2020.09.18

2 0 2 0年度［博士後期課程】

早稲田大学大学院文学研究科

専門科目 広急メデ，，ア峰コース

資料解読

以下の〔A〕～．(1)の資料解読問題のうちから、 1題をえらび、その股問に答えよ。

入学試験問題

※解答は別紙R綬書）

問題 (A)

設問以下 のフランス語の文章を日本距に全訳しなさい

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恥 art,la始voltcs'ach切eet se P:11'eq1e clans 1f1 vr~e. ~ais l'art et la societe>'Ia creation et c~細0,,non danslacritique oulecommentaire. La doivent,

la revolution pour " cela, rettouver la source

revolution, de son cote, ne peut s'affirmer que dans une oil refus de・ la revolte

et. consentement, sinp;u.larite civilisation, non dans late江 eutou la tyrannie. Les deux individu et幽 oires’Cquilib 『 et universel,

:rent clans la ]ue甜onsque pose dCsormaisnotretemps i une soci6t¢ dure. La rと

te匹 ionla plus volte n'e哉 pasenelle-m6me un Cl6ment de

ansl'impasse : la cr細 one釦—elle possible，ヒrCvolution civilisation. Mais elle磁 prealablei toute civillsation. eg--elle訊゚ssible,n'enfont qu'une, qui concernela:renais- Elle seu1e, dans l'・

血 passeounous vivons, permet d'espと—sance une C1叫 isa!lon.:rerl’avenir中ntIevaitNietzsche:≪Aulieud

La revoh1tion et l'art du ~e siecle sont tributai:res du represseur, le ・createur. ≫ Forirl~e _ du juge ef du

quine meme nibilismeet viventdanslam6mecontradi出on. ser l'illusion derisoire d'une cit6dtri <peut pas autori-

Ils nient1 ce qu'ils affirment PC?urtant ~ns leur mo11:v_e-Elle eclaire seulement le dra~; d gee par de_s arti就es.

ment meme et・cherchent tous_ deux une issue impossible,~ travail e no江eepoque OU le , soum1senti如ementala produ出on,acesse d'etre

a •travers laterreur. La t6volutioncontemporainecroit cr6ateur. La soci艇 indu就riellen'ouvriza les chemins in:augurer un nouveau_ monde et elle n~est que Faboutisse-d'une civilisation qu' ment contradiltoire de l'ancien. Finalement, la socie必 d

q~'~? redonna~! au trav:aille_ur la digni必u createur, c1e釦 a=di.te

capitaliste et la sod艇曲olutionna.i:ren’en font qu’une -en appliqumt son inば£etet sa

civilisation ・出sorm紅sJ.心心

,yen, la ~-':ls_ les classes comme dar , Mais l' ~ create~r; _pas plus que la 1

qu'elle ・ s~p紅e:rlaforme et le foni moyen 1nsi qu’ellereconnaitra i tI om de r¢volte. Ilseraitinj迫 e,et d' 辿 ede speare dirige at la'soci~te de 血 ice.toutaussi山sa釦 eux悶e

L’art contempotain,parce―qu'il函呻皿e,se幽batp辻tendttsepasserde S Kespeare. shakespearesans le aussi en紅ele formalisme et le Ialisme. Le r6alisme, cordonnier sert d’alibi a h tyrannie. Le cor.donnier sans d,ailleurs, eSaussibienbourgeois-maisil碑 alors Shakespeare 碑 ab~orb~p紅 la tyrannie quandil ne con-no江— que sociali我e,etildevient紐血nt.Leformalisme tribue pas i i'6tendre. Toute函叫onnie, app~nt aussi bien a la ~oci艇 du passe, quandil e就 lemonde duma!t:re et del’esclave. Lahld

~~ elle-meme,

a監国。ngtatuite,qu'i lasociCt6 qui se pI6tend de de tyrans et d'l euse societe・

esclaves ou _!l-Ous nous・ survivons ne ttou~ ravenir; il defutlt alors la propagand~. ~e la~ga_g~-det:ruit ve~a-. sa ・ mort et 『tlanCg. ・ •

sa transfiguration qu'au niveau-&-la auon血 atlonnellese perd dans le岨lirever-cr細 on.

al; sounus a l'id如logiedetem皿途e,il se reswne clans le mot d'ordre. Entte les deux, se tlent l'art1. Si le曲 oltedoit refuser a la" f ois la fureur du a細 t・et le consentement a. la totali屯 ra血 edoit echapper en m血 etemps a la 邸 nesieformelle et a l'e叫血quetotalitaire de la realite. Le monde d'aujourd'hui est un, en effet, mais son unite est celle du nihilisme. La civilisation. n'e気 possibleque si, renon~nt au nihilisme des principes formels ef ・ au 益hilismesa皿 principes,cemonde retrouve le chemin d'u.ne synthese creatrice. De la meme mani如e,en art~ le temps du commentaire perpetuel et du reportage ago咄 e;il annonce alors le temps des er年teurs.

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2020年度 早稲田大学大学院文学研究科 入学試験問題

［博士後期課程］ 専門科目スオぷ臼‘41囁 コース ※解答は別紙＠•縦書）

問題 (B]

設問 1 (1) に入る人名を記入せよ（日本語でもアルファベットでも可）。

設問 2 下線部を和訳せよ。

※この問題は、著作権の関係により掲載ができません。

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~Ot へ~．．． ~ ヽ＾ ▲し心い…Y-

2020年度 早稲田大学大学院文学研究科 入学試験問題

［博士後期課程l 専門科目 元気/Aデ＾訂塙コース※解答は別紙（翁~.縦

問題〔C〕

以下の英文資料を和訳しなさい。・

恥 J恥 N-LucGoDARD's Co叩細T(1963), the seventy-three·•:Ye正olddiiector Fri口しgpla戸 aversion ofhimselfin an otherwise fictional scenario concemed面ththe productio~ of a film version ofHomerrs The 0加eybeipg曲 ectedby L皿 gat Cmecitta Stu出osin Rome. L皿 gand 坤 producer,Jere~y Prokosch(Tack. Pal皿 ce),attempt to intere;t the writer Paul J a.val(Michel Piccoli) in helping th皿 cre~te;wor虹blescreen-play for this projecしAtone point in the fil皿 Langtells Javal that he beli匹 esthe particul江 powerof The 0勾坦yresides in・ Home:r'sh江 moni-ous relations伍pwith the world in w抽:ihhe crea.虚 ‘'Theworld ofHomer,': Langsa芥 “isa real world, The poet belonged to紬mowncivilizatlon, one that developed.inharmony面thnature, not in oppo出tionto it. That is precisely the beauty of Thie Ody匹y,its血thin reality as it両 Sl.:S•疇零 in a form that could not be tampered,with囀’'Theselines were written not切L皿 gbut_byGodard皿 dmay be taken邸 God叫 'Sattemptto de丘nethena皿 eof the moment in which坤 ownfilm is being made一如tof theearly 1960s, at the/height ofthe m丑uenceand creative power of the Fre皿 hNewWave囀

Aninば nationalcoproduction packaged by Carlo Ponti and Joseph E Levine, fearuring a maioI S皿， B屯itteB江 dot,and adapted from a novel by Alberto Mora而a,Co加叩tw邸 God叫ぢ血glemaj;r attempt to

. enjoy widespread international success and to cr~ate a五Imon a sc血血twould evoke, however distantly, the world of epic narrative,'With.in the context of釦 坤toryup to this pain~, what四cha ci国ti.onof the epic ine叫 blysugg窃 tedwas c属 icalcin函 a,a form w旱曲o;onecmtld

argue, developed "in harmony" with dvili四 tionfor appro血 atelythe first ‘fiftyy匹 sof凶 stence.・ And although ¥vritten by Godard, these words匹

spoken by a filmmaker who~ in Germany in the 1920s and e紅 ly1930s, 和rgednot simply a style but, in the words of Noel Burch, "a series of ac伍evements血 tmatch the history of the c江ema's 匹estline~of discovery stage by stage.'" Unlike the impro西ationalGodard, Langt血emade-pends on a rigoro芦 mdm丑西blepreconception, working而曲na“foml 出atcould not be t皿 peredwith:'; In the四 ndioseand overdetermined world of L四 g1little is left to中皿ce.

Both Homer and Lang徊 ctionfor C⑳ t蟷 :ptas the sites of証

removed皿 dmythical rea血s,creating epic narratives designed for a wide audience and in worlds mヰkedly曲丑rentfr改ntlleoneinwMchGod江 dhimself is now working--or at least that誌theimplication here. ¾; many co皿 nentatorson the film _have noted, C()虚 e1nptself-consciously ・draws on the language of this type of伍mmalcingtO the point where tlle film be-comes} as Jacques Aumont h⑮ p虹asedi½ "a sort of compendium of clas-直cal 中ema•', This relations伍pto class四1cinema includes a n~a.tive V'>-ith an血瞑tclassical three-act structure; a且uid,long-ヰ estyle; ro四正

tic musical underscoring;皿 da use of color皿 d皿皿orphicwid零 reenthat evok邸 theworld. of big-budget spectacle. But Q⑰ t窃 <tptreproduces these elements in a very idios}'Ilcratic manner so that. the £Im s匹 msto be, at oncel皿四mpleof classical cinema皿 da cornmen国 yonit尋・

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2020年度 早稲田大学大学院文学研究科 入学試験問題【博士後期課程】 専門科目 牙息ki-子召了ra篇 コース ※解答は別紙(@•縦書）

問題 (D〕 設問 以下の英文を和訳しなさい。

※この問題は、著作権の閑係により掲載ができません。

41,.

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2020年度 早稲田大学大学院文学研究科 入学試験問題

【博士後期課程］ 専門科目表淑ふ和了玲コース ※解答は別紙＠・縦書）

問題〔E〕

設問 以下の英文を和訳しなさい。ただし注番号は無視すること。

※この問題は、著作権の関係により掲載ができません。

ー/l

5

20 20年度 早稲田大学大学院文学研究科 入学試験問題［博士後期課程】 専門科目表魯ふ和 1舜i::rース ※解答は別紙＠・縦書）

問題 [FJ

以下を英訳してください。

※この問題は、著作権の関係により掲載ができません。

6 ／ ．

{ I

2 0-2 0年度

（博士後期課程］

早稲田大学大学院文学研究科

専門科目 克豆Kメテ汀認るコース

入学試験問題

※解答は別紙通り・縦書）

問題 [G)

次の言語学に関する文意を訳しなさい。

One ~rucial function of language is to express thoughts and ideas. That is, language

encodes and exte_rnalises o_ur thoughts. The way language does this is by using

syml:;>.ols. Symbols are'bits of languc!ge'. These might be meaningful subparts of.words

(for example, dis-as if! distaste). whole words (for example, cat.「un,tomorrow)、Or

'strings'of words (for example噸 Hecouldn't.vvrlte a pop jingle'!et alone a whole musical).

These symbols consist of forms, which may be spoken, written or signed, and meanings

with which the forms are conventionat[y paired. In fact, a symbol is better referred to as

a symbolic assem~ly, as it consists of two parts that are conventronaHy旦ssociate.d.in

other words, this symbolic assembly is a form-meaning pairing、 1

A form can be a sound, as in[koot] (here, the speech_ sounds are・ rep「esentedby

symbols from the lnternational Phonetic Alphabet}. A form might be the orthographic

representation that we see on the written page: cat or a signed gesture in a sign

language. A meaning is the conventional ideational or semantic content associated with

the symbol. A symbolic assembly of form a17d meaning is ~epresented in Figure i.

ik四l

Figure 1.1

It is important to make it clear that the image of the cat in Figure 1 is intended to

represent not a particular ref_erent in the world, but the ide・a of a cat. That is, the image

represents thl::'! meaning conventionally paired with the form pronounced in English as

[Kぉt].The meaning associated wfth a linguis廿csymbol is linked to a particular mental

representation termed a concept Concepts, in turn, derive from perc~pts. For iristance,

consider a piece of fruit !ike a pear.-Different parts of the b「ainperceive its shape,

colour, text ur~. taste, smell and so on. This diverse range of perceptual information

deriving from the world'out-there'is integrated into a single mental jmage (a

representation available to consciousness). which gives r-ise to the concept of PEAR

When we use language and utte「theform pear, this symb.ol corresponds to a

conventional meaning, and therefore'connec区 toa concept「atherthan. directly to a

physical object in the external wo「Id.

Our <::ognitive abil.ities jnt~g'rate raw perceptual information into a coherent and

well defined ment_al ;mage. The meanings encoded by linguistic symbols then, refer to

our projected reality: a mental representation of rea_lity, as construed by the human・

mind. mediated by our unique perceptual'and conceptual systems. ・ ※Web公開にあたり、著作権者の要請（こより出典追記しております。Cognitive Linguistics: an Introduction: Vyvyan Evans& Melanie Green,Edinburgh University Pressc2006 Reproduced with permission of the Licensor through P区 clear

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2020年度 早稲田大学大学院文学研究科

【博士後期課程】 専門科目 表紙メテ；了筍伝コース

問題 [HJ

入学試験問題※解答は別紙爾）・縦書）

次にある、 BOBDYLANが 1976年に発表した作品、 ’'HmTicane”の詩を読み、

そこで語られているテーマについて、現在の日本において起こっている現象を

例にあげ、自身の考えを述べよ。

Hurricane (withjacquesLevy)

Pistol shots ring out in the barroom night

Enter Patty Valentine from the upper hall.

She sees the bar.tender in a pool of blood,

Cries out, "My God, they killed them all!" Here comes the story of the Hurricane, T_he man the authorities came to blame For somethin'that he never done.

Put in a prison cell, but one time he could-a been The champion of the world.、

Three bodies lyin'there does Patty see

And another man named Bello, movin'around mysteriously. "I didn't do it," he says, and he throws up his hands

"I was only robbin'the register, I hope you understand.

I saw'-them learvin','; he says, and he.stops, "One ofus hac;l. better oall up the cops." And so Patty calls the cops

And they arrive on the scene with their red lights flashin' In the hot New Jersey night.

か‘ ””灼

Meanwhile, far away in another part of town

Rubin Carter and a couple of friends are drivin'around,

Number one contender for the middleweight crown

Had no idea what kinda sbit was about to go down

叫 ena cop pulled him over to the side of the road

Just like the time before and the time before that.

In Paterson that's just the way things go.

If you're black you might as well not show up on the street

'Less you wanna draw the heat.

Alfred Bello had a partner and he had a rap for the oops.

Him and Arthur Dexter Bradley were just out prowlin'around He said, "I saw two men runnin'out, they looked like middleweights

They jumped into a white oar with 01.1t-of-state plates."

And Miss Patty Valentine just nodded her head_ Cop said, "Wait a minute, boys, this one's not dead"

So they took him to the叫 irmary

And though tbis man could hardly see Tliey told bim that he could identify the guilty men,

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入学試験問題2020年度

【博土後期課程】

早稲田大学大学院文学研究科

専門科目 え気メ予 1謡和コース ※解答は別紙（信）・縦書）

Four in the mornin'and they haul Rubin in, Take hlm to the hospital and they bring him upstairs. The wounded man looks up through bis one dyin'eye Says, "Wha'd you bring him in here for? He ai3:1't the guy!" Yes, here's the story of the Hurricane, The man the authorities came to blame

For somethin'that he never done. Put in a prison cell, but one time _he could-a been The champion of the world.

Four months later, the ghettos are in flame, Rubin's in South America, fightin'for his name While Arthur Dexter Bradley's still in the robbery game And the cops are puttin'the screws to him, lookin'for somebody to blame集

"Remember that murder that happened in a bar?" 、'Rememberyou s叫dyou saw the getaway car?" ''You think you'd like to play ball with the law?" "Think it nught-a been that fighter that you saw runnin'that night?'"' "Don't forget that you are white."

Arthur Dexter Bradley said, "I'm really not sure."

Cops said, "A poor boy like you could use a break We ・got you fe:1? the motel job and we're talk:in'to ・your friend Bello Now you don't wanta have to go back to jail, be a nice fellow. You'll be doin'society a favor. That sonofabitoh is brave and gettin'braver. We want to put his ass in stir

We want.to pin this triple murder on him He ah1't no Gentleman Jim."

Rubmco叫 dtake a man out with j⑮ tone punch But he never did like to talk about it all that much. It's my work, he'd say, and I do it for pay And when it's over I'd just as soon go on my way Up to some paradise Where the trout streams flow and the air is nice And ride a horse along a tr叫But then theytoo.k him to the jailhouse 薗 erethey try to turn a man into a mouse.

9 / イ1

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2020年度

［博士後期課程］

早稲田大学大学院文学研究科

専門科目支g気メディ？嬌 コース

入学試験問題※解答は別紙（＠・縦書）

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＂ヽし

心lof Rubin's cards were marked in advance

The trial was a pig-circus, he never had a chan虚

The judge made Rubin's witnesses drunkar曲 fromthe slums To the white folks who watched he was a revolutionary bum And to the black folk:s he w邸 justa crazy nigger.

No one doubted that :tie pulled the trigger. And though they could not produce the gun, The D,A. said he w邸 theone who did the deed And the all-white jury agreed.

Rubin Carter was falsely tried. The crime was murder "one," guess who testified? Bello and Bradley and they both baldly lied

And the newspapers, they all went along for the ride. How. can the life ・of such a man Be in the palm of some fool's hand? To see him obviously framed

Couldn't help but make me feel ashamed to live in a姐nd11/here justice・ is a game.

Now all the criminals m the辻 coatsand their ti翠Are free to cl.rink martinis and w atoh the sun rise While Rubin sits like Buddha in;,~ ten-foot cell An innocent man in a living hell. That's the_'story of the Hurricane; But it won't be over till they clear bis name And.give him back the time he'.s done .

. Put in a prison cell, but one time he could-a been The champion of the world.

ID ／ I l

2020年度【憾士後期課程】

早稲田大学大学院文学研究科

専門科目 表気迄荘命コース

入学試験問題※解答は別紙⑱D縦書）

問題 [I]

設問 1 以下の英文資料を和訳せよ。

設問 2 以下の資料の見解とは反対に、 "formalanalysis"の利点を各自の研究領域に即して述べょ．

What has s叩 risedme about research on Japanese animations and anime is the general lack of interest in animation as such, in ani.mation'as maving images. The bulk of anime commentary

ignores that_ its'.'object" consists _of moving images, as if animations were just another text. Such a treatment of anime as a textual qbject has tended in two. directions. On the one hand, even when ・ anime is treated largely as text, some commen臼torswill call on the novelty and popularity of皿 imeto bypass the tough qu邸 tionsthat usually arise around the analysis of texts. Anime is, in effect, _ treated as a textual object tl1at does not or cannot pose any出fficulttextual questions. Analysis is• relegated to re-presenting anime narratives, almost in the manner of book reports or.movie reviews. On the other hand, some commen臼torstreat anime邸 textin order to pose "high textual" speculative questi011S（such as tl1e nature ofreality, or the relation of mind and body), again ignoring the moving image altogether but for different reasons. In this kind of textual treatment, the anirne stories se1-ve as tb.e point of departure for philosophical speculation, without any consideration of the materiality of 紐血ation.A third co皿 nonapproach bypasses textual questions and the materiality of animation in favor of sociological and anthropological readings: anime is a sow℃e of info1mation about Japan, especially about Japanese youth.

Even though I think all these appl'Oaches姐vethe江place狙1dtheir merits, it is nevertheless in response to ilie tendency to bypass questions about皿 imationand the moving image in favor of textual description, metatextua! speculation, or sociological analysis that I _wish to focus greater attention on''how to read anune." Yet I do not want to present a list of elements for formal analysis

in the manner of David Bordwell and応 istinThompson's Film Art, witl1 sect_ions and chapters devoted to lighting, sound, narrative, color, shots, takes, and editing. While such a presentation is useful, it tends to eliminate a sense of what is at stal<e in approaching the moving image at the level offo1m to begin with. Rather than rely on fonnal analysis as a point of departure, J thus begin with the materiality of the moving image itself

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受験番号

氏

名

・科目名

この欄以外に受験番号氏名を書かないこと。

専門科目表象・メディア論コース

総点

選択した問題番号〔 〕

........から記入すること

（裏へ続く）

1/2.

これより先の余白には絶対に記入しないこと

2/2.