令和６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[春季試験] 留学生特別選抜入試筆記試験問題
１０：００ ～ １２：００(120 分)注意事項
１

Ⅰ．共通問題 （１）事項説明、（２）英作文

２

Ⅱ．専門別問題３

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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行程度の日本語または英語で、具体的な例をあげて説明しなさい。
② palatalization① Bleak House③ The Tempest⑤ Nathaniel Hawthorne⑥ Vanity Fair

⑧ The Catcher in the Rye⑨ Doris Lessing⑪ The Importance of Being Earnest⑭ metanalysis⑱ Umlaut (mutation)⑦ Feminism and American Literature⑫ doublet⑮ William Golding④ John Milton⑩ American Innocence⑬ morpheme⑯ Grimm’s law⑲ African American Literature⑰ Harper Lee⑳ American Drama

（２）英作文
以下はイギリスの風刺雑誌『パンチ』第 146 巻（1914 年 2 月 14 日刊行）に掲載された風刺画である。これについて、あなたが考えることを自由に英語で書きなさい。

※この問題は、著作権の関係により掲載できません。

BACK FROM SWITZERLAND.

(1) SNAPSHOT, ILLUSTRATING THE COOLNESS DISPLAYED BY THE INTREPID MOUNTAINCLIMBER, AS SENT TO FRIENDS. (2) A FULL-SIZED UNEXPURGATED EDITION OF THESAME.
https://www.gutenberg.org/ebooks/24265

（３）専門問題
イギリス文学以下の文章を読み、内容に即して設問に日本語または英語で答えなさい（特に指定されている場合を除く）。
*印のある語には註があります。
By the close of the century, realism in England was closely associated with fiction written
by and for women and having to do primarily with the contested relation between thedomestic and the public spheres. It is no coincidence, then, that the backlash in the fin desiècle against realism was largely a backlash against women’s fiction, nor that it took theform of a rejection of literature’s social efficacy. The two major literary movements thatemerged in the 1880s and flourished in the 1890s — aestheticism and ‘romance’ oradventure fiction — were self-designedly men’s clubs, and from their different
standpoints each dismissed the idea that fiction’s social role was to ‘take up problems fordiscussion’. The aestheticist credo, art for art’s sake, was always more effective as arallying cry than as a programme for any actual writing, but it did convey the aesthete’s
sense that his business was not with this world. （中略）[The] sacralisation* of art byfin de siècle aesthetes was a way to withdraw it from the fret and fever — and, often, thecomplexities — of the everyday and of mass culture and entrust it instead to the chosenfew. （中略）Women were also largely excluded from the precincts* of late-Victorian adventure
or romance fiction. Popular novelists such as Rider Haggard, Hall Caine and Arthur
Conan Doyle※この問題は、著作権の関係により掲載できません。
and influential critics such as George Saintsbury and Andrew Langembraced the romance as an antidote to the contemporary novel, which they saw as
having been corrupted to the verge of extinction by realism and its preoccupation withsocial issues. With their emphasis on plot and action, their predilection for exotic or evenfrankly fantastic settings, and their exuberant disregard for ‘reproducing actual life’,romancers set themselves the task of reinvigorating an enervated, feminised and overly
self-conscious age. （中略）Aestheticist and romance fiction in the fin de siècle are alike in being reactionary
movements. Each emerges in reaction to realism’s dominance; each also seeks to restore
lost worlds of innocence and certainty by returning literature to an original ‘purity’. In
aestheticist writing such purity is conceived in religious terms, while in romance fiction
it is defined anthropologically* (the recovery of more authentic forms of social life or ofa more genuine human nature), but both cases are marked by a turning away from thelived experience of the late-Victorian world. In the eyes of its critics, realist writing was
not a response to or a commentary on the contemporary world’s myriad problems; it wasa symptom of them. (A)According to Caine, decent people necessarily recoil from fictions
that aim at ‘reproducing actual life’ because such fictions do the same psychological andmoral harm as the aspects of life they depict. （中略）

When in ‘The Decay of Lying’ (1891) Oscar Wilde declared that ‘as a method
Realism is a complete failure’, he did so in the name of an openly experimental modernliterature. The playfully provoking conceit of this essay-in-dialogue — that ‘lying, thetelling of beautiful untrue things, is the proper aim of art’ — enables Wilde to break thespell of realism’s central convention: that the ‘proper aim’ of art is to imitate life.
Realism’s failures, according to Wilde, originate precisely in the ‘substitution of animitative for a creative’ model of artistic work. Art can never succeed in ‘reproducing’
life; it creates the illusion of having done so not by the accumulation of detail or byencyclopedic thoroughness but rather by the creative transformation of the materials life
provides. In Wilde’s view, there is a vast difference between (B)a work of ‘unimaginativerealism’ and a work of ‘imaginative reality’. The latter reveals in its status as a madeobject. Literature for Wilde is not a medium for conveying a prior reality but instead
creates the reality it conveys. The successful artist takes the ‘rough material’ of life and‘recreates it . . . in fresh forms’. （中略）With Wilde and Stevenson — committed anti-realists both — we begin to move inthe direction of recognisably modernist conceptions of literary art. Theirs is not a simple
rejection of realism but rather a fundamental reimagining of its tenets and aims. Yet weshould also bear in mind that fin de siècle realist writers too were engaged in a perpetual
reimagining of their chosen medium. As all informed commentators in the period
recognised, ‘realism’ is a protean term, used at different historical moments to designatea wide range of※この問題は、著作権の関係により掲載できません。
writing practices. （中略） It is ‘absurd’, wrote James* in 1888, ‘to saythat there is, for the novelist’s use, only one reality of things’. James quotes approvingly
de Maupassant’s dictum that ‘what the sincere critic says is, “Make me something fine in
the form that shall suit you best”’. James’s great strengths as a critic are inseparable fromhis conviction that the available means for creating the illusion of reality are almostwithout number. In his great 1905 essay ‘The Lesson of (C)Balzac’, (D)James notes — withpleasure, with wonder, with admiration, with conviction — the many forms in which therealist imagination has expressed itself. Realist novelists — those ‘seers of visions’, inJames’s phrase — compose their various fictional landscapes, bathed in the light peculiar
to their individual temperaments. The question for the sincere critic therefore is always:
Just how, accordingly, does the light of the world, the projected, painted,peopled, poetized, realized world, the furnished and fitted world into which
we are beguiled for the holiday excursions, cheap trips or dear, of theeternally amusable, eternally dupeable* voyaging mind — just how does
this strike us as different in Fielding and in Richardson, in Scott and Dumas,
in Dickens and in Thackeray, in Hawthorne and in Meredith, in George Eliot
and in George Sand, in Jane Austen and in Charlotte Brontë?

from Stephen Arata, “Realism”, in The Cambridge Companion to The Fin de Siècle,(182-85)註sacralisation: the act of making something sacredprecinct: an area in a town designated for specific or restricted use, here used as ametaphor※この問題は、著作権の関係により掲載できません。
anthropologically:in a way that relates to the study of the human race, its culture, andsociety, and its physical development
James: Henry James (1843-1916)を指す。
dupeable: alternative form of dupable, capable of being duped

【設問】
問１

リアリズムに対して 19 世紀末に生じた文学上の二つの動きの名称を答え、それぞれの特徴を簡潔に述べなさい。

問２

問１で答えた二つの動きは「女性」と「社会」に対してどのような関係にあったとされているか説明しなさい。

問３

下線部（A）を日本語に訳しなさい。

問４

下線部（B）の二種の作品について、それぞれどのようなものと書かれているか説明しなさい。

問５

下線部（C）についてどのような人物か、知っていることを説明しなさい。

問６

下線部（D）は現実を描き出す方法についてどのような考えを持っていたと書かれているか説明しなさい。