⟲ ߣ Ყ セ ߒ ߡ ᢥ ᴺ 㗄 ⋡ ߦ 㑐 ߔ ࠆ ⺋ ࠅ ߇ ዋߥߊ‫ᤨޟߦ․ޔ‬೙ࠍ⴫ߔ೽⹖⴫⃻‫߇ࠅ⺋ߩޠ‬ዋߥ޿⚿ᨐߣߥߞߚ㧔ߚߛߒ‫ᤨޟ‬೙ࠍ⴫ߔ೽ ⹖ ⴫ ⃻ ‫ ߚ ޿ ↪ ࠍޠ‬ቇ ↢ ߪ 4/14 ฬ ߢ ޽ ߞ ߚ 㧕‫ޕ‬‫ ◲ ޟ‬න ߛ ߞ ߚ ‫ ߁ ޿ ߣޠ‬ᗵ ᗐ ᢥ ߇ ޽ ߞ ߚ ‫߹ޕ‬ߚ‫⧷ޔ‬૞ᢥߢߪ‫⊒ޔ‬໧ߩ㓙ߦ‫ޔ‬એਅߩࠃ߁ߦන⚐ൻߐࠇߚ⧷૞ᢥ߇᜼ߍࠄࠇߚ‫ޕ‬(4) a. I am going to‫ ޟ‬႐ ᚲ ࠍ ⴫ ߔ ฬ ⹖ ‫( ޠ‬Tokyo, Osaka, Nagoya, China…).
b. I am going to 㧗 ‫ ޟ‬േ ⹖ ‫( ޠ‬run, eat, drink, play, sing…)‫ ޟ‬be going to㧗 േ ⹖ ‫ ߇ ޠ‬ㅴ ⴕ ᒻ ‫ ޟޔ‬be going to㧗 ฬ ⹖ ‫ ᧪ ᧂ ߪ ޠ‬ᒻ ߣ න ⚐ ൻ ߔ ࠆ ௑ ะ ߇ ߺ ࠄࠇ ߚ 12 ‫ ޕ‬ ᰴ ߦ ‫(ޔ‬ii) ๟ ࿐ ߣ ߩ ⼏ ⺰ ߦ 㑐 ߒ ߡ ߪ ‫ޔ‬‫⋧ޟ‬ᚻߦવ߃ࠆߚ߼ࠊ߆ࠅ߿ߔߊ߹ߣ߼ࠆ૞ᬺߢ

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬⥄ಽߩߎߣ߇޿ࠈ޿ࠈࠊ߆ࠆ‫ޠ‬‫ ߚ ߒ ⹤ ޟ‬ಽ ᗵ ᗐ ߩ ㊂ ߪ Ⴧ ߃ ߚ ‫ ߣޠ‬ᵴ േ ߩ ೑ ὐ ࠍ ㅀ ߴ ࠆ ⸥ ㅀߩ৻ᣇߢ‫ޔ‬ታ㛎⟲ߣᲧセߒߡ‫ޟ‬ᭉߒ޿‫߁޿ߣޠ‬ᗵᗐߪߺࠄࠇߥ߆ߞߚ‫ޔߚ߹ޕ‬๟࿐ߣ⼏⺰ ߔ ࠆ ߣ ޿ ߁ ᵴ േ ߩ ᗧ ⟵࡮ല ᨐ ߦ ኻ ߔ ࠆ ุ ቯ ⊛࡮ᛕ ್ ⊛ ᗵ ᗐ ߇ ߺ ࠄ ࠇ ߚ㧔 3 ฬ /14 ฬ 㧕13 ‫ޕ‬ (iii) ✚ ว ᗵ ᗐ ߦ 㑐 ߒ ߡ ߪ ‫ޔ‬‫ ޟ‬㔍 ߒ ߆ ߞ ߚ ‫ ߁ ޿ ߣޠ‬ᗵ ᗐ ᢥ ߇ ߥ ߊ ‫ޔ‬ታ 㛎 ⟲ ߣ Ყ セ ߒ ߡ‫ߎ ޟ‬ߩ ⧷ ૞ ᢥ ߪ ◲ න ߛ ߞ ߚ ‫ ⸥ ߁ ޿ ߣޠ‬ㅀ ߇ ⋡ ┙ ߟ㧔 4 ฬ /14 ฬ 㧕‫ ߩ ߘޕ‬ℂ ↱ ߣ ߒ ߡ ‫ޔ‬‫⺆⸒ޟ‬ᄌൻ‫ޠ‬‫ ޟ‬ᢥ ᴺ ൻ ‫ ⺆ ⸒ ߁ ޿ ߣ ޠ‬ቇ ⊛ ߥ ⍮ ⼂ ߩ ዉ ౉ ߇ ߥ ߆ ߞ ߚ ߎ ߣ ‫ ޔ‬will, be going to ߩ use, usageߦ 㑐 ߔ ࠆ ඙ ೎ ߩ ዉ ౉ ߪ ⴕ ࠊ ࠇ ߡ ޿ ߥ ޿ ߎ ߣ ‫ ߇ޔ‬᜼ ߍ ࠄ ࠇ ࠆ ‫ ߚ ߓ ⺰ ߢ ⟵ ⻠ޕ‬ᢥ ᴺ ੐ 㗄 ߇‫ᧂ ޟ‬᧪ ᮡ ⼂ ࠍ ⴫ ߔ ᴺ ഥ േ ⹖ will ߣ be going to‫ ߁ ޿ ߣ ޠ‬1 ὐ ߩ ߺ ߦ 㓸 ⚂ ߐ ࠇ ‫ ޔ‬ታ 㛎 ⟲ ߣ Ყ セ ߒߡ ‫ ޔ‬ฃ ⻠ ↢ ߦ ߣ ߞ ߡ ℂ ⸃ ߔ ࠆ ߎ ߣ ߇ ኈ ᤃ ߊ ᗵ ߓ ࠄ ࠇ ߚ ߩ ߢ ߪ ߥ ޿ ߆ ߣ ⠨ ߃ ࠄ ࠇ ࠆ 14 ‫ޕ‬ታ㛎⟲ ߹ ߕ (i) ⧷ ૞ ᢥ ߦ 㑐 ߒ ߡ ‫ ⛔ ޔ‬೙ ⟲ ߣ Ყ セ ߒ ߡ ᢥ ᴺ ਄ ߩ ࡒ ࠬ 㧔 ․ ߦ ೽ ⹖ ߦ 㑐 ߔ ࠆ ߽ ߩ 㧕߇ ⋡ ┙ ߞ ߚ 㧔 9 ฬ /17 ฬ 㧕‫ ޕ‬એ ਅ ߪ ‫ ޔ‬ឭ ಴ ߐ ࠇ ߚ ⧷ ૞ ᢥ ߩ ৻ ㇱ ࠍ ᛮ ☴ ߒ ߚ ߽ ߩ ߢ ޽ ࠆ 15 ‫ޕ‬(5) a. *I ride on a rocket and going to the space.
b. *I am going to study in English now.

c. *I am alone going to bed now.

(6) ? I am now going to go to London.

⛔ ೙ ⟲ ߦ ߅ ޿ ߡ ߪ ‫(ޔ‬4a, b) ߩ ࠃ ߁ ߦ න ⚐ ൻ ߐ ࠇ ߚ ⧷ ᢥ ߇ ᜼ ߍ ࠄ ࠇ ࠆ ௑ ะ ߇ ޽ ߞ ߚ ߇ ‫ޔ‬ታ㛎 ⟲ ߦ ߅ ޿ ߡ ߪ ‫( ޔ‬5) ߩ ࠃ ߁ ߦ ‫ ޔ‬೨ ⟎ ⹖ ‫ ޔ‬೽ ⹖ ⴫ ⃻ ߥ ߤ ࠍ ↪ ޿ ߚ ഃ ᗧ Ꮏ ᄦ ߇ ߺ ࠄ ࠇ ߚ ‫ޕ‬‫ ߔ ⴫ ࠍ ᧪ ᧂ ޟ‬be going to ߩ ଀߹ ߚ ‫(ޔ‬6) ߩ ૞ ଀ ߦ 㑐 ߒ ߡ ‫ ⾰ޔ‬໧ ߇ ฃ ⻠ ↢ ࠃ ࠅ ⴕ ࠊ ࠇ ߚ 16 ‫ޕ‬ᢥ ߦ now ࠍ ᝌ ౉ ߔ ࠆ ߎ ߣ ߦ ࠃ ߞ ߡ ౣ ಽ ᨆ ߩ ല ᨐ ࠍ ᶖ ᄬ ߐ ߖ ‫ޔ‬ᢥ ᴺ ൻ ߩ ㅴ ⴕ ࠍ ᱛ ߼ ࠆ ߎ ߣߪ ߢ ߈ ߥ ޿ ߩ ߛ ࠈ ߁ ߆ ‫ ࠆ ޽ ߢ ߩ ߽ ߁ ޿ ߣ ޠ‬17 ‫ޕ‬ ᰴ ߦ ‫( ޔ‬ii) ๟ ࿐ ߣ ߩ ⼏ ⺰ ߦ 㑐 ߒ ߡ ߪ ‫ ߣ ੱ ઁ ޟޔ‬ᗧ ⷗ ࠍ ಴ ߒ ว ߁ ߩ ߪ ᭉ ߒ ߆ ߞ ߚ ‫ ޟޠ‬๟ ࠅߩੱߣ⼏⺰ߒߡ‫⥄ޔ‬ಽߩ㑆㆑߃ߡ޿ߚන⺆߇ಽ߆ߞߡ⦟߆ߞߚ‫߁޿ߣޠ‬೨ะ߈ߥࠦࡔࡦ

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࠻߇ߺࠄࠇߚ‫ޕ‬⼏⺰ߩലᨐߦ㑐ߒߡߪ⛔೙⟲ߣห᭽ߩ⸥ㅀ߇ߺࠄࠇߚ߇‫ุޔ‬ቯ⊛ߥᗵᗐࠍㅀߴߚ⸥ㅀ߇
⊝ήߢ޽ߞߚߎߣߪ‫ޔ‬ਔ⠪ߩᵴ⊒ᕈ߇ᄢ߈ߊ⇣ߥࠆߣ޿߁੐ታࠍ␜ߔ‫ޕ‬ (iii) ✚ ว ᗵ ᗐ ߦ 㑐 ߒ ߡ ߪ ‫ ⛔ޔ‬೙ ⟲ ߣ Ყ セ ߒ ߡ‫ ◲ ޟ‬න ߛ ߞ ߚ ‫ ߁ ޿ ߣޠ‬ᗵ ᗐ ᢥ ߪ ⊝ ή ߢ ޽ࠅ‫⺆⸒ޔ‬ᄌൻߣ޿߁⸒⺆ቇ⊛஥㕙ߩዉ౉߇ⵍ㛎⠪ߩℂ⸃ߩ৻ഥߣߥࠄߕ‫ߡߞ߃߆ޔ‬ᷙੂࠍ᜗޿ߚ᭽ሶ߇ߺࠄࠇߚ‫ޕ‬ᰴ▵ߢߪ‫ߩߎޔ‬ὐߦ㑐ߒߡ⹦⚦ߥᬌ⸛ࠍⴕ߁‫ޕ‬ታ㛎⟲ߦ߅ߌࠆ‫⺆⸒ޟ‬ᄌൻ‫ޠ‬ዉ౉ߩᢎ⢒⊛ലᨐ ᧄ ▵ ߢ ߪ ‫ ޔ‬એ ਄ ߩ ⚿ ᨐ ࠍ 〯 ߹ ߃ ‫ ޔ‬Boers and Demecheleer (1998) ߩ 2 ߟ ߩ ⍮ ⷗ ߦ 㑐 ߒ ‫ޔ‬ታ㛎⟲ߦ߅޿ߡឭ಴ߐࠇߚᗵᗐᢥࠍၮߦ‫ޔ‬‫ ⺆ ⸒ ޟ‬ᄌ ൻ ‫ ޟߩޠ‬ᢥ ᴺ ൻ ‫ ࠍޠ‬ዉ ౉ ߒ ߚ ߎ ߣ ߦ ࠃࠆ ᢎ ⢒ ⊛ ല ᨐ ࠍ ⠨ ኤ ߔ ࠆ ‫ ౕޕ‬૕ ⊛ ߦ ߪ ‫ ࠆ ߥ ⇣ޔ ߕ ߹ޔ‬ᗧ ๧ ߩ 㑆 ߦ ሽ ࿷ ߔ ࠆ‫ ޟ‬᭎ ᔨ ࡝ ࡦ ࠢ ‫ޔޠ‬ߐࠄߦ‫ߩ⺆⸒ޟ‬ᗧ๧⺰⊛஥㕙ߩዉ౉‫ࠍޠ‬ᬌ⸛ߔࠆ‫ޕ‬ ᭎ ᔨ ࡝ ࡦ ࠢ  ╙ ৻ ߦ (i) ⧷ ૞ ᢥ ߦ 㑐 ߒ ߡ ‫ ⺞ ᧄޔ‬ᩏ ߢ ߪ ‫ ޔ‬᭎ ᔨ ࡝ ࡦ ࠢ ࠍ ⺞ ߴ ‫৻ ߩ ㉼ ⸃ޔ‬ഥ ߣ ߔ ࠆ ߎ ߣ ߦ ߪ ᄬ ᢌ ߒ ߚ ߣ ޿ ߃ ࠆ ‫ ޔ ߽ ߘ ߽ ߘ ޕ‬will, be going to ߩ ↪ ᴺ ߩ ᗧ ๧ ⺰ ⊛ Ꮕ ⇣ࠍឭ␜ߐࠇߡ޿ߥ޿⛔೙⟲ߦ߅޿ߡ߽⺋ࠅ߇ߺࠄࠇߚὐ߆ࠄ‫ޔ‬ዉ౉ߩᲑ㓏ߦ߅޿ߡਇㆡಾ ߥ ὐ ߇ ߺ ࠄ ࠇ ߚ น ⢻ ᕈ ߇ 㜞 ޿ ‫ ޔ ߦ ࠄ ߐ ޕ‬will, be going to ߩ ᗧ ๧ ⺰ ⊛ Ꮕ ⇣ ߩ ዉ ౉ ߇ ⴕ ࠊࠇߚታ㛎⟲ߦ߅޿ߡ‫⛔ޔ‬೙⟲ࠃࠅᄙߊߩ⺋ࠅ߇ߺࠄࠇߚߎߣ߆ࠄ‫⺆⸒ޟࠈߒ߻ޔ‬ᄌൻ‫ޠ‬‫ ޟ‬ᢥ ᴺ ൻ ‫ ߩ ޠ‬ዉ ౉ ߇ ‫ ࠍ ࠅ ⺋ ࠆ ߥ ࠄ ߐ ޔ‬᜗ ޿ ߚ ߽ ߩ ߣ ੍ ᗐ ߐ ࠇ ࠆ ‫( ޔ ߦ ․ ޕ‬7) ࠍ ઍ ⴫ ߔ ࠆᗵ ᗐ ᢥ ߆ ࠄ ߪ ‫ ⟵ ⻠ޔ‬ౝ ኈ ߦ ኻ ߔ ࠆ ⺋ ⸃ ߇ ߺ ࠄ ࠇ ࠆ ᗵ ᗐ ᢥ ߿ ‫ޔ‬‫ ⺆ ⸒ ޟ‬ᄌ ൻ ‫ ⷰ ߁ ޿ ߣޠ‬ὐ ߩ ዉ౉ ߇ ‫ ߡ ߞ ߃ ߆ ޔ‬ᷙ ੂ ࠍ ᜗ ޿ ߚ ߣ ޿ ߁ ߎ ߣ ߇ ␜ ໂ ߐ ࠇ ࠆ 18 ‫ޕ‬(7)੹ ᣣ ߪ go ࠍ ࡔ ࠗ ࡦ ߦ ⧷ ⺆ ߩ ߎ ߣ ࠍ ቇ ߮ ߹ ߒ ߚ ‫ ޕ‬਄ ߦ ߽ ᦠ ޿ ߚ ߌ ࠇ ߤ ‫ ޔ‬ฬ ⹖ ࠍ ᄌ ߃ ߚ ࠅ ߔ ࠆ ߛ ߌ ߢ ᢥ ߩ ౝ ኈ ߇ ᄌ ࠊ ࠅ ‫ ⊒ ޔ‬㖸 ߩ ㆑ ޿ ߢ ᣂ ߒ ޿ න ⺆ (gonna) ߇ ߢ ߈ ࠆ ߣ ޿߁ߎߣ߇ಽ߆ߞߚ‫ߩࡑ࡯࠹ޕ‬ᗧ๧߇ዋߒߪࠊ߆ߞߚߣᕁ޿߹ߒߚ‫ޕ‬

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬‫ ޟ‬go to㧗 ႐ ᚲ ‫ ߩ ޠ‬႐ ᚲ ฬ ⹖ ࠍ ᄌ ᦝ ߔ ࠇ ߫ ‫ ߈ ⴕ ޔ‬వ ߇ ᄌ ൻ ߔ ࠆ ߎ ߣ ߪ ᒰ ὼ ߩ ߎ ߣ ߢ ޽ ࠅ ‫ޔ‬⧷૞ᢥ਄ߩ‫ޟ‬᭽‫ߥޘ‬න⺆ࠍ႐ᚲฬ⹖ߦߣࠆ✵⠌ࠍⴕ߁‫߁޿ߣޠ‬૞ᬺߣ‫ޟ‬ᢥߩౝኈ߇ᄌࠊࠆ ‫ ⺆ ⸒ ߁ ޿ ߣ ޠ‬ᄌ ൻ ߩ ໧ 㗴 ߇ ᷙ ห ߐ ࠇ ߡ ޿ ࠆ น ⢻ ᕈ ߇ ޽ ࠆ ‫ ޔ ߚ ߹ ޕ‬gonna ߩ ↢ ⿠ ߦ 㑐 ߔࠆ໧㗴߇‫⊒ޟ‬㖸ߩ㆑޿‫╩ޔߊߥߪߢߩ߽ࠆࠃߦޠ‬⠪ߪ‫ޟ‬㖸㖿❗⚂‫ߡߓ⻠ߣߩ߽ࠆࠃߦޠ‬޿ߚߚ߼‫ߩߎޔ‬ὐߦ㑐ߒߡ߽⺋⸃߇↢ߓߡ޿ࠆߣផ᷹ߐࠇࠆ‫ޕ‬ ⸒ ⺆ ߩ ᗧ ๧ ⺰ ⊛ ஥ 㕙 ߩ ዉ ౉  Boers and Demecheleer (1998) ߪ ‫ޔ‬beyond ࠍ ข ࠅ ਄ ߍ ‫⸒ޔ‬⺆ߩᗧ๧⺰⊛஥㕙ߩዉ౉ࠍⴕ޿‫↪᦭ߩߘޔ‬ᕈࠍ⺰ߓߚ‫৻ޕ‬ᣇ‫⺆⸒ޔߪߢ⺰ᧄޔ‬ᄌൻ‫ޔ‬ᢥ
ᴺൻߩዉ౉ࠍⴕߞߚ߇‫ߩߘߪߢߎߎޔ‬ᢎ⢒⊛ലᨐߣߒߡ‫ޔ‬᭎ᔨ࡝ࡦࠢߣߪ⇣ߥࠆ஥㕙߆ࠄᬌ⸛ߔࠆ‫ޕ‬ ╙৻ߦ‫ޔ‬‫ ⺆ ⸒ ޟ‬ᄌ ൻ ‫ ߩ ⺆ ⸒ ߁ ޿ ߣޠ‬േ ⊛ ஥ 㕙 ߩ ዉ ౉ ߪ ‫ޔ‬᭎ ᔨ ࡝ ࡦ ࠢ ߢ ߺ ߚ ࠃ ߁ ߦ ᄙ ዋ ߩᷙੂࠍ↢ࠎߛ৻ᣇߢ‫ⵍޔ‬㛎⠪ߦኻߒ‫ߦ⺆⧷ޔ‬ኻߔࠆᣂߚߥ⷗ᣇࠍឭ␜ߒߡ޿ࠆ‫ޕ‬ታ㛎⟲ߦ߅޿ߡⷰኤߒߚ‫ޔ‬‫ ޟ‬ౣ ಽ ᨆ ‫ ߁ ޿ ߣޠ‬ᢥ ᴺ ൻ ߦ ߺ ࠄ ࠇ ࠆ ⊒ ᗐ ࠍ ข ࠅ ౉ ࠇ ߚ ⧷ ૞ ᢥ ߇ ឭ ಴ ߐࠇߚߣ޿߁੐ታ߆ࠄߪ‫ޔ‬‫ ⺆ ⸒ ޟ‬ᄌ ൻ ‫ ߁ ޿ ߣޠ‬᭎ ᔨ ߩ ዉ ౉ ߇ ‫ޔ‬ฃ ⻠ ↢ ߦ ኻ ߒ ‫ ߩ ⺆ ⸒ޔ‬േ ⊛ ஥㕙߳ߩᗧ⼂ࠍ༐⿠ߔࠆലᨐࠍਈ߃ߚߣᕁࠊࠇࠆ‫ޕ‬ ╙ੑߦ‫ޔ‬‫ ߩ ⷰ ⺆ ⸒ ߁ ޿ ߣޠ ࠆ ޿ ߡ ߈ ↢ ߪ ⺆ ⸒ ޟ‬ឭ ␜ ߢ ޽ ࠆ ‫ޕ‬᭎ ߒ ߡ ‫ޔ‬‫ޟ‬㧔 ᣣ ᧄ ⺆࡮⧷ ⺆ ߣ߽ ߦ 㧕⸒ ⺆ ߪ ᄌ ൻ ࠍ ߒ ߡ ޿ ߊ ‫ ⷞ ߁ ޿ ߣޠ‬ᐳ ࠍ ೋ ߼ ߡ ᓧ ߚ ‫ ߁ ޿ ߣޔ‬ᗵ ᗐ ᢥ ߇ ᄙ ߊ ߺ ࠄ ࠇ ߚ ‫ޕ‬ߘߩ⢛ᓟߦߪ‫ޔ‬ᄢඨߩⵍ㛎⠪߇ᣣᏱ⊛ߦ↪޿ࠆ‫ޟ‬Უ⺆‫⺆ޔࠅߥ⇣ߣޠ‬ᒵ࡮ᢥᴺⷙೣࠍቇ߱‫ޟ‬ᢎ⑼ᦠߩਛߩ⸒⺆ߣߒߡߩ⧷⺆‫ޕࠆ޽߇⼂⹺߁޿ߣޠ‬એਅߩᗵᗐᢥࠍߺߡߺࠃ߁‫ޕ‬(8) a. ⥄ ಽ ߇ ⧷ ⺆ ߣ ޿ ߃ ߫ ࠮ ࡦ ࠲ ࡯ ߿ ߚ ߛ ߭ ߚ ߔ ࠄ ⷡ ߃ ࠆ ߽ ߩ ߛ ߣ ᕁ ߞ ߡ ޿ ߹ ߒ ߚ ߇ ‫ޔ‬ ߎ߁޿߁㘑ߦ⠨߃ࠆߣⷡ߃ࠆߩ߽ᭉߒߊߥࠅ߹ߔ‫ޕ‬b. ޿ ߹ ߹ ߢ ૗ ߽ ⠨ ߃ ߕ ᢥ ᴺ ߿ ᾫ ⺆ ࠍ ᷆ ‫ ߣ ޘ‬ᥧ ⸥ ߒ ߡ ߚ ߌ ߤ ‫ ੹ ޔ‬ᣣ ⹤ ࠍ ⡞ ޿ ߡ ᚑ ࠅ ┙ ߜߥߤߣߡ߽⚊ᓧߢ߈ࠆߎߣ߇ᄙ߆ߞߚߢߔ‫ޕ‬ዋߒ޿ࠈ޿ࠈ⥝๧߇ࠊ޿ߡ߈߹ߒ ߚ‫ޕ‬

c. ⧷ ⺆ ߽ ᣣ ᧄ ⺆ ߣ ห ߓ ߢ ᤨ ઍ ߣ ߣ ߽ ߦ ᄌ ൻ ߒ ߡ ޿ ߞ ߡ ࠆ ߣ ޿ ߁ ߎ ߣ ߇ ᡷ ߼ ߡ ಽ ߆ ࠅ

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ᯘ ᬛ᫛ ࡲࡋࡓࠋゝⴥࡀᩥἲ࡟࡞ࡗ࡚࠸ࡃࡢࡀᐇឤ࡛ࡁࡲࡋࡓࠋ௒ᅇࡢᤵᴗࡣ࡜࡚ࡶࡓࡢ ࡋ࠿ࡗࡓ࡛ࡍࠋ

ࡇࢀࡽࡢឤ᝿ᩥࡣࠊࠕ ⱥ ㄒ Ꮫ ⩦ ࡜ ࡣ ࠊᩥ ἲ࣭⇍ ㄒ ࡢ ᬯ グ ࡀ ୰ ᚰ ࡜ ࡞ ࡿ ࠊᴦ ࡋ ࡃ ࡞ ࠸ ࡶ ࡢ ࡛࠶ࡿࠖ࡜࠸࠺༳㇟ࡀࠊ⿕㦂⪅ࡢ୍㒊࡟ࡳࡽࢀࡓࡇ࡜ࢆ♧၀ࡍࡿࠋ↓ㄽࠊ඲࡚ࡢᏛ⩦⪅ࡀヱᙜࡍࡿࡢ࡛ࡣ࡞ࡃࠊᙉຊ࡞㛵ᚰࢆࡶࡗ࡚ⱥㄒᏛ⩦࡟ྲྀࡾ⤌ࢇ࡛࠸ࡿᏛ⩦⪅ࡶᏑᅾࡍࡿࡔ ࢁ ࠺ ࠋࡋ ࠿ ࡋ ࠊ(8) ࡢ ࡼ ࠺ ࡞ ឤ ᝿ ᩥ ࡢ Ꮡ ᅾ ࡣ ࠊᮏ ◊ ✲ ࡢ ࡼ ࠺ ࡞ ព ࿡ ㄽ ⓗ ࢔ ࣉ ࣟ ࣮ ࢳ ࡀ ࠊࡇࡢࡼ࠺࡟ⱞᡭព㆑ࢆᢪ࠸࡚࠸ࡿᏛ⩦⪅࡟ᑐࡋࠊⱥㄒ࡜࠸࠺ゝㄒ࡬ࡢ㛵ᚰࢆႏ㉳ࡍࡿ࡜
࠸࠺Ⅼ࡟࠾࠸࡚ࠊ୍ຓ࡜࡞ࡾ࠺ࡿࡇ࡜ࢆ♧ࡋ࡚࠸ࡿࠋ

ࡲ࡜ࡵ࡜௒ᚋࡢㄢ㢟 ᭱ᚋ࡟ࠊᮏ◊✲࡟ࡼࡾᚓࡽࢀࡓᩍ⫱ⓗ♧၀࡜ࠊ௒ᚋࡢㄢ㢟ࢆࡲ࡜ࡵࡿࠋ ◊ ✲ ㄢ 㢟 (1) ࡟ ᑐ ࡋ ࡚ ࠊ ᮏ ◊ ✲ ࢆ ㏻ ࡋ ࠊࠕ ゝ ㄒ ኚ ໬ ࠖ ࡜ ࠸ ࠺ ゝ ㄒ ࡢ ື ⓗ ഃ 㠃 ࡬ ࡢ ὀ ពࢆႏ㉳ࡍࡿࡇ࡜ࡀࠊᏛ⩦⪅ࡢዲወᚰࢆႏ㉳ࡍࡿᶵ఍࡜࡞ࡾ࠺ࡿࡇ࡜ࡀ♧၀ࡉࢀࡓࠋࡓࡔࡋ ࠊ ᐇ 㦂 ⩌ ࡟ ࠾ ࠸ ࡚ ࠊࠕ ゝ ㄒ ኚ ໬ ࠖࠕ ᩥ ἲ ໬ ࠖ ࡜ ࠸ ࠺ ᴫ ᛕ ࡢ ᑟ ධ ࡀ ᑡ ࡞ ࠿ ࡽ ࡎ ΰ ஘ ࢆ ᣍ ࠸ࡓࡇ࡜࠿ࡽࠊࠕ ᩍ ⫱ ⓗ ೺ ඲ ࡉ ࠖࡢ Ⅼ ࡛ ၥ 㢟 ࡀ ࠶ ࡗ ࡓ ࡜ ࠸ ࠼ ࡿ ࠋࡓ ࡔ ࡋ ࠊ⤫ ไ ⩌ ࡛ ㄗ ゎ ࡀ ⏕ࡌࡓࡇ࡜࠿ࡽࡶࠊᮏ◊✲࡟࠾ࡅࡿᤵᴗ᪉ἲ࡟᳨ウࡢవᆅࡀ࠶ࡿࡢࡣྰࡵ࡞࠸ࠋᩥἲ஦㡯ࡢᑟධ࡟࠶ࡓࡗ࡚ࡣࠊ⡆␎໬ࡉࢀయ⣔ࡔࡗࡓᙧ࡛ⱥᩥἲࢆᥦ♧ࡋ࡚࠸ࡃᚲせࡀ࠶ࡿࠋࡲ
ࡓࠊ◊✲ࢆᐇ᪋ࡍࡿୖ࡛ࡢၥ㢟Ⅼ࡜ࡋ࡚ࠊ࢔ࣥࢣ࣮ࢺ࡟࠾࠸࡚ࡣ㢧ⴭ࡛ࡣ࡞࠸ࡶࡢࡢࠊ
௒ᅇࡢㄪᰝ࡟࠾࠸࡚ࠊ≉࡟⤫ไ⩌࣭ᐇ㦂⩌࡟࠾ࡅࡿ㞺ᅖẼࡢᕪ␗ࡀ㢧ⴭ࡛࠶ࡗࡓⅬ࡟ゝཬࡋ࡚࠾ࡁࡓ࠸ࠋᮏㄪᰝᚋࠊ୧ࢡࣛࢫ࡟࠾࠸࡚ࠊ඲࡚ࡢࢥ࣓ࣥࢺ࣭㉁ၥ࡟ࡘ࠸࡚ࡢࣇ࢕
࣮ࢻࣂࢵࢡࢆ⾜ࡗࡓࡀࠊᣦᑟ࡟㝿ࡋ࡚ࡣࡶࡕࢁࢇࡢࡇ࡜ࠊㄪᰝࡢᐇ᪋࡟࠾࠸࡚ࡶࠊᏛ⩦⪅඲ဨ࡬ࡢ⣽ࡸ࠿࡛ᖹ➼࡞㓄៖ࢆ⾜࠺ࡇ࡜ࡀᚲ㡲࡛࠶ࡿࠋ ௒ ᚋ ࡢ ㄢ 㢟 ࡜ ࡋ ࡚ ࡣ ࠊ ゝ ㄒ ⌮ ㄽ ࢆ ᑟ ධ ࡍ ࡿ ࡇ ࡜ ࡟ ࡼ ࡿ ຠ ᯝ ࡢ (i) ᐃ 㔞 ⓗ ホ ౯ ࠊ (ii) 㛗ᮇⓗຠᯝࡢᐃ ࠊ ࡀ ᣲ ࡆ ࡽ ࢀ ࡿ ࠋ ࡲ ࡎ (i) ࡟ 㛵 ࡋ ࡚ ࠊ ᮏ ㄪ ᰝ ࡛ ᑟ ධ ࡀ ⾜ ࢃ ࢀ ࡓ ゝ ㄒ ࡢ ព࿡ ㄽ ⓗ ഃ 㠃 ࡣ ࠊ㐺 ษ ࡞ ሙ 㠃 ࡛ ࠊ㐺 ษ ࡞ ᙧ ࢆ ࡶ ࡗ ࡚ ᥦ ♧ ࡉ ࢀ ࡚ ࠸ ࡓ ࡢ ࡔ ࢁ ࠺ ࠿ ࠋ㧗 ᮌ (2009)

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ᩥἲᣦᑟ࡬ࡢព࿡ㄽⓗ࢔ࣉ࣮ࣟࢳ㸸ゝㄒኚ໬ࡢࠕᩥἲ໬ࠖࢆ౛࡟

ࡢࠕᩍ⫱ⓗ೺඲ࡉࠖࡢほⅬ࠿ࡽ㔞ⓗ࣭㉁ⓗ࡟ホ౯ࡍࡿ࡜࡞ࢀࡤࠊ࡝ࡢࡼ࠺࡞ホ౯ࢆ⾜࠺ᚲせࡀ࠶ࡗࡓࡢࡔࢁ࠺࠿ࠋ௒ᅇࡣ㉁ⓗホ౯ࢆヨࡳࡓࡀࠊ⤫ィฎ⌮࡟ࡼࡿ㔞ⓗホ౯ࡣྍ⬟࡛ ࡣ ࡞ ࠸ ࡢ ࠿ 19 ࠋ 㔞 ⓗ ホ ౯ ࢆ ⾜ ࠺ ୖ ࡛ ࠊ ఱ ࢆ ࠊ ࡝ ࡢ ࡼ ࠺ ࡞ ᙧ ࡛ ࠊ ᩘ ್ ໬ ࡋ ࡚ ࠸ ࡃ ᚲ せ ࡀ࠶ࡿࡢࡔࢁ࠺࠿ࠋࡑࡢࡓࡵ࡟ࡣࠊ⿕㦂⪅ࡢⱥㄒຊࠊᩍ⫱ⓗຠᯝࡢ࠸ࡎࢀ࡟㛵ࡋ࡚ࡶࠊㄞゎ ㄢ 㢟 ࡢ ᚓ Ⅼ (cf. Boers and Demecheleer, 1998) ࡞ ࡝ ࡢ ᣦ ᶆ ࢆ ៅ 㔜 ࡟ ᳨ ウ ࡏ ࡡ ࡤ ࡞ ࡽ ࡞࠸ ࠋ ḟ ࡟ ࠊ (ii) ࡟ 㛵 ࡋ ࡚ ࠋ ௬ ࡟ ࢔ ࣥ ࢣ ࣮ ࢺ ⏝ ⣬ ࡸ ᑟ ධ ࡢ ┤ ᚋ ࡟ ⾜ ࢃ ࢀ ࡓ ᑠ ࢸ ࢫ ࢺ ࠊ ࡘ ࡲࡾࠕ ▷ ᮇ ⓗ ࡞ ࢫ ࣃ ࣥ ࠖ࡟ ࠾ ࠸ ࡚ ࠊゝ ㄒ ⌮ ㄽ ࡟ ᇶ ࡙ ࡃ ᑟ ධ ࡀ ᭷ ຠ ࡛ ࠶ ࡗ ࡓ ࡜ ࡋ ࡚ ࡶ ࠊࠕ㛗ᮇⓗ ࡞ Ꮫ ⩦ ຠ ᯝ ࠖ࡜ ࠸ ࠺ ほ Ⅼ ࠿ ࡽ ࡳ ࢀ ࡤ ࠊᯝ ࡓ ࡋ ࡚ ᭷ ຠ ࡛ ࠶ ࡿ ࡜ ࠸ ࠼ ࡿ ࡢ ࡔ ࢁ ࠺ ࠿ ࠋࡲ ࡓ ࠊ㛗ᮇⓗ࡞ほⅬ࠿ࡽࡳࡓᏛ⩦ຠᯝࡣࠊ࡝ࡢࡼ࠺࡟᳨ドࡉࢀࡿ࡭ࡁ࠿ࠋࡉࡽ࡟ࠊ௒ᅇᢅࡗࡓ
ࠕゝㄒኚ໬ࠖ࡜࠸࠺ព࿡ㄽⓗഃ㠃ࡣࠊⱥᩥἲయ⣔ࡢ࠺ࡕࠊ≉࡟Ꮫᰯᩥἲ࡟࠾࠸࡚ࠊ࡝ࡢ
ࡼ࠺࡟఩⨨࡙ࡅࡿ࡭ࡁ࠿ࠋ௨ୖࡢ᳨ウ࡞ࡃࡋ࡚ࠊᩍ⫱࡬ࡢ᭷ຠᛶࢆㄆࡵࡿࡇ࡜ࡣ࡛ࡁ࡞࠸ࠋ ௨ ୖ ࢆ ㋃ ࡲ ࠼ 㺂᭱ ᚋ ࡟ ⤖ ㄒ ࢆ ㏙ ࡭ ࡿ ࠋ ᮏ ◊ ✲ ࡢ ⤖ ᯝ ࠿ ࡽ ࠊ ゝ ㄒ ⌮ ㄽ ࡢ ᑟ ධ ࡟ ࠾ ࠸ ࡚ ࡣ ࠊ࣓ࣜࢵࢺࡢ௚࡟ࡶࠊࡑࡢࣜࢫࢡ࡟ὀពࡏࡡࡤ࡞ࡽ࡞࠸ࠋᚑࡗ࡚ࠊៅ㔜࡟⾜ࢃࢀࡿᚲせࡀ࠶ࡿࠋὀ* ᮏ ㄽ ᩥ ࡣ ࠊJACET ➨ 52 ᅇ ᅜ 㝿 ኱ ఍㸦 2013 ᖺ 8 ᭶ 30 ᪥ 㹼 9 ᭶ 1 ᪥ ࠊ᪊㸸ி 㒔 ኱ Ꮫ 㸧࡟࠾࠸࡚⾜ࡗࡓཱྀ㢌Ⓨ⾲ࢆᨵ㢟ࡋࠊ኱ᖜ࡞ຍ➹࡜ಟṇࢆຍ࠼ࡓࡶࡢ࡛࠶ࡿࠋᇳ➹࡟㝿ࡋ࡚ᩘከࡃࡢຓゝࢆ㡬࠸ࡓ༏ྡࡢᰝㄞ⪅ࡢ᪉ࠎ࡜ࠊⓎ⾲ᙜ᪥࡟᭷ព⩏࡞ࢥ࣓ࣥࢺࢆୗࡉࡗࡓ᪉ ࠎ ࡟ ࠊࡇ ࡢ ሙ ࢆ ೉ ࡾ ࡚ ཌ ࡃ ᚚ ♩ ⏦ ࡋ ୖ ࡆ ࡿ ࠋᮏ ㄽ ᩥ ࡟ ࠾ ࡅ ࡿ ୙ ഛ ࡣ ඲ ࡚ ➹ ⪅ ࡟ ᖐ ࡍ ࡿ ࠋ
1. బ ࠎ ᮌ (2014, p. 1) ࡛ ࡣ ࠊࠕ ᮏ ᭩ ࡣ ኱ Ꮫ ཷ 㦂 ⏕ ࢆ ᑐ ㇟ ࡜ ࡋ ࡓ Ꮫ ⩦ ᭩ ࡛ ࡍ ࡀ ࠊࠗ ㄆ ▱ ゝ  ㄒ Ꮫ ࠘(cognitive linguistics) ࡜ ࠸ ࠺ ゝ ㄒ ⌮ ㄽ ࡟ ࡼ ࡗ ࡚ ࡋ ࡗ ࠿ ࡾ ࡜ ⿬ ᡴ ࡕ ࡉ ࢀ ࡚ ࠸ ࡲ ࡍ ࠖ ࡜ ㅻ ࢃ ࢀ ࡚ ࠸ ࡿ ࠋ బ ࠎ ᮌ (2014) ࡣ ࠊ ๓ ⨨ モ ࡟ 㛵 ࡋ ࡚ ࠊ ᪥ ᖖ ࡢ ࡉ ࡲ ࡊ ࡲ ࡞ ⤒ 㦂 ࡟ ඹ ㏻
 ࡋ ࡓ ࣃ ࢱ ࣮ ࣥ ࢆ ᘬ ࡁ ฟ ࡍ ࠊᡃ ࠎ ே 㛫 ࡢ ㄆ ▱ ⬟ ຊ ࢆ ♧ ၀ ࡍ ࡿ ࡶ ࡢ ࡜ ࡋ ࡚ࠕ ᇶ ᮏ ࢖ ࣓ ࣮ ࢪ ࠖ ࢆᥥ࠸࡚࠸ࡿࠋࡇࡢ࢔ࣉ࣮ࣟࢳࡢ⫼ᬒ࡟ࡣࠊㄆ▱ゝㄒᏛ࡜࠸࠺ゝㄒ⌮ㄽࡢ⌮ㄽⓗ⫼ᬒ

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ᨋ ᥓᤘ ߇ ޽ ࠆ ߣ ߐ ࠇ ࠆ ‫ ߪ ߡ ޿ ߟ ߦ ⚦ ⹦ ޕ‬૒ ‫( ᧁ ޘ‬2014, pp. 1-19) ࠍ ෳ ᾖ ‫ ╩ ޔ ߅ ߥ ޕ‬⠪ ߩ ▤ ⷗ ߩ㒢ࠅߢߪ‫ޔ‬೨⟎⹖ߦ㑐ߒߡ‫⹺ޔ‬⍮⸒⺆ቇߩℂ⺰⊛⢛᥊ߦၮߠߊ૕♽⊛ߥࠕࡊࡠ࡯࠴ ࠍ ឭ ໒ ߒ ߚ ᣣ ᧄ ੱ ቇ ⠌ ⠪ ะ ߌ ߩ ⧷ ⺆ ቇ ⠌ ᢎ ᧚ ߪ ‫ޔ‬૒ ‫( ᧁ ޘ‬2014) ߇ ᦨ ೋ ߩ ߽ ߩ ߢ ޽ ࠆ ‫ޕ‬ ߘߩቇ⠌ലᨐߣ᦭ലᕈ‫ޔ‬ᣣᧄߩ⧷⺆ᢎ⢒ߦኻߔࠆ⽸₂߳ߩ⹏ଔߪߥߐࠇߡ޿ߥ޿‫ޕ‬
2. ⧷ ⺆ ࠦ ࡯ ࡄ ࠬ ቇ ળ㧔 JAECS㧕ߩ ᄢ ળ ࡊ ࡠ ࠣ ࡜ ࡓ ࠍ ߺ ߡ ߽ ࠊ ߆ ࠆ ࠃ ߁ ߦ ‫ ߦ ࠬ ࡄ ࡯ ࠦޔ‬㑐 ߔࠆ⎇ⓥߪ‫⺆⸒ޔ‬ಽᨆࠍਥ૕ߣߔࠆ߽ߩ‫ޔ‬ቇ⠌⠪ࠦ࡯ࡄࠬࠍኻ⽎ߣߔࠆ߽ߩߥߤ᭽‫ޘ‬ ߢ޽ࠅ‫⺆⸒ޔ‬ቇ⠪ߣ⸒⺆ᢎ⢒⎇ⓥ⠪߇౒หߒߡ⎇ⓥࠍផㅴߔࠆ႐ߣߥߞߡ޿ࠆ‫ޕ‬
3. ߎ ߩ ᜰ ៰ ߦ ߪ ‫ޔ‬ᜰ ዉ ࠍ ⴕ ߁ ஥ ߇ ⹺ ⍮ ⸒ ⺆ ቇ ⊛ ߥ ℂ ⺰ ߦ ⠌ ᾫ ߒ ߡ ߅ ߊ ᔅ ⷐ ߇ ޽ ࠆ ‫޿ ߣޔ‬ ߁฽ᗧ߇޽ࠆ‫ޕ‬‫ ޟ‬ⓨ 㑆 ⊛ ↪ ᴺ ߆ ࠄ 㕖 ⓨ 㑆 ⊛ ↪ ᴺ ߳ ߩ ᜛ ᒛ ߩ ᣇ ะ ᕈ ߿ ‫࡯ ࠠ ࠬ࡮ࠫ ࡯ ࡔ ࠗޔ‬ ࡑߩቯ⟵ߣߘߩㆡಾߥ⸳ቯߥߤ‫⹺ޔ‬⍮⸒⺆ቇߩℂ⺰⊛ߥ⍮⷗ࠍㆡ↪ߒߥߌࠇ߫‫⽾৻ޔ‬ ᕈߣ⺑ᓧജࠍ஻߃ߚᄙ⟵ࡀ࠶࠻ࡢ࡯ࠢߪ᭴▽ߢ߈ߥ޿‫ޕ‬නߦ㆏ౕ┙ߡࠍ೑↪ߔࠆߩߢ ߪ ߥ ߊ ‫ ޔ‬ℂ ᔨ ⊛ ࡌ ࡯ ࠬ ߇ ޽ ߞ ߡ ߎ ߘ ᔕ ↪ ⹺ ⍮ ⸒ ⺆ ቇ ߪ ᯏ ⢻ ߔ ࠆ ‫ޠ‬㧔 ⼱ ญ , 2011, p.72㧕‫ޕ‬
4. ‫ ޟ‬ᗧ ๧ ⺰ ߦ ߅ ޿ ߡ ᦭ ല ߢ ޽ ࠆ ‫ ߣ ޠ‬ㅀ ߴ ࠆ ⢛ ᓟ ߦ ߪ ‫ ޔ‬એ ਅ ߩ   ᔨ ߇ ޽ ࠆ ߣ ੍ ᗐ ߐ ࠇ ࠆ ‫ޕ‬ ‫ޠࠣࡦ࡝࡯ࠖࡈޟ‬‫ ޟ‬ᗵ ⷡ ‫ ߦޠ‬ၮ ߠ ߊ ⸥ ㅀ ߪ ‫ ߢ ߹ ࠇ ߎޔ‬ℂ ⸃ ߇ 㔍 ߒ ޿ ߣ ߐ ࠇ ߡ ޿ ߚ ೨ ⟎ ⹖ ߩⓨ㑆⊛ߥᗧ๧ࠍ◲᣿ߦ␜ߔὐߦ೑߇޽ࠆ‫ޔߒߛߚޕ‬೨⟎⹖ࠍ㒰ߊઁߩᢥᴺ㗄⋡㧔․ ߦฬ⹖‫ޔ‬േ⹖‫⺆ޔ‬㗅ߥߤ㧕ߦ㑐ߔࠆ⛔৻⊛ߥ⺑᣿߇น⢻ߢ޽ࠆ߆ߪᧂ⸃᣿ߢ޽ࠆ‫ޕ‬
5. ೔ ㆐ ⋡ ᮡ ߪ ‫ޔ‬೨ ᐕ ᐲ ߩ ห ৻ ࡟ ࡌ ࡞ ࠍ ኻ ⽎ ߣ ߒ ߚ ࠢ ࡜ ࠬ ߩ ࠪ ࡜ ࡃ ࠬ ߦ ࠃ ࠆ㧔 ೋ ᐕ ᐲ ߩ ᜂ ᒰߢ޽ࠆߎߣ߆ࠄ‫ޔ‬ฃ⻠↢ߩ࡟ࡌ࡞߇㐿⻠೨ߩᤨὐߢߪਇ᣿ߢ޽ࠅ‫╩ޔ‬⠪߇ၫ╩ߒߚ ࠪ ࡜ ࡃ ࠬ ߦ ߪ ᢙ ୯ ⋡ ᮡ ߩ ⸥ タ ߇ ߥ ޿ 㧕‫ޔ ߅ ߥޕ‬ඞ ฬ ߩ ᩏ ⺒ ⠪ ࠃ ࠅ‫ ޟ‬࿁ ╵ ⠪ ߩ ⧷ ⺆ ജ ߩ ߁ ߜ‫⺆ޔ‬ᒵജߪ࠮ࡑࡦ࠹ࠖ࠶ࠢࡈࠖ࡯࡞࠼ߩ᜛ᒛߦᓇ㗀ߔࠆߚ߼‫࠲࡯࠺ߥ߁ࠃߩߘޔ‬෼ 㓸ߪⴕߞߡ޿ߥ޿ߩ߆‫ߣޠ‬ᜰ៰ࠍฃߌߚ߇‫ᧄޔ‬ಽᨆߦ૶↪น⢻ߥ⛔⸘⊛ᢙ୯ߦၮߠߊ ࠺࡯࠲ߩ෼㓸ࠍ╩⠪⥄りߪⴕߞߡ޿ߥ޿‫⺆ޕ‬ᒵജ‫⺆⧷ޔ‬ജߦ㑐ߔࠆ࠺࡯࠲ࠍᰳߊߣ޿ ߁ ὐ ߪ ‫ ⎇ ᧄޔ‬ⓥ ߩ ᅷ ᒰ ᕈ ‫ޔ‬ᔕ ↪ ߩ น ⢻ ᕈ ࠍ ␜ ߔ ਄ ߢ ᳿ ቯ ⊛ ߥ ᒙ ὐ ߣ ޿ ࠊ ߑ ࠆ ࠍ ߃ ߥ ޿ ‫ޕ‬ ࠢ࡜ࠬߪ⢻ജ೎✬ᚑߩߚ߼‫ޔ‬ฃ⻠↢ߩ⧷⺆ജ࡮⺆ᒵജߦ㑐ߒߡߪ‫ࠆ޽ޔ‬⒟ᐲߩဋ⾰ᕈ
 ߇ߣࠇߡ޿ࠆߣ੍ᗐߐࠇࠆ‫⺞ޔ߅ߥޕ‬ᩏౝኈߩ⸳⸘ߦ㑐ߒߡߪ੹ᓟߩ⺖㗴ߣߒߚ޿‫ޕ‬
6. ߎ ߎ ߢ ߩ ‫ ⸥ ޟ‬ㅀ ‫ ⧷ ޔ ߪ ߣ ޠ‬૞ ᢥ ‫ ޔ ࠻ ࡦ ࡔ ࠦ ޔ‬ᗵ ᗐ ᢥ ߩ ో ߡ ࠍ ฽ ߻ ‫ޕ‬

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬7. ታ 㓙 ߦ ‫ ޔ‬Ფ ࿁ ߩ ⻠ ⟵ ߦ ߅ ޿ ߡ ߪ ‫ ߦ ⺆ ⧷ ߡ ޿ ߅ ߦ ࠻ ࡯ ࠪ ࠻ ࡦ ࡔ ࠦ ޔ‬ኻ ߔ ࠆ ⥝ ๧ ࡮ 㑐 ᔃ ‫ޔ‬ ᣣ ‫ ߩ ޘ‬ቇ ⠌ ߳ ߩ ข ࠅ ⚵ ߺ ߩ ᐲ ว ޿ ࠍ ⥄ Ꮖ ⹏ ଔ ߔ ࠆ ߣ ޿ ߁ ⋡ ⊛ ߢ ‫ ޔ‬0 ὐ ޯ 10 ὐ ߩ ᓧ ὐ ⹏ ଔߦߡ⸥タࠍߔࠆᰣࠍ⸳ߌߡ޿ࠆ߇‫ߩߘޔ‬ᐔဋὐߪૐ޿߽ߩߣߥߞߡ޿ࠆ‫ޕ‬
8. be going to ߣ will ߩ ෩ ኒ ߥ ૶ ޿ ಽ ߌ ߩ ዉ ౉ ߦ 㑐 ߒ ߡ ߪ ‫ ࠆ ࠁ ࠊ ޿ ޔ‬usage ߣ use (cf.
 Widdowson, 1978) ߩ ໧ 㗴 ߇ 㑐 ࠊ ߞ ߡ ߊ ࠆ ‫ޕ‬ᢥ ᴺ ൻ ߦ 㑐 ࠊ ࠆ ৻ ㅪ ߩ ౝ ኈ ߪ ‫ ߩ ⟵ ⻠ޔ‬ዉ ౉ ᤨ‫ޔ‬‫ ߪ ⺆ ⸒ ޟ‬ᄌ ൻ ߒ ߡ ޿ ࠆ ‫ ߁ ޿ ߣޠ‬േ ⊛ ߥ ஥ 㕙 ߳ ߩ ᗧ ⼂ ࠍ ༐ ⿠ ߔ ࠆ ߚ ߼ ߦ ⴕ ࠊ ࠇ ߚ ߽ ߩ ߢ޽ࠆ‫ޕ‬
9. ᧼ ᦠ ࠍ ૬ ↪ ߒ ‫ޠ ߊ ߔ ߿ ࠅ ߆ ࠊ ޟߡ ߒ ߦ ߺ ߩ ࠆ ߔ ੺ ⚫ ߪ ⺆ ↪ޔ‬વ ࠊ ࠆ ࠃ ߁ ᔃ ߇ ߌ ߚ ‫ޕ‬ඞ ฬߩᩏ⺒⠪ࠃࠅ‫⎇ᧄߩࠄࠇߎޔ‬ⓥߦ߅ߌࠆቇ⠌⠪߳ߩᢥᴺൻߩ㆏╭ߩᜰዉߦߪ‫ޔ‬એਅ ߩੑὐߢᎿᄦ߇ᔅⷐߢ޽ࠆߣᜰ៰ࠍฃߌߚ‫⺆⸒ޔߦ৻╙ޕ‬ቇߩኾ㐷↪⺆ࠍዉ౉ߔࠆᔅ ⷐ߇޽ࠆߩ߆‫╙ޕ‬ੑߦ‫ޔ‬ᢥᴺൻߩࡊࡠ࠮ࠬࠍࠃࠅৼካߦ⺑᣿ߔࠆᔅⷐ߇޽ࠅ‫⺰ᧄޔ‬ᢥ 
 Appendix ߦ ⸥ ߒ ߚ ଀ ᢥ ߛ ߌ ߢ ߪ ਇ ⿷ ߒ ߡ ޿ ࠆ ‫ ޕ‬ᓟ ⠪ ߦ 㑐 ߒ ߡ ‫ ޔ‬Eckardt (2002) ߦ ࠃ ࠆ એ ਅ ߩ ⺑ ᣿ ࠍ ᢎ ␜ 㗂 ޿ ߚ : John is going to Paris. ߩ ࠃ ߁ ߦ ⚐ ☴ ߦ ⒖ േ ࠍ ⴫ ߔ ଀ ᢥ ߆ ࠄ ᢥ ᴺ ൻ ߇ ᆎ ߹ ࠅ ‫ ߁ ઻ ࠍ ⊛ ⋡ ޔ‬⒖ േ ࠍ ⴫ ߔ John is going to get a beer. / John is going to be married. ߩ ࠃ ߁ ߦ㧔 ⃻ ઍ ⧷ ⺆ ߩ ⷰ ὐ ߆ ࠄ ߔ ࠆ ߣ 㧕‫ ޟ‬⒖ േ ‫ ߩ ޠ ⊛ ⋡ ޟޠ‬ᗧ ๧ ߣ ⺒ ߼ ࠆ ᦌ ᤒ㧔 ਔ ⟵ ⊛ 㧕ߥ ଀ ࠍ ⚻ ߡ ‫ ߦ ⊛ ⚳ ᦨޔ‬John is going to finish the talk at 5 o’clock. / John is going to like Paris. ߩ ࠃ ߁ ߦ ᣿ ⊕ ߥ ᧂ ᧪ ࠍ ⴫ ߔ ↪ ᴺ ߇ ⸵ ኈ ߐ ࠇ ࠆ ࠃ ߁ ߦ ߥ ߞ ߚ ‫ޕ‬
10. ෩ ኒ ߦ ߪ ‫ ✊ ߦ ߁ ࠃ ߩ ߎ ޔ‬㤀 ߦ ੑ ಽ ߐ ࠇ ࠆ ߎ ߣ ߪ ߥ ߊ ‫ ޔ‬ᳯ Ꮉ (1991, pp. 221-223) ߩ ⺑ ᣿ߣኻᲧߔࠆߣ‫⺑ߩߎޔ‬᣿ߪㆊ೾⥸ൻࠍ฽߻ߣ߽޿߃ࠆ߆߽ߒࠇߥ޿‫⺆⧷ޔߒ߆ߒޕ‬ ߦ⧰ᚻᗧ⼂ࠍᛴߊቇ⠌⠪ߦߣߞߡߪ‫⺑ޔ‬᣿ߩᱜ⏕ᕈࠃࠅ߽‫ߣޠ޿ߔ߿ࠅ߆ࠊޟ‬ᗵߓࠄ ࠇࠆߎߣߩᣇ߇㊀ⷞߐࠇࠆน⢻ᕈ߇޽ࠆ‫ߩߎޕ‬ὐߦߪ৻⠨ࠍⷐߔࠆ‫ޕ‬
11. ߎ ߎ ߢ ㅀ ߴ ߚ ਔ ࠢ ࡜ ࠬ ߦ 㑐 ߔ ࠆ ㈩ ᘦ ߪ ‫ ⺞ ᧄ ޔ‬ᩏ ߩ ⚿ ᨐ ߦ ߪ 㑐 ࠊ ࠅ ߇ ߥ ޿ ߽ ߩ ߢ ޽ ࠆ ߇‫ޔ‬᝼ᬺߩᐔ╬ᕈߣ޿߁ⷰὐ߆ࠄߪ㊀ⷐߢ޽ࠆߣ⠨߃ࠆ‫ޔߦߣߏࠬ࡜ࠢޕ‬ᢎ᝼ߐࠇࠆ ౝኈߦᏅ⇣߇↢ߓߡߪߥࠄߥ޿‫⺞ޕ‬ᩏࠍⴕ߁ߚ߼‫ޔ‬ห৻ౝኈߩ⻠⟵߇ⴕࠊࠇࠆ੍ቯߩ ࠢ࡜ࠬࠍᕭᗧ⊛ߦታ㛎⟲࡮⛔೙⟲ߦಽߌ‫ࠆߥ⇣ޔ‬ౝኈࠍᢎ␜ߒߚ႐วߦߪቇ⠌ౝኈߩ Ꮕ⇣߇↢ߓߥ޿ࠃ߁‫ޔ‬ᜂᒰᢎຬߦࠃࠆㆡಾߥࡈࠜࡠ࡯ࠕ࠶ࡊ߇ᔅⷐߢ޽ࠆߩߪ޿߁߹

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ᨋ ᥓᤘ ߢ߽ߥ޿‫ޕ‬12. ߎ ߩ ⹺ ⼂ ߪ ⺋ ࠅ ߢ ޽ ࠆ ߣ ߩ ᜰ ៰ ࠍ ‫ޔ‬ඞ ฬ ߩ ᩏ ⺒ ⠪ ࠃ ࠅ ฃ ߌ ߚ ‫ ߩ ࠅ ⺋ޕ‬ේ ࿃ ߣ ߒ ߡ ߪ ‫ޔ‬ (i) ╩ ⠪ ߩ ᜰ ዉ ߇ ਇ ㆡ ಾ ߹ ߚ ߪ ਇ ච ಽ ߢ ޽ ߞ ߚ น ⢻ ᕈ ‫(ޔ‬ii) ⻠ ⟵ ߦ ߅ ޿ ߡ ᛒ ߞ ߚ ᢥ ᴺ 㗄 ⋡ߩ㔍ᤃᐲ߇ฃ⻠↢ߩ⧷⺆ജߦኻߒߡਇㆡಾߢ޽ߞߚน⢻ᕈ‫߇ߤߥޔ‬⠨߃ࠄࠇࠆ‫ޕ‬
13. ߎ ߩ ℂ ↱ ߦ 㑐 ߒ ߡ ߪ ‫ޔ‬‫ ޟ‬⍮ ࠅ ว ޿ ߇ ޿ ߥ ޿ ߣ ⹤ ߒ ߠ ࠄ ޿ ‫ ⸥ ߁ ޿ ߣޠ‬ㅀ ߇ ޽ ߞ ߚ ߎ ߣ ߆  ߽‫ޔ‬๟࿐ߣ⼏⺰ࠍⴕ߁ߣ޿߁ᵴേ⥄૕߇‫ޔ‬ᯏ⢻ߒߡ޿ߥ߆ߞߚน⢻ᕈ߇޽ࠆ‫ޕ‬
14. ᗵ ᗐ ᢥ ߦ ‫ ޟ‬be going to ߢ will ߦ ߥ ࠆ ߩ ߇ ߿ ߿ ߎ ߒ ޿ ‫ ޔ ߦ ߁ ࠃ ߩ ޠ‬ਔ ⠪ ߩ Ꮕ ⇣ ߦ ⸒ ෸ߔ ࠆ ߽ ߩ ߇ ߺ ࠄ ࠇ ߚ ߎ ߣ ߦ ࠃ ࠆ ‫(ޕ‬4a)ߩ ⴕ ߈ వ ࠍ ⴫ ߔ‫ ޟ‬go㧗 ೨ ⟎ ⹖ to㧗 ႐ ᚲ ‫ ޔ ߣ ⃻ ⴫ޠ‬(4b) ߩ ‫ ᧪ ᧂ ޟ‬ᮡ ⼂ be going㧗 to㧗 േ ⹖ ߩ ේ ᒻ ‫ ߩ ޠ‬㆑ ޿ ߇ 㔍 ߒ ޿ ߣ ޿ ߁ ᗵ ᗐ ߽ ޽ ߞ ߚ ‫ޕ‬

15. *ߪ ‫ޔ‬ᜂ ᒰ ᢎ ຬ ߢ ޽ ࠆ ╩ ⠪ ߆ ࠄ ߺ ߡ ⺋ ࠅ ߣ ߺ ࠄ ࠇ ࠆ ߽ ߩ ‫ ߪ?ޔ‬ᗧ ࿑ ߇ વ ࠊ ࠄ ߥ ޿ ࠊ ߌ ߢ ߪ ߥ ޿ ߇ ‫ ߩ ߡ ߒ ߣ ⃻ ⴫ ⺆ ⧷ޔ‬ㆡ ಾ ᕈ ߇ ਇ ᣿ ߣ ⠨ ߃ ࠄ ࠇ ࠆ ߽ ߩ ࠍ ⴫ ߔ ‫ޕ‬㜞 ᧁ (2009) ߪ ‫ ޔ‬ ⸒⺆ቇߢߪ‫ࠆߥ⇣ޟ‬ᗧ๧ࠍᜬߟ‫ޠ‬2 ߟߩ⧷ᢥ߇‫⺆⧷ޔ‬ᢎ⢒ߩ႐㕙ߢߪห৻ߩᗧ๧ߣᢎ ᝼ ߐ ࠇ ࠆ ߎ ߣ ߇ ޽ ࠆ ߣ ㅀ ߴ ࠆ 㧔 ৻ ଀ ߣ ߒ ߡ Bill painted the door.ߣ The door was painted

 b y B i l l . 㧕‫ ⧷ ࠆ ߌ ߅ ߦ ⟵ ⻠ ޕ‬ᢥ ߩ ኈ ⹺ ᕈ ߩ ್ ᢿ ߦ 㑐 ߔ ࠆ ⼏ ⺰ ߩ ⹦ ⚦ ߪ 㜞 ᧁ ( 2 0 0 9 , pp.122-124) ࠍ ෳ ᾖ ‫ ⺞ޔ ߅ ߥޕ‬ᩏ ࠍ ⴕ ߞ ߚ ࠢ ࡜ ࠬ ߩ ᜂ ᒰ ᢎ ຬ ߪ ᄖ ࿖ ⺆ ߣ ߒ ߡ ⧷ ⺆ ࠍ ቇ ࠎ ߛ╩⠪ߩߺߢ޽ࠅ‫⺆⧷ޔ‬Უ⺆⹤⠪ߦࠃࠆ⻠⟵ਛߩࡈࠖ࡯࠼ࡃ࠶ࠢߪਇน⢻ߢ޽ߞߚ‫ޕ‬
16. ታ 㛎 ⟲ ߢ ߪ ߎ ߩ ࠃ ߁ ߥ ⾰ ໧ ߇ ޽ ߞ ߚ ৻ ᣇ ‫ ⛔ ޔ‬೙ ⟲ ߢ ߪ ⾰ ໧ ߇ ⊝ ή ߢ ޽ ߞ ߚ ‫ޕ‬
17. ᢥ ᴺ ൻ ߣ ౣ ಽ ᨆ ߦ 㑐 ߒ ߡ ߪ Appendix ࠍ ෳ ᾖ ‫ޕ‬18. ࠦ ࡔ ࡦ ࠻ ࠍ 〯 ߹ ߃ ߡ ⾗ ᢱ ࠍ ૞ ᚑ ߒ ‫ ▎ ࠆ ࠇ ࠄ ߺ ߇ ⸃ ⺋ ޔ‬ᚲ ࠍ ਛ ᔃ ߦ ᓟ ᣣ ᝼ ᬺ ߢ ⵬ ⿷ ࠍ ⴕߞߚ‫ޕ‬19. ߎ ߩ ὐ ߦ 㑐 ߒ ߡ ߪ ‫ ޔ‬ඞ ฬ ߩ ᩏ ⺒ ⠪ ࠃ ࠅ ᜰ ៰ ࠍ ฃ ߌ ߚ ‫ ⎇ ᧄ ޕ‬ⓥ ߩ 㒢 ⇇ ߪ ᵈ 5 ࠍ ෳ ᾖ ‫ޕ‬ෳ⠨ᢥ₂⑺ ర ታ ᴦ (✬ ) (2001) ‫ ޡ‬ᢥ ᴺ ൻ ̅⎇ ⓥ ߣ ⺖ 㗴 ‫ ⧷ ޢ‬ầ ␠⑺ ర ታ ᴦ (2002) ‫ ޡ‬ᢥ ᴺ ൻ ߣ ࠗ ࠺ ࠖ ࠝ ࡓ ൻ ‫ ᦠ ߓ ߟ ߭ ޢ‬ᚱᳯ Ꮉ ᵏ ৻ ㇢ (1991) ‫ ⧷ ޡ‬ᢥ ᴺ ⸃ ⺑ 㧔 ᡷ ⸓ 3

㧕‫ ⎇ ޢ‬ⓥ ␠

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ᢥᴺᜰዉ߳ߩᗧ๧⺰⊛ࠕࡊࡠ࡯࠴㧦⸒⺆ᄌൻߩ‫ޟ‬ᢥᴺൻ‫ߦ଀ࠍޠ‬⮮ ↰ ⠹ ม࡮᧻ ᧄ ࡑ ࠬ ࡒ࡮ఽ ₹ ৻ ብ࡮⼱ ญ ৻ ⟤ (✬ ) (2012) ‫ ᦨ ޡ‬ᣂ ⸒ ⺆ ℂ ⺰ ࠍ ⧷ ⺆ ᢎ ⢒ ߦ ᵴ↪ߔࠆ‫ޢ‬㐿ᜏ␠৻ ᧖ ᱞ ผ (2005) ‫ ޟ ࡦ ࠲ ࠢ ࠠ ޡ‬Basic‫ ޠ‬4000ʊ⡞ ޿ ߡ ⷡ ߃ ࠆ ࠦ ࡯ ࡄ ࠬ ⧷ න ⺆ ‫ࠢ ࡞ ࠕ ޢ‬੹ ੗ 㓉 ᄦ (2010) ‫ ࠆ ߃ ᝒ ߢ ࠫ ࡯ ࡔ ࠗ ޡ‬ᗵ ⷡ ⧷ ᢥ ᴺ ‫ ޢ‬㐿 ᜏ ␠⍹ Ꮉ ᘕ ৻ ㇢ (2012)‫ ⺆ ⸒ ࠬ ࡄ ࡯ ࠦ ࠢ ࠶ ࠪ ࡯ ࡌ ޡ‬ቇ ‫ ᦠ ߓ ߟ ߭ ޢ‬ᚱ᧻ ੗ ቁ ᔒ (2012) ‫ ޟ‬ᣂ ߒ ޿ ቇ ⠌ ⧷ ᢥ ᴺ ߩ ᬌ ⸛ ߆ ࠄ ⷗ ߃ ߡ ߊ ࠆ ቇ ⠌ ⧷ ᢥ ᴺ ߩ ᧦ ઙ ‫ ޠ‬ᄢ ᵤ ↱♿ 㓶 (✬ )‫ ޡ‬ቇ ⠌ ⧷ ᢥ ᴺ ࠍ ⷗ ⋥ ߒ ߚ ޿ ‫ ⎇ ޢ‬ⓥ ␠ , 87-103.
ᄢ ⷏ ᵏ ᢯ ࡮ ࡐ ࡯ ࡞ ࡮ ࡑ ࠢ ࡌ ࠗ (2009) ‫ ⧷ ࠫ ࡯ ࡔ ࠗ ޡ‬ᢥ ᴺ ‫ ޢ‬DHC૒ ‫ ⼱࡮) ⪺( ᤩ ⧷ ᧁ ޘ‬ญ ৻ ⟤ (⋙ ୃ ) (2014) ‫ ޡ‬੩ ᄢ 㒮 ↢ ߇ ᦠ ޿ ߚ ࠗ ࡔ ࡯ ࠫ ߢ ߟ ߥ ߇ ࠆ ⧷ ᾫ ⺆ ‫ޢ‬࠺ࠖࠬࠞࡧࠔ࡯࠻࠘ࠛࡦ࠹ࠖࡢࡦ㑐 ᱜ ↢ (2008) ‫ ޡ‬਎ ⇇ ৻ ࠊ ߆ ࠅ ߿ ߔ ޿ ⧷ ᢥ ᴺ ߩ ᝼ ᬺ ‫ ޢ‬ਛ ⛮ ಴㜞 ᧁ ാ (2009) ‫ ⺆ ⧷ ޟ‬ᢎ ⢒ ߩ ⃻ ႐ ߣ ⸒ ⺆ ቇ ળ ߩ ਵ 㔌㧦ᢎ ⢒ ⊛ ஜ ో ߐ ߣ ⸒ ⺆ ቇ ⊛ ஜ ో ߐ ‫ޠ‬‫⸒ޡ‬⺆ ⑼ ቇ ⺰ 㓸 ‫ ޢ‬15, 119-164.
↰ ਛ ⨃ ▸ ࡮ ૒ ⮮ ⧐ ᣿ ࡮ 㒙 ㇱ ৻ (2006) ‫ ⺆ ⧷ ޡ‬ᗵ ⷡ ߇ り ߦ ߟ ߊ ታ 〣 ⊛ ᜰ ዉ 㧦 ࠦ ࠕ ߣ ࠴ ࡖ ࡦࠢߩᵴ↪ᴺ‫ޢ‬ᄢୃ㙚ᦠᐫ⼱ ญ ৻ ⟤ (2011) ‫ ޟ‬ᔕ ↪ ⹺ ⍮ ⸒ ⺆ ቇ ߣ ⺆ ᒵ ቇ ⠌ ʊᢥ ᴺ ℂ ⺰ ࠍ ⧷ ⺆ ᢎ ⢒ ߦ ᵴ ↪ ߔ ࠆ (2)ʊ‫ޠ‬‫ ޡ‬ᄢ 㒋 ᢎ ⢒ ᄢ ቇ ♿ ⷐ ╙ Σ ㇱ 㐷 ‫ ޢ‬59 (2), 63-74.
ᛩ ㊁ ↱ ♿ ᄦ (✬ ) (2005) ‫ ⺆ ⧷ ࠬ ࡄ ࡯ ࠦ ޡ‬㘃 ⺆ ૶ ޿ ಽ ߌ 200‫ ޢ‬ዊ ቇ 㙚቟ ੗ ⒤ (1963) ‫ ޡ‬᭴ ㅧ ⸒ ⺆ ቇ ߩ ベ ㇳ ‫ ޢ‬ᄢ ୃ 㙚 ᦠ ᐫ቟ ੗ ⒤ (1973) ‫ ⺆ ⧷ ޡ‬ᢎ ⢒ ߩ ਛ ߩ ⧷ ⺆ ቇ ‫ ޢ‬ᄢ ୃ 㙚 ᦠ ᐫBoers, F. & Demecheleer, M. (1998). A cognitive semantic approach to teaching prepositions.
ELT Journal, 52/3 Jul, 197-204.
Eckardt, R. (2002) Semantic Change in Grammaticalization. In Katz, G., Sabine R. & P. Reuter(Eds.). Sinn & Bedeutung VI, Proceedings of the SixthAnnual Meeting of the Gesellschaft
für Semantik (pp. 53-67). Neuer Graben: University of Osnabrück.
Hopper, P. J. & Traugott, E.C. (1993). Grammaticalization (1 st Edition). Cambridge, UK:

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ᯘ ᬛ᫛

Cambridge University Press. (᪥ 㔝 ㈨ ᡂ (ヂ ) (2003) ࠗ ᩥ ἲ ໬ ࠘ ஑ ᕞ ኱ Ꮫ ฟ ∧ ఍ )Widdowson,
H. 㦂
G. ⩌
(1978).
Communication.
 ᐇㅮ ⩏Teaching㈨ ᩱ ࠕLanguage
ື モ as ࡢᩥ ἲ ໬ ࠖ London: Oxford University ᐇ㦂⩌ㅮ⩏㈨ᩱࠕືモ ᐇ㦂⩌ㅮ⩏㈨ᩱࠕືモ

ࡢᩥἲ໬ࠖ
ࡢᩥἲ໬ࠖ
ࡢᩥἲ໬ࠖ

 ᐇ㦂⩌ㅮ⩏㈨ᩱࠕືモ

ࡢᩥἲ໬ࠖPress.
 ᐇ㦂⩌ㅮ⩏㈨ᩱࠕືモ

Appendix ᐇ 㦂 ⩌ ㅮ ⩏ ㈨ ᩱ ࠕ ື モ go ࡢ ᩥ ἲ ໬ ࠖ

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Appendices‫ޡ‬JACET Kansai Journal㧔JACET 㑐⷏♿ⷐ㧕‫ޢ‬ೀⴕⷙቯ
㧔2008 ᐕ 12 ᦬೙ቯ‫ޔ‬2015 ᐕ 3 ᦬ 7 ᣣᡷቯ㧕
1. ೀⴕ⿰ᣦ࡮ೀⴕ‛ߩฬ⒓
JACET 㑐⷏ᡰㇱߪᡰㇱળຬߦ⎇ⓥ⊒⴫ߩᯏળࠍឭଏߒ‫ߡߞ߽ޔ‬ᡰㇱߩ⎇ⓥᵴേߩᵴᕈൻߦ⾗ߔࠆߴߊ‫⎇ޔ‬ⓥ♿ⷐࠍೀⴕߔࠆ‫ߩⷐ♿ᧄޕ‬ฬ⒓ߪ‫ޡ‬JACET 㑐⷏♿ⷐ‫ޢ‬㧔JACET Kansai Journal㧕ߣߔࠆ‫ޕ‬
2. ೀⴕᣣ⒟ᧄ♿ⷐߪᐕೀߢ⊒ⴕߔࠆ‫ߩߢ߹ⴕ⊒ޕ‬ᣣ⒟ߪේೣߣߒߡᰴߩߣ߅ࠅߣߔࠆ‫ޕ‬9 ᦬ 30 ᣣ㧔ᔅ⌕㧕ᛩⓂේⓂ✦߼ಾࠅ

12 ᦬ 15 ᣣክᩏ⚿ᨐㅢ⍮

1 ᦬ 10 ᣣ㧔ᔅ⌕㧕ୃᱜේⓂ✦߼ಾࠅ

3 ᦬ᧃೀⴕ

3. ឝタ⺰ᢥߩ⒳㘃
ᧄ♿ⷐߦឝタߔࠆ⺰ᢥߪਅ⸥ߩ 3 ⒳㘃ߣߔࠆ‫ޕ‬
㧔1㧕 ᆔབྷ⺰ᢥ
㧔2㧕 JACET 㑐⷏ᡰㇱᄢળ߅ࠃ߮ో࿖ᄢળߦ߅ߌࠆญ㗡㧔ࡐࠬ࠲࡯㧕⊒⴫ߦၮߠߊᛩⓂ⺰ᢥ
㧔3㧕 ৻⥸ᛩⓂ⺰ᢥߥ߅‫ޔ‬
㧔1㧕ߩᆔབྷߪ♿ⷐ✬㓸ᆔຬળߩ್ᢿߦࠃߞߡⴕ߁‫ޔߚ߹ޕ‬㧔2㧕ߪᛩⓂ✦߼ಾࠅᣣࠍ⿠ὐߣߒ
ߡㆊ෰ 1 ᐕએౝߦ㐿௅ߐࠇߚᄢળߦ߅ߌࠆญ㗡㧔ࡐࠬ࠲࡯㧕⊒⴫ߦၮߠߊ⺰ᢥࠍኻ⽎ߣߔࠆ‫ߴߔޕ‬ߡߩឝタ⺰ᢥߪ‫ޔ‬ᛩⓂ⠪ߩᖱႎࠍ㓝ߒߚ਄ߢ‫⹥ޔ‬ᒰኾ㐷ಽ㊁ߦㄭ޿ 2 ฬߩᩏ⺒⠪ߦࠃߞߡ෩ኒߦᩏ
⺒ߐࠇࠆ‫ޕ‬4. ᛩⓂ⺰ᢥߩ⒳೎ߣౝኈ
ᛩⓂ⺰ᢥߪਅ⸥ߩ 3 ⒳ߣߒ‫ޔ‬ᛩⓂᤨߦᛩⓂ⠪߇⺰ᢥ⒳೎ࠍ↳๔ߔࠆ‫ޔߒߛߚޕ‬ክᩏߩ⚿ᨐ‫ࠆߥ⇣ޔ‬⒳೎ߢណ↪ߔࠆ႐ว߇޽ࠆ‫ޕ‬
㧔1㧕 ⎇ⓥ⺰ᢥ㧔2㧕 ታ〣⺰ᢥ
㧔3㧕 ⎇ⓥࡁ࡯࠻
5. ᛩⓂ⺰ᢥክᩏߔߴߡߩᛩⓂ⺰ᢥߪ‫✬ⷐ♿ޔ‬㓸ᆔຬળ߇ේೣߣߒߡ JACET ળຬ߆ࠄᆔབྷߒߚⶄᢙߩክᩏຬߦ
ࠃߞߡඞฬᣇᑼߢክᩏߐࠇࠆ‫✬ⷐ♿ޕ‬㓸ᆔຬળߪ‫ޔ‬ክᩏ⚿ᨐࠍ߰߹߃ߡណุߩᦨ⚳᳿ቯࠍⴕ߁‫ߥޕ‬߅‫ޔ‬ክᩏ⚿ᨐߪਅ⸥ߩ 3 ⒳ߣߒ‫ޔ‬♿ⷐ✬㓸ᆔຬળࠃࠅᛩⓂ⠪ߦ㔚ሶࡔࠗ࡞ߢㅢ⍮ߐࠇࠆ߽ߩߣߔࠆ‫ޕ‬
㧔1㧕 ណ↪
㧔2㧕 ୃᱜ᧦ઙઃ߈ណ↪
㧔3㧕 ਇណ↪
6. ⷙቯߩᡷᑄ
ᧄⷙቯߩᡷᑄߪᡰㇱᓎຬળߦ߅޿ߡⴕ߁‫ޕ‬

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JACET Kansai Journal
Publication Policy
Revised March 7, 2015
1. Journal name and reason for publication
JACET Kansai Journal (JKJ) is published by JACET Kansai Chapter to serve as a medium for
publication of research by its Chapter members and thus promote research activities.
2. Publication schedule
The journal will be published annually according to the following schedule (subject to revision by
the Editorial Committee).
Deadline for manuscripts: September 30
Announcement of editorial decision: December 15
Deadline for receipt of revised manuscripts: January 10
Publication: March 31
If revision of the manuscript is requested as a condition for publication, the revised manuscript must
be received by January 31 or it will be considered to have been withdrawn.
3. Types of papers
Three types of papers will be published: (1) invited paper, (2) paper based on a presentation at a
JACET Chapter or National Convention, (3) submitted paper (see 4). An invited paper can berequested by the Editorial Committee. A paper based on a JACET presentation (oral or poster) canbe submitted if the presentation was made within one year prior to the submission deadline. All
papers will be subject to peer review.
4. Types of submitted papers
All manuscripts submitted must have been authored by JACET Kansai Chapter members in goodstanding. Three types of submitted papers will be considered for publication: research article,
application report, research note.
5. Review of manuscripts
All manuscripts submitted will be subject to review by the JKJ Editorial Committee. The decisionof whether or not to accept a manuscript for publication will be based on peer review by reviewers,
who will be JACET members selected by the editorial committee. The final decision by the JKJ
Editorial Committee will be (1) accept, (2) accept if revised, or (3) reject.
6. Amendment
Amendment of this Publication Policy (Japanese version) will be subject to approval by the JACET
Kansai Chapter Executive Committee. The English version will conform to the Japanese version.

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‫ޡ‬JACET Kansai Journal㧔JACET 㑐⷏♿ⷐ㧕‫ޢ‬ᛩⓂⷙቯ
㧔2016 ᐕ 2 ᦬ 24 ᣣᡷቯ㧕
1. ᛩⓂ⾗ᩰ
ᛩⓂ⠪ߪᛩⓂᤨߦ߅޿ߡ JACET 㑐⷏ᡰㇱળຬߢߥߌࠇ߫ߥࠄߥ޿‫ઁޔߒߛߚޕ‬ᡰㇱߦᚲዻߔࠆ
JACET ળຬ߇‫ޔ‬㑐⷏ᡰㇱળຬࠍ╩㗡⪺⠪ߣߔࠆ⺰ᢥߩㅪฬၫ╩⠪ߣߥࠆߎߣߪᅹߍߥ޿‫ޔ߅ߥޕ‬ᛩ
Ⓜ⠪߅ࠃ߮ㅪฬၫ╩⠪ߦቇળ⾌ߩᧂ⚊߇޽ࠆ႐ว‫ޔ‬ᛩⓂߪฃℂߐࠇߥ޿‫╩ޔߚ߹ޕ‬㗡⪺⠪ߣߒߡߩ
ⶄᢙᛩⓂ‫ߦ⹹ઁޔ‬ᛩⓂਛ߽ߒߊߪઁ⹹ߦឝタᷣߺߩ⺰ᢥߩᛩⓂߪ⹺߼ߥ޿‫ޕ‬ฦ⒳ቇળ╬ߢߩญ㗡㧔ࡐࠬ࠲࡯㧕⊒⴫ߦၮߠߊ⺰ᢥߪክᩏኻ⽎ߣߥࠆ߇‫⺰ޔ‬ᢥᧃየߦญ㗡㧔ࡐࠬ࠲࡯㧕⊒⴫ߩ੐ታࠍᱜ⏕ߦ⸥タߔࠆ߽ߩߣߔࠆ‫ޕ‬
2. ᛩⓂ⺰ᢥߩౝኈߣ⒳೎
ᛩⓂ⺰ᢥߪ‫ޔ‬ᄢቇߦ߅ߌࠆ⧷⺆ᢎ⢒߅ࠃ߮ߘߩ㑐ㅪಽ㊁ߩ⎇ⓥߦ㑐ࠊࠆౝኈߩ߽ߩߣߔࠆ‫ޔߚ߹ޕ‬ᛩⓂ⺰ᢥߪਅ⸥ߩ 2 ⒳㘃ߣߔࠆ‫ޕ‬
㧔1㧕JACET 㑐⷏ᡰㇱᄢળ߅ࠃ߮ో࿖ᄢળߦ߅ߌࠆญ㗡㧔ࡐࠬ࠲࡯㧕⊒⴫ࠍ⚻ߚᛩⓂ⺰ᢥ㧔2㧕৻⥸ᛩⓂ⺰ᢥߥ߅‫ޔ‬
㧔1㧕ߪᛩⓂ✦߼ಾࠅᣣࠍ⿠ὐߣߒߡㆊ෰ 1 ᐕએౝߦ㐿௅ߐࠇߚᄢળߦ߅ߌࠆญ㗡㧔ࡐࠬ࠲࡯㧕⊒⴫ߦၮߠߊ⺰ᢥࠍኻ⽎ߣߔࠆ‫ޕ‬
3. ૶↪⸒⺆࡮૕ⵙ࡮ᦠᑼ࡮ಽ㊂૶↪⸒⺆ߪ⧷⺆߹ߚߪᣣᧄ⺆ߣߔࠆ‫ߩߡߴߔޔߚ߹ޕ‬ᛩⓂ⺰ᢥߪ‫✬ⷐ♿ޔ‬㓸ᆔຬળ߇૞ᚑߒߚᒰ⹥
ᐕᐲߩᛩⓂ⺰ᢥ↪࠹ࡦࡊ࡟࡯࠻‫ߡߒ↪૶ࠍ࠻ࠬ࡝ࠢ࠶ࠚ࠴࠻࠶ࡑ࡯ࠜࡈ߮ࠃ߅ޔ‬૞ᚑߒ‫ޔ‬ᒁ↪ᦠᑼ࡮ෳ⠨ᢥ₂ᦠᑼ╬ߪ APA ߩᦨᣂߦḰߓࠆ߽ߩߣߔࠆ‫ޕ‬ሼ૕ߪ⧷ᢥ Times New Roman ߢ࠲ࠗ࠻࡞߇ 14p‫ࠇߘޔ‬એᄖߪ 10.5p‫ޔ‬ᣣᧄ⺆⺰ᢥߪ࠲ࠗ࠻࡞߇ MS ࠧࠪ࠶ࠢ 12p‫ޔ‬ߘࠇએᄖߪ MS ᣿ᦺߢ 10.5p
ߣߔࠆ‫ޕ‬࿑࡮⴫ౝߩࡈࠜࡦ࠻ߪ 9p એ਄ߣߔࠆ‫⺰ޕ‬ᢥߩಽ㊂ߪ࠲ࠗ࠻࡞‫ޔ‬᭎ⷐ‫ᧄޔ࠼࡯ࡢ࡯ࠠޔ‬ᢥ‫ޔ‬ෳ⠨ᢥ₂‫ޔ‬࿑⴫ߥߤࠍߔߴߡ฽߼ߡ 10 㗁એ਄ 20 㗁એౝߣߔࠆ‫ޕ‬
4. ᛩⓂᣇᴺ
ᜰቯߩ࠹ࡦࡊ࡟࡯࠻ߦᓥߞߡ૞ᚑߐࠇߚ MS Word®ࡈࠔࠗ࡞ࠍᒰ⹥ᐕᐲߩ♿ⷐ✬㓸ᆔຬળ੐ോዪ㐳ተߦ㔚ሶࡔ࡯࡞ߢㅍାߔࠆߎߣ‫ޕ‬ᷝઃߔࠆ⺰ᢥࡈࠔࠗ࡞ߦߪ‫ޔ‬᳁ฬ࡮ᚲዻ࡮ᧄੱ߇․ቯߢ߈ࠆ⻢ㄉߥߤߪ⸥タߖߕ‫߈ߴࠆ౉߇ࠄࠇߎޔ‬႐ᚲߦห╬ಽ㊂ߩⓨⴕࠍᝌ౉ߒߡ߅ߊ‫ߩ࡞࡯ࡔޔߚ߹ޕ‬ઙฬߪ‫ޟ‬JACET 㑐⷏♿ⷐᛩⓂ㧦᳁ฬ㧔ᚲዻ㧕‫ᧄ࡞࡯ࡔޕࠆߔߣޠ‬૕ߦߪਅ⸥ౝኈࠍ⸥タߔࠆ‫ޕ‬
㧔1㧕᳁ฬ
㧔2㧕ᚲዻ࡮⡯ฬ㧔㕖Ᏹൕ߿ᄢቇ㒮↢ߥߤߩ೎߽฽߻㧕㧔3㧕ᛩⓂ⺰ᢥ⒳೎㧔ᄢળ⊒⴫ᷣ⺰ᢥ㧛৻⥸ᛩⓂ⺰ᢥ㧕̪೨⠪ߩ႐วߪ⊒⴫ᄢળฬ࡮ᣣᤨ࡮㗴⋡ࠍ᣿⸥‫ޕ‬
㧔4㧕⺰ᢥ⒳೎↳๔㧔⎇ⓥ⺰ᢥ㧛ታ〣⺰ᢥ㧛⎇ⓥࡁ࡯࠻㧕㧔5㧕ࠠ࡯ࡢ࡯࠼㧔̪ࠠ࡯ࡢ࡯࠼ߩᢙߪ 3㨪5 ߣߒ‫ޔ‬ၫ╩⸒⺆ߢ⸥タ㧕ߥ߅‫ޔ‬ክᩏߩ⚿ᨐ‫ޔ‬ណ↪ߥ޿ߒୃᱜណ↪ߣߥߞߚ႐วߪ‫✬ⷐ♿ޔ‬㓸ᆔຬળߩᜰ␜ߦᓥ޿‫ᦼޔ‬ᣣ߹ߢ

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ߦୃᱜේⓂߩ㔚ሶࡈࠔࠗ࡞ࠍᷝઃࡈࠔࠗ࡞ߢㅍାߔࠆߎߣ‫ޕ‬ౣឭ಴ᦼ㒢ߦㆃᑧߒߚ႐วߪᛩⓂࠍㄉ
ㅌߒߚ߽ߩߣߺߥߔ‫ޕ‬
5. ⪺૞ᮭߦߟ޿ߡ
ᛩⓂ⠪ߪ‫ޔ‬ᛩⓂ⺰ᢥ߇ណ↪࡮ឝタߐࠇߚ႐ว‫ޔ‬એਅߩ੐㗄ࠍੌᛚߒߚ߽ߩߣߺߥߔ‫ޕ‬㑐⷏ᡰㇱ♿ⷐߦឝタߐࠇߚ⺰ᢥ╬ߩ⪺૞ᮭߪᧄቇળߦᏫዻߒ‫⪺ޔ‬⠪╬߇ⶄ⵾޽ࠆ޿ߪォタߔࠆ႐วߪ‫ᧄޔ‬ቇળߩᛚ⹺ࠍฃߌࠆߎߣߣߔࠆ‫ޕ‬㑐⷏ᡰㇱ♿ⷐឝタ⺰ᢥ╬߇‫ޔ‬CiNii෸߮⪺⠪ᚲዻߩᯏ㑐࡟ࡐࠫ࠻࡝╬ࠍㅢߓߡ౏㐿߇᳞߼ࠄࠇ
ߚ႐วߪ‫ⴕ⊒ޔ‬ᓟ㧝ᐕ⚻ߞߚ߽ߩߪේೣߎࠇࠍ⹺߼ࠆߎߣߣߔࠆ‫ޕ‬ዏ‫ߩߎޔ‬႐วߪήᢱߣߔ
ࠆ‫ޕ‬



ᯏ㑐࡟ࡐࠫ࠻࡝╬ࠍㅢߓߡ౏㐿ߔࠆ⺰ᢥߪ㑐⷏ᡰㇱ♿ⷐឝタⓂߣߔࠆ‫ޕ‬⪺⠪╬߇‫⥄ޔ‬りߩ⺰ᢥ╬ࠍ౏㐿ߔࠆ㓙ߦߪ‫ᧄޔ‬ቇળߦ੐೨ߦᛚ⹺ࠍᓧߥߌࠇ߫ߥࠄߥ޿‫ޕ‬ዏ‫ޔ‬‫⺰ᧄޟ‬ᢥߩ⪺૞ᮭߪ৻⥸␠࿅ᴺੱᄢቇ⧷⺆ᢎ⢒ቇળߦᏫዻߔࠆ‫ࠍߣߎ߁޿ߣޠ‬ᔅߕ᣿⸥ߔࠆ‫ޕ‬

6. ⷙቯߩᡷᑄ
ᧄⷙቯߩᡷᑄߪ♿ⷐ✬㓸ᆔຬળߦ߅޿ߡⴕ߁‫ޕ‬ʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊʊ
2005 ᐕ 6 ᦬೙ቯ2007 ᐕ 6 ᦬ᡷቯ2008 ᐕ 12 ᦬ᡷቯ2009 ᐕ 7 ᦬ 25 ᣣᡷቯ2011 ᐕ 6 ᦬ 5 ᣣᡷቯ2014 ᐕ 3 ᦬ 8 ᣣᡷቯ2016 ᐕ 2 ᦬ 24 ᣣᡷቯ

JACET Kansai Journal
Submission Guidelines
Revised February 24, 2016

1. Qualifications for manuscript submission
Papers can be submitted by Kansai Chapter members in good standing who have paid their dues for thecurrent year. Each member can submit only one paper as a first author for each issue. If the first author is a
Kansai Chapter member, coauthors can be JACET members of other chapters. All papers must be originaland not have been published elsewhere nor be under consideration for publication (including overseas
journals). If the research has been presented orally or as a poster and this is so indicated, the paper can beconsidered for publication.

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2. Papers accepted for submission
Papers should be related to research on college/university English education or relevant areas. Two types of
papers will be accepted for submission:

1) A paper that reports the content of an oral or poster presentation at a JACET Kansai Chapter Convention
or a JACET National Convention

2) A paper submitted by a Kansai Chapter member
A paper based on a JACET presentation (oral or poster) can be submitted if the presentation was made within
one year prior to the submission deadline.

3. Language, format, style and length
Papers should be written in English or Japanese. All manuscripts should be prepared using the current
template and format checklists prepared by the JACET Kansai Journal (JKJ) Editorial Committee. The
reference format should conform to the most recent edition of the Publication Manual of the American
Psychological Association (APA). Use font type Times New Roman, size 14 point for the title, 12 point forbody text, and 9 or bigger point for Tables and Figures. Papers must be more than 10 and no more than 20
printed pages, including the title, references, figures and other material.

4. Submission
Manuscripts should be submitted by e-mail to the JKJ Editorial Committee. Prepare the manuscript without
the author name(s) or affiliation(s) or information in the Acknowledgments that can reveal the author(s) but
leave the equivalent amount of space to allow the information to be added. Send the manuscript as an MS
Word® document to the JKJ Editorial Committee. Use the following subject line template for the e-mailmessage: Paper submission to JACET Kansai Journal: Corresponding author name (corresponding author
affiliation). The e-mail cover message should include the following information: (1) Author name(s), (2)author affiliation(s) and position(s), (3) type of submission [conference-presentation paper (give conference
name and date) or submitted paper], (4) type of paper (research article, application report, research note), and(5) three to five keywords in the language used for the paper. If the manuscript is accepted for publication, acomplete manuscript, including the author name(s) and affiliation(s), and a final camera-ready copy should
be sent as an e-mail attachment to the JKJ Executive Committee office with the Attention note “JACET
Kansai Journal manuscript.”

5. CopyrightIf the manuscript is accepted for publication in JACET Kansai Journal:(1)

JACET will hold the copyright of the articles published in JACET Kansai Journal. Anyone,

including the author(s), who wishes to reproduce an article, must obtain permission from JACET.
(2)When a request is made for an article in JACET Kansai Journal to be published through CiNii or

the repository of the author’s institution, permission shall be granted one year after the issue of JACET
Kansai Journal has been published, at no cost.

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(3)

The institutional repositories are to use the versions as they are published in JACET Kansai

Journal.
(4)

Anyone, including the author(s), who wishes to republish an article must obtain permission from

JACET and clearly state that JACET holds the copyright.
6. Amendment
Amendment of these Submission Guidelines (Japanese version) made by the Kansai Chapter Editorial
Committee will be subject to approval by the Kansai Chapter Executive Committee. The English version will
conform to the Japanese version.

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