Wordsworth’s Vocabulary in The Prelude　

中川　憲 

 

 

Ａ５ 

212 

3,850円 （本体3,500円 ）

2018年4月26日 

ISBN978-4-86327-437-2 

C3098 

文学・語学／欧米〈文学〉
 

『序曲』を構成する語彙がどのようなネットワークを呈しているか、また語彙同士がどのように結びついているかを精査することでワーズワスの長編詩の核心に迫る語学的研究。（本文英文）
A linguistic study of the vocabulary that constitutes The Prelude, Wordsworth’s longest poem, in terms of its unique combination and stratificational network

List of Tables

List of Figures

List of Charts

Acknowledgements

Introduction

Chapter 1
Vocabulary that Constitutes The Prelude
　1.0 Introduction
　1.1 Noun class
　　1.1.1 Nouns under Division 1.1 and Division 1.5
　　1.1.2 Nouns under Division 1.2
　　1.1.3 Nouns under Division 1.3
　1.2 Verb class
　1.3 Adjective class
　1.4 Other word classes
　1.5 Summary

Chapter 2
Words Combined with ‘Weight’ in The Prelude
　2.0 Introduction
　2.1 Purpose
　2.2 Categorization of the examples of ‘weight’ in The Prelude
　　2.2.1 How to read the chart
　　2.2.2 Fourteen extracts
　2.3 Examples of （A） Negative Value
　2.4 Examples of （B） Positive Value
　　2.4.1 How to intensify the degree of ‘pleasure’
　　2.4.2 Finite verbs used in citation （3）
　　2.4.3 ‘Even’ prefixed to ‘with-phrase’
　　2.4.4 Brief mention of citations （9）, （10）, and （11）
　2.5 Example of （C） Neutral Value
　2.6 Observation
　2.7 Summary

Chapter 3
Verbs of Perception and Cognition in The Prelude
　3.0 Introduction
　3.1 Verbs appearing more than ten times in The Prelude
　3.2 Verbs of visual perception
　3.3 Objects of verbs of visual perception
　3.4 Adverbial modifiers around verbs of visual perception
　　3.4.1 The poet’s persistent attitude toward objects
　　3.4.2 The poet’s emotional state while seeing
　3.5 Modifiers of ‘eye’ and ‘eyes’
　3.6 Verbs of auditory perception
　3.7 Objects of verbs of auditory perception
　　3.7.1 The poet’s keen interest in obscure ‘sound’ and ‘voice’
　　3.7.2 ‘Sound （s）’ and ‘voice’ tend to be qualified
　　3.7.3 The poet’s feeling while hearing
　3.8 Modifiers of ‘ear’ and ‘ears’
　3.9 Co-occurring pattern of verbs of perception and cognition：
　　‘saw’→‘heard’→‘felt’
　3.10 Summary

Chapter 4
‘Mighty’ in The Prelude
　4.0 Introduction
　4.1 Adjectives in the comparative and superlative degrees
　4.2 Polarized adjectives
　4.3 Rearrangement of adjectives
　4.4 Mirror-image relation between ‘in’ and ‘out’
　4.5 Close adhesion of ‘mighty’ and ‘mind’
　　4.5.1 How close ‘mighty’ and ‘mind’ stand to each other
　　4.5.2 Sound structure of ‘mighty mind’
　4.6 Summary

Chapter 5
‘Through’ in The Prelude
　5.0 Introduction
　5.1 Unusual rank order of ‘through’ in The Prelude
　5.2 Distribution of objects for occurrences of ‘through’
　　5.2.1 Abstract nouns or concrete nouns？
　　5.2.2 “Abstract locative” nouns
　5.3 Co-occurrence of ‘through’ with verbs
　　5.3.1 Combination of ‘roam’ with other words
　　5.3.2 Combination of other verbs of motion with ‘through’
　　5.3.3 Semantic components of verbs of motion
　　5.3.4 Other similar examples of verbs of motion
　　co-occurring with ‘through’
　　5.3.5 Example of a verb of visual perception
　　co-occurring with ‘through’
　5.4 Image schema of ‘through’
　5.5 Further observations of ‘through’
　5.6 Reasons for the frequent use of ‘through’
　5.7 ‘Through’ in the Snowdon passage
　5.8 Summary

Chapter 6
Multi-Layered Structure of Expression in The Prelude
　6.0 Introduction
　6.1 Threefold structure
　6.2 Enhancing
　6.3 Deepening
　6.4 Introduction to the Snowdon passage
　6.5 First half of the Snowdon passage
　　6.5.1 Triple-layered structure representative of ‘crack’
　　6.5.2 Co-referential double structure
　　6.5.3 Subtle difference of meaning in “isotopy”
　6.6 Second half of the Snowdon passage
　　6.6.1 Nominal equivalent structure
　　6.6.2 Verbal equivalent structure
　6.7 Summary

Conclusion

Works Cited

Select Bibliography

Appendix
　List 1.1 Alphabetical frequency list for The Prelude
　List 1.2 Rank frequency list for The Prelude

Subject Index

Personal Name Index