{"id":373,"date":"2016-06-22T21:31:46","date_gmt":"2016-06-22T21:31:46","guid":{"rendered":"http:\/\/www.chukyoeibei.org\/eigoken\/?page_id=373"},"modified":"2016-11-07T04:10:29","modified_gmt":"2016-11-07T04:10:29","slug":"hosokawa","status":"publish","type":"page","link":"http:\/\/www.chukyoeibei.org\/eigoken\/hosokawa\/","title":{"rendered":"\u7d30\u5ddd \u771e \u6559\u6388"},"content":{"rendered":"<h2>Professor Makoto Hosokawa<\/h2>\n<h3><a href=\"http:\/\/www.chukyoeibei.org\/eigoken\/wp-content\/uploads\/2016\/06\/hosokawa.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-356\" src=\"http:\/\/www.chukyoeibei.org\/eigoken\/wp-content\/uploads\/2016\/06\/hosokawa.jpg\" alt=\"hosokawa\" width=\"100\" height=\"120\" \/><\/a><\/h3>\n<h3><strong>\u30d7\u30ed\u30d5\u30a3\u30fc\u30eb<\/strong><\/h3>\n<p style=\"padding-left: 30px;\">1949\u5e74\u751f\u307e\u308c\u30021977\u5e74\u5e83\u5cf6\u5927\u5b66\u5927\u5b66\u9662\u535a\u58eb\u8ab2\u7a0b\u5358\u4f4d\u53d6\u5f97\u9000\u5b66\u3002\u611b\u77e5\u5de5\u696d\u5927\u5b66\u5c02 \u4efb\u8b1b\u5e2b\u3092\u7d4c\u3066\u30011980\u5e74\u4e2d\u4eac\u5927\u5b66\u6587\u5b66\u90e8\u82f1\u6587\u5b66\u79d1\u5c02\u4efb\u8b1b\u5e2b\u30011995\u5e74\u6587\u5b66\u7814\u7a76\u79d1\u82f1\u6587\u5b66\u5c02\u653b\u3001\u82f1\u6587\u5b66\u79d1\u6559\u6388\u30022002\u5e74\u56fd\u969b\u82f1\u8a9e\u5b66\u90e8\u6559\u6388,2006\u5e74\u3088\u308a\u73fe\u8077\u30021985\u5e74\u82f1\u56fd \u30d0\u30fc\u30df\u30f3\u30ac\u30e0\u5927\u5b66\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u7814\u7a76\u6240\u306b\u3066\u5728\u5916\u7814\u7a76\u30022009\u5e749\u6708\u20152010\u5e741\u6708\u30d0\u30fc\u30df\u30f3\u30ac\u30e0\u5927\u5b66\u82f1\u6587\u5b66\u3001\u6f14\u5287\u3001\u30a2\u30e1\u30ea\u30ab\u30fb\u30ab\u30ca\u30c0\u7814\u7a76\u5b66\u90e8\u5ba2\u54e1\u6559\u6388\u3002\u535a\u58eb\uff08\u6587\u5b66\uff09[2004, \u5e83\u5cf6\u5927\u5b66]\u3002<\/p>\n<h3><strong>\u7814\u7a76\u30c6\u30fc\u30de<\/strong><\/h3>\n<p style=\"padding-left: 30px;\">\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u3001\u30cf\u30ed\u30eb\u30c9\u30fb\u30d4\u30f3\u30bf\u30fc\u3001\u30a4\u30ae\u30ea\u30b9\u30fb\u30eb\u30cd\u30b5\u30f3\u30b9\u6587\u5316\u3001\u6f14\u5287\u6587\u5316<\/p>\n<h3><strong>\u62c5\u5f53\u79d1\u76ee<\/strong><\/h3>\n<p style=\"padding-left: 30px;\">\u6f14\u5287\u6587\u5316\u7279\u8ad6I\u30fbII, \u82f1\u7c73\u6587\u5316\u5b66\u7279\u6b8a\u6f14\u7fd2I\u30fbII\u30fbIII\u30fbIV<\/p>\n<h3><strong>\u6240\u5c5e\u5b66\u4f1a<\/strong><\/h3>\n<p style=\"padding-left: 30px;\">\u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u3001\u65e5\u672c\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u5354\u4f1a\u3001\u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u4e2d\u90e8\u652f\u90e8\u30fb\u4e2d\u56fd\u56db\u56fd\u652f\u90e8\u3001 \u56fd\u969b\u30cf\u30ed\u30eb\u30c9\u30fb\u30d4\u30f3\u30bf\u30fc\u5354\u4f1a<\/p>\n<h3><strong>\u7814\u7a76\u6d3b\u52d5<\/strong><\/h3>\n<p>\u8457\u66f8<\/p>\n<p style=\"padding-left: 30px;\"><em>Harold Pinter and the Self: Modern Double Awareness and Disguise in the Shadow of Shakespeare<\/em> (Keisuisha, 2016)<\/p>\n<p style=\"padding-left: 30px;\">\u300e\u865a\u3068\u5b9f\u306e\u72ed\u9593\u3067\u2013\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u300f\uff08\u82f1\u5b9d\u793e, 2003\uff09<\/p>\n<p style=\"padding-left: 30px;\">\u300e\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u2013\u30d2\u30ed\u30a4\u30f3\u306e\u7537\u88c5\u30fb\u652f\u914d\u8005\u306e\u5909\u88c5\u3092\u4e2d\u5fc3\u306b\u300f\uff08\u5b66\u66f8\u623f, 1995).<\/p>\n<p>\u8ad6\u6587<\/p>\n<p style=\"padding-left: 30px;\">\u201dDavies&#8217;s Disguise in <em>The Caretaker<\/em>&#8211;From the Views of Modernist Negation and the Tradition of Disguise\u201d (\u300c\u56fd\u969b\u82f1\u8a9e\u5b66\u90e8\u7d00\u8981\u300d\u7b2c15\u53f7\u00a0)\u00a02013.3<\/p>\n<p style=\"padding-left: 30px;\">Double Awareness and the Self in Pinter&#8217;s <em>The Collection<\/em> and<em> The Lover<\/em>(\u300c\u00a0\u00a0\u56fd\u969b\u82f1\u8a9e\u5b66\u90e8\u7d00\u8981\u300d\u7b2c11\u53f7)\u00a0\u00a02009.3<\/p>\n<p style=\"padding-left: 30px;\">\u201dThe Theatrical Technique of \u2018Doubles\u2019 and Its Workings in <em>A Midsummer Night\u2019s Dream<\/em>\u201d (\u300c\u56fd\u969b\u82f1\u8a9e\u5b66\u90e8\u7d00\u8981\u300d\u5f1f\uff17\u30fb\uff18\u5408\u4f75\u53f7\uff092006.3<\/p>\n<p style=\"padding-left: 30px;\">\u300cJack \/ Ernest \u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u3068Wilde \u306e\u300c\u81ea\u5df1\u300d\u89b3\u2015\u2015\u2019expressivism\u2019 \u3068\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u4f1d\u7d71\u306e\u8996\u70b9\u304b\u3089\u2015\u300d\uff08\u300e\u4e2d\u4eac\u82f1\u6587\u5b66\u300f\u7b2c24\u53f7\uff092004.3<\/p>\n<p>\u4ed6<\/p>\n<p style=\"padding-left: 30px;\">&#8220;The Meaning of Rebecca&#8217;s Disguise as a Dispossessed Mother in Pinter&#8217;s <em>Ashes to Ashes,&#8221;<\/em> The 53 Annual Convention of the Midwest Modern Language Association, Nov. 5, 2011.<\/p>\n<p><a href=\"http:\/\/kenkyu-db.chukyo-u.ac.jp\/show\/type1.php?c=724\" target=\"_blank\"><strong>\u7814\u7a76\u6d3b\u52d5\u30c7\u30fc\u30bf\u30d9\u30fc\u30b9<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Professor Makoto Hosokawa \u30d7\u30ed\u30d5\u30a3\u30fc\u30eb 1949\u5e74\u751f\u307e\u308c\u30021977\u5e74\u5e83\u5cf6\u5927\u5b66\u5927\u5b66\u9662\u535a\u58eb\u8ab2\u7a0b\u5358\u4f4d\u53d6\u5f97\u9000\u5b66\u3002\u611b\u77e5\u5de5\u696d\u5927\u5b66\u5c02 \u4efb\u8b1b\u5e2b\u3092\u7d4c\u3066\u30011980\u5e74\u4e2d\u4eac\u5927\u5b66\u6587\u5b66\u90e8\u82f1\u6587\u5b66\u79d1\u5c02\u4efb\u8b1b\u5e2b\u30011995\u5e74\u6587\u5b66\u7814\u7a76\u79d1\u82f1\u6587\u5b66\u5c02\u653b\u3001\u82f1\u6587\u5b66\u79d1\u6559\u6388\u30022002\u5e74\u56fd\u969b\u82f1\u8a9e\u5b66\u90e8\u6559\u6388,2006\u5e74\u3088\u308a\u73fe\u8077\u30021985\u5e74\u82f1\u56fd \u30d0\u30fc\u30df\u30f3\u30ac\u30e0\u5927\u5b66\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u7814\u7a76\u6240\u306b\u3066\u5728\u5916\u7814\u7a76\u30022009\u5e749\u6708\u20152010\u5e741\u6708\u30d0\u30fc\u30df\u30f3\u30ac\u30e0\u5927\u5b66\u82f1\u6587\u5b66\u3001\u6f14\u5287\u3001\u30a2\u30e1\u30ea\u30ab\u30fb\u30ab\u30ca\u30c0\u7814\u7a76\u5b66\u90e8\u5ba2\u54e1\u6559\u6388\u3002\u535a\u58eb\uff08\u6587\u5b66\uff09[2004, \u5e83\u5cf6\u5927\u5b66]\u3002 \u7814\u7a76\u30c6\u30fc\u30de \u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u3001\u30cf\u30ed\u30eb\u30c9\u30fb\u30d4\u30f3\u30bf\u30fc\u3001\u30a4\u30ae\u30ea\u30b9\u30fb\u30eb\u30cd\u30b5\u30f3\u30b9\u6587\u5316\u3001\u6f14\u5287\u6587\u5316 \u62c5\u5f53\u79d1\u76ee \u6f14\u5287\u6587\u5316\u7279\u8ad6I\u30fbII, \u82f1\u7c73\u6587\u5316\u5b66\u7279\u6b8a\u6f14\u7fd2I\u30fbII\u30fbIII\u30fbIV \u6240\u5c5e\u5b66\u4f1a \u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u3001\u65e5\u672c\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u5354\u4f1a\u3001\u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u4e2d\u90e8\u652f\u90e8\u30fb\u4e2d\u56fd\u56db\u56fd\u652f\u90e8\u3001 \u56fd\u969b\u30cf\u30ed\u30eb\u30c9\u30fb\u30d4\u30f3\u30bf\u30fc\u5354\u4f1a \u7814\u7a76\u6d3b\u52d5 \u8457\u66f8 Harold Pinter and the Self: Modern Double Awareness and Disguise in the Shadow of Shakespeare (Keisuisha, 2016) \u300e\u865a\u3068\u5b9f\u306e\u72ed\u9593\u3067\u2013\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u300f\uff08\u82f1\u5b9d\u793e, 2003\uff09 \u300e\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u2013\u30d2\u30ed\u30a4\u30f3\u306e\u7537\u88c5\u30fb\u652f\u914d\u8005\u306e\u5909\u88c5\u3092\u4e2d\u5fc3\u306b\u300f\uff08\u5b66\u66f8\u623f, 1995). \u8ad6\u6587 \u201dDavies&#8217;s Disguise in The Caretaker&#8211;From the Views of Modernist Negation and the Tradition of Disguise\u201d &hellip; <a href=\"http:\/\/www.chukyoeibei.org\/eigoken\/hosokawa\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">\u7d30\u5ddd \u771e \u6559\u6388<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":377,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","footnotes":""},"class_list":["post-373","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u7d30\u5ddd \u771e \u6559\u6388 - BACS\u30fb\u82f1\u8a9e\u570f\u6587\u5316<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.chukyoeibei.org\/eigoken\/hosokawa\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u7d30\u5ddd \u771e \u6559\u6388 - BACS\u30fb\u82f1\u8a9e\u570f\u6587\u5316\" \/>\n<meta property=\"og:description\" content=\"Professor Makoto Hosokawa \u30d7\u30ed\u30d5\u30a3\u30fc\u30eb 1949\u5e74\u751f\u307e\u308c\u30021977\u5e74\u5e83\u5cf6\u5927\u5b66\u5927\u5b66\u9662\u535a\u58eb\u8ab2\u7a0b\u5358\u4f4d\u53d6\u5f97\u9000\u5b66\u3002\u611b\u77e5\u5de5\u696d\u5927\u5b66\u5c02 \u4efb\u8b1b\u5e2b\u3092\u7d4c\u3066\u30011980\u5e74\u4e2d\u4eac\u5927\u5b66\u6587\u5b66\u90e8\u82f1\u6587\u5b66\u79d1\u5c02\u4efb\u8b1b\u5e2b\u30011995\u5e74\u6587\u5b66\u7814\u7a76\u79d1\u82f1\u6587\u5b66\u5c02\u653b\u3001\u82f1\u6587\u5b66\u79d1\u6559\u6388\u30022002\u5e74\u56fd\u969b\u82f1\u8a9e\u5b66\u90e8\u6559\u6388,2006\u5e74\u3088\u308a\u73fe\u8077\u30021985\u5e74\u82f1\u56fd \u30d0\u30fc\u30df\u30f3\u30ac\u30e0\u5927\u5b66\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u7814\u7a76\u6240\u306b\u3066\u5728\u5916\u7814\u7a76\u30022009\u5e749\u6708\u20152010\u5e741\u6708\u30d0\u30fc\u30df\u30f3\u30ac\u30e0\u5927\u5b66\u82f1\u6587\u5b66\u3001\u6f14\u5287\u3001\u30a2\u30e1\u30ea\u30ab\u30fb\u30ab\u30ca\u30c0\u7814\u7a76\u5b66\u90e8\u5ba2\u54e1\u6559\u6388\u3002\u535a\u58eb\uff08\u6587\u5b66\uff09[2004, \u5e83\u5cf6\u5927\u5b66]\u3002 \u7814\u7a76\u30c6\u30fc\u30de \u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u3001\u30cf\u30ed\u30eb\u30c9\u30fb\u30d4\u30f3\u30bf\u30fc\u3001\u30a4\u30ae\u30ea\u30b9\u30fb\u30eb\u30cd\u30b5\u30f3\u30b9\u6587\u5316\u3001\u6f14\u5287\u6587\u5316 \u62c5\u5f53\u79d1\u76ee \u6f14\u5287\u6587\u5316\u7279\u8ad6I\u30fbII, \u82f1\u7c73\u6587\u5316\u5b66\u7279\u6b8a\u6f14\u7fd2I\u30fbII\u30fbIII\u30fbIV \u6240\u5c5e\u5b66\u4f1a \u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u3001\u65e5\u672c\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u5354\u4f1a\u3001\u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u4e2d\u90e8\u652f\u90e8\u30fb\u4e2d\u56fd\u56db\u56fd\u652f\u90e8\u3001 \u56fd\u969b\u30cf\u30ed\u30eb\u30c9\u30fb\u30d4\u30f3\u30bf\u30fc\u5354\u4f1a \u7814\u7a76\u6d3b\u52d5 \u8457\u66f8 Harold Pinter and the Self: Modern Double Awareness and Disguise in the Shadow of Shakespeare (Keisuisha, 2016) \u300e\u865a\u3068\u5b9f\u306e\u72ed\u9593\u3067\u2013\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u300f\uff08\u82f1\u5b9d\u793e, 2003\uff09 \u300e\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u2013\u30d2\u30ed\u30a4\u30f3\u306e\u7537\u88c5\u30fb\u652f\u914d\u8005\u306e\u5909\u88c5\u3092\u4e2d\u5fc3\u306b\u300f\uff08\u5b66\u66f8\u623f, 1995). \u8ad6\u6587 \u201dDavies&#8217;s Disguise in The Caretaker&#8211;From the Views of Modernist Negation and the Tradition of Disguise\u201d &hellip; Continue reading \u7d30\u5ddd \u771e \u6559\u6388 &rarr;\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.chukyoeibei.org\/eigoken\/hosokawa\/\" \/>\n<meta property=\"og:site_name\" content=\"BACS\u30fb\u82f1\u8a9e\u570f\u6587\u5316\" \/>\n<meta property=\"article:modified_time\" content=\"2016-11-07T04:10:29+00:00\" \/>\n<meta property=\"og:image\" 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\u300e\u865a\u3068\u5b9f\u306e\u72ed\u9593\u3067\u2013\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u300f\uff08\u82f1\u5b9d\u793e, 2003\uff09 \u300e\u30b7\u30a7\u30a4\u30af\u30b9\u30d4\u30a2\u306e\u30c7\u30a3\u30b9\u30ac\u30a4\u30ba\u306e\u7cfb\u8b5c\u2013\u30d2\u30ed\u30a4\u30f3\u306e\u7537\u88c5\u30fb\u652f\u914d\u8005\u306e\u5909\u88c5\u3092\u4e2d\u5fc3\u306b\u300f\uff08\u5b66\u66f8\u623f, 1995). \u8ad6\u6587 \u201dDavies&#8217;s Disguise in The Caretaker&#8211;From the Views of Modernist Negation and the Tradition of Disguise\u201d &hellip; Continue reading \u7d30\u5ddd \u771e \u6559\u6388 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