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Developing the function of molecular crystals utilising the release of guest molecules [an abstract of dissertation and a summary of dissertation review]
No full textハロゲン化物ペロブスカイト系における励起子の再結合、移動、および転移の探求 [全文の要約]
No full textこの博士論文全文の閲覧方法については、以下のサイトをご参照ください。https://www.lib.hokudai.ac.jp/dissertations/copy-guides
A Feminist Perspective on Ainu Lyric Songs
No full text本論文の目的は、アイヌ口承文芸の中でも叙情歌が社会構造や語りの場の影響を受け、固定的に伝承されたものでも歌詞内容が変化しうることを問題提起するものである。
まず、アイヌの叙情歌について、独唱歌の形をとるものは即興歌と伝承歌にさらに分けられることを確認する。即興歌とは、他の歌い手の旋律や常套句や内容のモチーフなどが部分的に引用され即興的に歌われる歌のことを指す。樺太地方の吉田フクの例のように、自分で作る場合も多い。また伝承歌とは、これらの要素が歌い手から他の歌い手に固定的に伝承されるもので、全体引用の形をとる。
本稿では、独唱歌のうち伝承歌に多く注目し、伝承の過程において歌詞内容が変化することを見る。
さらに、アイヌ女性を取り巻く抑圧の構造として、和人-アイヌの民族間の差による抑圧と、男性-女性のジェンダーによる抑圧とが存在する。このような抑圧が口承文芸の内容に影響する可能性を探っていく。また、口承文芸の語りの場ではより権力を有した存在に歌い手が配慮することによって、同じ話のものでも歌詞内容が変更される場合がある。これも一種の抑圧と言えるだろう。
このようなアイヌ女性を取り巻く抑圧が、叙情歌の内容にどのような影響を及ぼすのか検討していく。The purpose of this paper is to propose that among the Ainu oral literatures, and songs are influenced by social structures and narrative sites, and that the lyrical content of songs can change even if they are fixedly handed down.
First, I will confirm that Ainu songs in the form of solo songs can be further divided into two types: improvised songs and traditional songs. Improvised songs are those that are sung in an improvisational manner by partially quoting the melody, common phrases, or content motifs of other singers. In many cases, as in the case of Yoshida Huku in the Sakhalin region, the singer makes up her own songs. Traditional songs are also one in which these elements are passed down from one singer to another in a fixed manner and takes the form of a whole quotation.
In this paper, I will focus on the lore songs among the solo songs and see how the lyrical content changes in the process of transmission.
Furthermore, as a structure of oppression surrounding Ainu women, there is oppression based on the ethnic difference between the Japanese and Ainu, and oppression based on the gender of men and women. I will explore the possibility that such oppression affects the content of oral literature. In addition, the lyrics of the same story may be changed by the singer to accommodate a more powerful figure in the oral storytelling. This can also be considered a form of oppression.
I will examine how this kind of oppression surrounding Ainu women affects the content of songs
Perceived‘ Native-Likeness’ of Japanese Native Speakers’ Disfluency by Learners and Their Intentions for Its Usage
No full text母語話者の発話にもポーズや修復などの非流暢性が現れる。それらの中にはコミュニケーション上の機能を有するものもあることが明らかになってきているが、そのような非流暢性は日本語教育の現場では学習項目としてほとんど取り入れられていない。今後どのような非流暢性を教育現場に落とし込んでいくかという議論を深めていくために、本研究では従来の研究では着目されてこなかった「学習者は母語話者の非流暢性をどう受け止めているのか」という視点から探索的なアプローチを試みた。中級日本語学習者23名を対象にした調査の結果、母語話者が使用する「音声的に短く発話の流れの阻害を最小限に留めるようなフィラー」や、「『教科書的で正式』ではない語順での発話」の習得を望む傾向がうかがえた。It has become widely recognized that native speakers’ utterancesincludes’ a noteworthy number of disfluency such as pauses, fillersand repairs. In addition, it has been increasingly recognized thatcertain disfluencies do not stem from a lack of linguistic competenceor errors but rather serve functional roles in facilitating effectivecommunication. Such disfluency, however, are rarely addressed asteaching/learning items in Japanese language classes. To deepen thediscussion on how to incorporate disfluency into educational settingsin the future, this study takes an exploratory approach from theperspective of how learners perceive the disfluency used by nativespeakers, which has not been focused on in previous studies.The survey targeted 23 intermediate Japanese learners. It foundthat native speakers’ usage of fillers and scrambled sentences isperceived as a part of ‘native-speaker-like’ way of speaking. Also,the result indicates the learners’ desire to acquire ‘phonetic fillersthat are short and minimally disruptive to the flow of speech’ and‘utterances with word orders that are not textbook-formal.
