ಟኈㄽᩥせ᪨䠘ಟኈㄽᩥせ᪨䠚                           䢢 䢢 䢢 䢢JAITSㄽᩥ㢟┠凬䢢 ⱥ᪥ᑐ↷ᙺ๭ㄒ◊✲䢢 䯍䢢 ᡙ᭤䢢 Black Comedy䢢 僑僥僯僲僱䢢 ⏨傹僎僖兟ዪ傹僎僖䯍䢢
㸦ⱥᩥ㢟┠㸸Role Language in English and Japanese: Gender Characterizationin䢢 Peter Shaffer’s Black Comedy㸧䢢ᥦฟ⪅㸸Ἑす⏤㤶ᤵ୚ᶵ㛵㸸ᮾிእᅜㄒ኱Ꮫ
ྲྀᚓᏛ఩ࡢྡ⛠㸸ಟኈ ゝㄒᏛ Ꮫ఩ྲྀᚓࡢ᪉ἲ㸸ㄢ⛬ྲྀᚓᖺ᭶᪥㸸2014 ᖺ 3 ᭶ 26 ᪥
ⱥᩥせ᪨This paper considers role language in English and Japanese: namely the gender-specific characteristics
used in Black Comedy, a British theatrical play written by Peter Shaffer. The paper addresses thefollowing three research questions: (1) In which speaker or situation do men’s role language andwomen’s role language appear? (2) Are there any similar characteristics between English and Japanesegender-specific languages in terms of usage? (3) How are characters portrayed through the use of role
language in the Japanese translation of Black Comedy?
This paper consists of three sections: prior research, script analysis, and audience perception survey.
Prior research on role language, gender-specific characteristics in English and Japanese, and contrastive
studies on role language are introduced in chapters 2, 3, and 4 respectively. In order to analyze men’sand women’s language in Black Comedy, vocabulary and lexical features were extracted from theEnglish and Japanese scripts. The analysis was based on characteristics of masculine and feminine
speech suggested by Lakoff (1975), Arai (1997), Okamoto (2010), and Masuoka and Takubo (1992).
The script analysis results in chapter 5 reveal that, despite the linguistic difference between Japaneseand English, both scripts aimed to form the same character image through gender-specific role language.
Yet, it was easier in the Japanese translation than in the English original to identify strongly masculine
or feminine features of role language. This research also discovered unique features such as ellipsis andthe suffix “-pegs”, which were used by specific characters and contributed to establishing theircharacteristics and image in the story. Feminine features used by a homosexual male character vividly
show how language could be “worn like a mask”, through which the speaker can project certain images
Kasai, Yuka.,”Role Language in English and Japanese: Gender Characterization in Peter Shaffer’s BlackComedy”, Interpreting and Translation Studies, No.14, 2014. pages 309-312. © by the Japan Association forInterpreting and Translation Studies.

309309ࠗ㏻ヂ⩻ヂ◊✲࠘14ྕ 2014 to others.
In the audience perception survey, native speakers of English responded to the English version,
while the Japanese version was judged by native speakers of Japanese. The survey results in chapter 6
show that it was easier for native speakers of Japanese to judge whether the lines are spoken by a maleor female character. Thus, it can be inferred that a speaker’s image can easily be clarified by using role
language, especially in Japanese, and that role language might render the character’s image described in
the source language (ST).
Finally, in order to avoid mistranslation, this paper suggests the importance of understanding therole language used in the ST and the target language (TL).
࿴ᩥせ᪨ᮏ✏ࡣࠊⱥㄒ࡜᪥ᮏㄒ࡟࠾ࡅࡿᙺ๭ㄒࠊ≉࡟ᛶᕪࢆ♧ࡍゝⴥ࡙࠿࠸࡟ࡣ࡝ࡢࡼ࠺࡞ࡶࡢࡀ࠶ࡿ࠿ࢆ♧ࡋࡓ࠺࠼࡛ࠊᡙ᭤ࡢࢫࢡࣜࣉࢺࢆ㢟ᮦ࡟ᐇ㝿࡟࡝ࡢࡼ࠺࡞ሙ㠃࡛ࠊ࡝ࡢⓏሙே≀࡟ᑐࡋ࡚⏝࠸ࡽࢀ࡚࠸ࡿ࠿ࢆศᯒࡍࡿࡶࡢ࡛࠶ࡿࠋᙺ๭ㄒࡀྎモ࡟⏝࠸ࡽࢀࡿࡇ࡜࡟ࡼࡾࠊ
ㄞࡳᡭࡣྎモࡢヰࡋᡭ࡟ᑐࡋ࡚≉ᐃࡢᛶูࡸ࢖࣓࣮ࢪࢆᢪࡃࠋ⩻ヂసရࡢሙྜࠊᯝࡓࡋ࡚ࡑࡢ࢖࣓࣮ࢪࡣⱥㄒࡢཎస࡜᪥ᮏㄒヂ࡜࡛ࡣྠࡌ࡞ࡢࡔࢁ࠺࠿ࠋࡑࡢ␲ၥ࡟⟅࠼ࡿࡓࡵ࡟ࠊࢫࢡࣜࣉࢺศᯒ࡟ຍ࠼ࠊᙺ๭ㄒ࡟ࡼࡗ࡚ࡶࡓࡽࡉࢀࡿヰࡋᡭࡢ࢖࣓࣮ࢪ࡟㛵ࡍࡿ࢔ࣥࢣ࣮ࢺㄪ
ᰝࢆᐇ᪋ࡋࡓࠋᮏ◊✲࡛ࡣࠊᙺ๭ㄒࡢ࡞࠿࡛ࡶ⏨ࡇ࡜ࡤ࣭ዪࡇ࡜ࡤࢆ♧ࡍᛶᕪ࣐࣮࣮࢝࡟↔Ⅼࢆ࠶࡚ࡓ࠺࠼࡛ࠊ௨ୗࡢ 3 ࡘࡢࣜࢧ࣮ࢳ࣭ࢡ࢚ࢫࢳࣙࣥ࡟⟅࠼ࡿࡇ࡜ࢆ┠ⓗ࡜ࡋࡓࠋRQ1: ᙺ๭ㄒ㸦≉࡟⏨ࡇ࡜ࡤ࣭ዪࡇ࡜ࡤ㸧ࡣࠊⱥ᪥୧ࢫࢡࣜࣉࢺࡢ࡝ࡢࡼ࠺࡞ሙ㠃ࡸே≀ࡢⓎヰ࡛౑⏝ࡉࢀ࡚࠸ࡿ࠿
RQ2: ⱥ᪥୧ࢫࢡࣜࣉࢺ࡛౑⏝ࡉࢀࡿᙺ๭ㄒࡢ౑⏝⏝㏵࡟ࠊࡎࢀ࣭㢮ఝࡍࡿ≉ᚩࡣほᐹࡉࢀࡿ࠿
RQ3: ⱥ᪥ࢫࢡࣜࣉࢺ㛫࡛ࠊᙺ๭ㄒࡢヰࡋᡭ࡟ᑐࡍࡿ࢖࣓࣮ࢪ࡟㐪࠸ࡣほᐹࡉࢀࡿ࠿ࡲࡎࡣࠊ➨ 2 ❶࡟࠾࠸࡚ᮏㄽᩥࡢ◊✲ᑐ㇟࡛࠶ࡿᙺ๭ㄒࡢᐃ⩏ 1 ࢆ♧ࡋࡓୖ࡛ࠊⱥ᪥ࡢ⏨ࡇ࡜ࡤ࣭ዪࡇ࡜ࡤ࡟㛵ࡍࡿ◊✲ࠊ࠾ࡼࡧ」ᩘゝㄒ࡟࠾ࡅࡿᙺ๭ㄒࢆẚ㍑ࡋࡓᑐ↷ᙺ๭ㄒ◊✲ࡢ஦౛ࢆ➨㸱❶ࠊ➨㸲❶࡛⤂௓ࡋࡓࠋᛶู࣭ฟ㌟ᆅ࣭㝵⣭࣭ே✀࡞࡝ࠊ≉ᐃࡢ≉ᚩࢆᣢࡗࡓே≀࡟ᑐࡍࡿࢫࢸࣞ࢜ࢱ࢖ࣉ࠿ࡽ⏕ࡌࡿᙺ๭ㄒࡣࠊヰࡋᡭࢆ࡝ࡢࡼ࠺࡞ே㛫࡜ࡋ࡚┦ᡭ࡟ぢࡏࡓ࠸࠿࡜࠸࠺㑅ᢥ࡟ᛂࡌ࡚ࠊ௬㠃ࡢࡼ࠺࡟౑⏝ࡍࡿࡇ࡜ࡀ࡛ࡁࡿࠋ㔠Ỉ (2003) ࡸ୰ᮧ (2007, 2013) ࡟ᇶ࡙ࡁࠊᮏ✏࡛ࡣ⮬ࡽࡀ౑⏝ࡍࡿゝㄒ࡟ࡼࡗ࡚⮬ศࡢ࢔࢖ࢹࣥࢸ࢕ࢸ࢕ࢆసࡾୖࡆࡿ࡜࠸࠺ࠕゝㄒ㈨※ࠖ࡜࠸࠺⪃࠼᪉ࢆᇶᮏ࡜ࡋࡓࠋࡉࡽ࡟ࠊ⏨ዪࡢゝⴥ㐵࠸ࡢ㐪࠸ࢆᑐᴟⓗ࡛⤯ᑐⓗ࡞㐪࠸࡜ࡍࡿࡢ࡛ࡣ࡞ࡃࠊ௵ (2009) ࡀ㏙࡭ࡿࡼ࠺࡟⏨ᛶᛶ࣭ዪᛶᛶࡢ⛬ᗘࡢᕪ࡛♧ࡍࡇ࡜ࡀ࡛ࡁࡿࡼ࠺࡞㐃⥆ⓗ࠿ࡘ┦ᑐⓗ࡞㐪࠸࡛࠶ࡿ࡜⪃࠼ࡓࠋ⥆࠸࡚ࠊ➨㸳❶ࡢࢫࢡࣜࣉࢺศᯒ࡛ࡣࠊBlack Comedy ࡢⱥ᪥୧ࢫࢡࣜࣉࢺࡼࡾࠊㄒᙡ
310310ಟኈㄽᩥせ᪨ⓗ࣭⤫ㄒⓗ࡞≉ᚩࡢࡳࢆศᯒᑐ㇟࡜ࡋࡓࠋⱥㄒࡢᛶᕪࡢ≉ᚩࡣ Lakoff (1975) ࠾ࡼࡧ᪂஭(1997) ࢆࠊ᪥ᮏㄒ࡟࠾ࡅࡿ≉ᚩࡣᒸᮏ (2010)ࠊ┈ᒸ࣭⏣❑ (1992) ࡞࡝ࡀᣲࡆࡓ㡯┠ࢆ᥇⏝ࡋࡓࠋࡑࡢ⤖ᯝࠊⱥㄒ࡟ẚ࡭࡚᪥ᮏㄒࡢ᪉ࡀࠊ≉ᐃࡢᛶู࡟౑⏝ࡉࢀࡿᛶᕪ࣐࣮࣮࢝ࡀ᫂
☜࡛࠶ࡿࡇ࡜ࡀࢃ࠿ࡗࡓࠋ౛࠼ࡤࠊඛ⾜◊✲࠿ࡽ⏨ᛶᛶࡀᙉ࠸࡜ࡉࢀ࡚࠸ࡿ௦ྡモࠕ࠾ࢀࠖࠕࡰࡃࠖࠊ⤊ຓモࠕࡐࠖ
ࠕࡒࠖࡣ 100%⏨ᛶⓏሙே≀ࡢྎモ࡟⏝࠸ࡽࢀ࡚࠾ࡾࠊዪᛶᛶࡀᙉ࠸⤊ຓモࠕ࠿ࡋࡽࠖ
ࠕ࡚ࠥࠊ࡞ࡃ࡚ࠖࡣዪᛶⓏሙே≀ࡢྎモࡢࡳ࡟⏝࠸ࡽࢀࡿ࡞࡝ࠊᛶู࡟ࡼࡿゝⴥ࡙࠿࠸ࡢ≉ᚩࡀࡣࡗࡁࡾ࡜♧ࡉࢀࡓࠋ୧ゝㄒࡢᩥἲⓗ࡞㐪࠸࠿ࡽࠊ࠶ࡿᙺ๭ㄒⓗ≉ᚩࢆ♧ࡍࡓࡵ࡟⏝࠸ࡽࢀࡿㄒᙡⓗ࣭⤫ㄒⓗせ⣲ࡀ␗࡞ࡿሙ㠃ࡶ࠶ࡗࡓࡀࠊ᭱⤊ⓗ࡟⾲⌧ࡋࡼ࠺࡜ࡋ࡚࠸ࡿヰࡋᡭࡢ࢖࣓࣮ࢪࡣྠࡌ࡛࠶ࡿࡇ࡜ࡀ♧၀ࡉࢀࡓࠋ≉࡟ⱥㄒ࡛ࡣࠊ┬␎ᙧࡸ
ᣦᑠ㎡ “-pegs” ࡢࡼ࠺࡟ࠊ≉ᐃࡢⓏሙே≀࡟㝈ᐃࡋ࡚౑⏝ࡉࢀ࡚࠸ࡿ≉ᚩࡀぢཷࡅࡽࢀࡓࠋࡉࡽ࡟ࠊࠕ࣍ࣔⓗ࡞࡜ࡇࢁࡢ࠶ࡿࠖ࡜࠸࠺ே≀ᥥ෗ࡀ࡞ࡉࢀ࡚࠸ࡿ⏨ᛶⓏሙே≀ࡢྎモ࡟ࡣࠊ Lakoff (1975) ࡀ♧ࡋࡓዪᛶᛶࡢᙉ࠸ゝⴥ㐵࠸ࡢ≉ᚩࡀ౑⏝ࡉࢀࡿ࡞࡝ࠊᛶᕪࢆ᭷ᶆ໬ࡋࡓ஦౛ࡶほᐹࡉࢀࡓࠋ୧ゝㄒࢆ㏻ࡌ࡚ࠊ⏨ᛶᛶ࣭ዪᛶᛶࡀᙉ࠸ᙺ๭ㄒࠊ࠶ࡿ࠸ࡣ≉ᐃࡢⓏሙே≀࡟㝈ᐃࡋ࡚౑ࢃࢀ࡚࠸ࡿᙺ๭ㄒᗘࡢᙉ࠸≉ᚩࡣࠊヰࡋᡭࡢᙺ๭ࢆᙉㄪࡋࡓ࠸ሙ㠃࡛ពᅗⓗ࡟ࠊࢃࡊ࡜ࡽࡋࡃ౑⏝ࡉࢀࡿࡇ࡜ࡀࢃ࠿ࡗࡓࠋࡉࡽ࡟ࠊ㔠Ỉ (2003) ࡀ࣎ࢢ࣮࣭࣐ࣛࢵࢣࢼ (2013) ࡢࠕࣄ࣮࣮ࣟࡢ᪑ࠖࢆ౛࡟㏙࡭࡚࠸ࡿࡼ࠺࡟ࠊ≉ᚩⓗ࡞ゝⴥ㐵࠸ࢆࡍࡿே≀࡟ࡣ≀ㄒࡢ୰࡛≉ᐃࡢᙺ๭ࡀ୚࠼ࡽࢀ࡚࠸ࡿࡇ࡜ࡶ᫂ࡽ࠿࡟࡞ࡗࡓࠋୖグࡢࢫࢡࣜࣉࢺศᯒ࡟ຍ࠼࡚ࠊ➨㸴❶࡛ࡣ Black Comedy ࡢྛⓏሙே≀ࡢྎモࢆᢤ⢋ࡋࠊྎモࡢヰࡋᡭ࡟ᑐࡋ࡚࡝ࡢࡼ࠺࡞࢖࣓࣮ࢪࢆᣢࡘ࠿ࢆ᳨ドࡍࡿ࢔ࣥࢣ࣮ࢺㄪᰝࢆᐇ᪋
ࡋࡓࠋⱥㄒࢫࢡࣜࣉࢺࡣⱥㄒẕㄒヰ⪅࡟ࠊ᪥ᮏㄒࢫࢡࣜࣉࢺࡣ᪥ᮏㄒẕㄒヰ⪅࡟ㄞࢇ࡛ࡶࡽ࠸ࠊᅇ⟅ࢆ཰㞟ࡋࡓ⤖ᯝࠊⱥㄒࡼࡾࡶ᪥ᮏㄒࡢ᪉ࡀྎモࡢヰࡋᡭࡢᛶูࢆ≉ᐃࡋࡸࡍ࠸ࡇ࡜ࡀ♧ࡉࢀࡓࠋᮏ◊✲࡟ࡼࡾࠊⱥㄒࡢཎᩥࢆㄞࢇࡔࡔࡅ࡛ࡣᖺ㱋ࡸᛶูࢆ≉ᐃࡋ࡟ࡃ࠸
ྎモ࡟㛵ࡋ࡚ࡶࠊ᪥ᮏㄒヂ࡟ᙺ๭ㄒࢆ⏝࠸ࡿࡇ࡜࡛ヰࡋᡭࡢ࢖࣓࣮ࢪീࡀ᫂☜໬ࡉࢀࠊ᫬
࡟ࡣㄞ⪅ࡀヰࡋᡭ࡟ᢪࡃ࢖࣓࣮ࢪࡀཎస࡜኱ࡁࡃኚ໬ࡍࡿྍ⬟ᛶࡀ࠶ࡿࡇ࡜ࡀ♧၀ࡉࢀࡓࠋ...........................................................
࠙ⴭ⪅⤂௓ࠚἙす⏤㤶㸦KASAI, Yuka㸧2013 ᖺ 3 ᭶ᮾிእᅜㄒ኱ᏛእᅜㄒᏛ㒊ⱥㄒᑓᨷ༞ᴗࠋ2014 ᖺ 3 ᭶ᮾிእᅜㄒ኱Ꮫ኱Ꮫ㝔 ᅜ㝿ࢥ࣑ࣗࢽࢣ࣮ࢩ࣭ࣙࣥ㏻ヂᑓಟࢥ࣮ࢫ࡟࠾࠸࡚ಟኈㄢ⛬ಟ஢ࠋ...........................................................

࠙トࠚ
1 ≉ᐃࡢ࢟ࣕࣛࢡࢱ࣮࡜⤖ࡧࡘࡁࠊ≀ㄒࡢ୰࡛ࡑࡢⓏሙே≀ࡀᯝࡓࡋ࡚࠸ࡿືࡁ(ᙺ๭)ࢆ♧ࡍ≉ᚩⓗ࡞ゝⴥ࡙࠿࠸ࢆᙺ๭ㄒ࡜࿧ࡪ (㔠Ỉ, 2003: vi)ࠋ

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ࠗ㏻ヂ⩻ヂ◊✲࠘14ྕ 2014 ࠙ᇶᮏᩥ⊩ࠚ
Shaffer, P. (1965). Black Comedy. Guernsey, O. L. (Ed.) (1967). The Best Plays of 1966-1967. New York:
Dodd Mead.
ࢩ࢙࣮ࣇ࢓࣮, P. (1982) ࠗࣈࣛࢵࢡ࣭ࢥ࣓ࢹ࢕࠘㸦಴ᶫ೺࣭ヂ㸧๻᭩ᡣ࠙ཧ⪃ᩥ⊩ࠚ㸦ᮏ✏࡬ࡢᘬ⏝ᩥ⊩ࡢࡳ㸧
Lakoff, R. (1975). Language and Woman’s Place. New York: Harper and Row.
᪂஭₶⨾ (1997) ࠕⱥㄒࡢዪゝⴥ ࢪ࢙ࣥࢲ࣮࡜ᩗㄒࠖᕝᮏⓡႹ࣭஭ୖ೺㸦⦅㸧ࠗ⩻ヂࡢ᪉ἲ࠘ ᮾி኱Ꮫฟ∧఍㔠Ỉᩄ (2003) ࣦࠗ࢓࣮ࢳࣕࣝ᪥ᮏㄒ ᙺ๭ㄒࡢㅦ࠘ ᒾἼ᭩ᗑ┈ᒸ㝯ᚿ࣭⏣❑⾜๎ (1992)ࠗᇶ♏᪥ᮏㄒᩥἲ࠘㸦ᨵゞ∧㸧ࡃࢁࡋ࠾ฟ∧୰ᮧ᱈Ꮚ (2007) ࠗ“ᛶ”࡜᪥ᮏㄒʊࡇ࡜ࡤࡀࡘࡃࡿዪ࡜⏨࠘ NHK ࣈࢵࢡࢫ୰ᮧ᱈Ꮚ (2013) ࠗ⩻ヂࡀࡘࡃࡿ᪥ᮏㄒʊࣄࣟ࢖ࣥࡣࠕዪࡇ࡜ࡤࠖࢆヰࡋ⥆ࡅࡿ࠘ ⓑ⃝♫௵฼ (2009) ࠗࠕዪࡇ࡜ࡤࠖࡣዪࡀ౑࠺ࡢ࠿ࡋࡽ㸽ʊࡇ࡜ࡤ࡟ࡳࡿᛶᕪࡢᵝ┦࠘ ࡦࡘࡌ᭩ᡣᒸᮏᡂᏊ (2010)ࠕⱝ࠸ዪᛶࡢࠕ⏨ࡇ࡜ࡤࠖʊゝⴥ࡙࠿࠸࡜࢔࢖ࢹࣥࢸ࢕ࢸ࢕ࠖ୰ᮧ᱈Ꮚ㸦⦅㸧ࠗࢪ࢙ࣥࢲ࣮࡛ᏛࡪゝㄒᏛ࠘ (pp. 129-144) ୡ⏺ᛮ᝿♫࣎ࢢ࣮ࣛ, C.࣭࣐ࢵࢣࢼ, D. (2013) ࠗ≀ㄒࡢἲ๎ ᙉ࠸≀ㄒ࡜࢟ࣕࣛࢆసࢀࡿࣁࣜ࢘ࢵࢻᘧ๰స⾡࠘㸦ᗓᕝ⏤⨾ᜨ࣭ヂ㸧࢔ࢫ࣮࣭࣓࢟ࢹ࢕࢔࣮࣡ࢡࢫ [ཎⴭ: Vogler, C., & McKenna, D. (2011). Memofrom the Story Department: Secrets of Structure and Character. Studio City, CA: Michael WieseProductions. ]312
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