ඛ⾜◊✲࡛ࡣ㸪యฎ⌮ㄽCLTᨵၿㄽࡘ࠸࡚ḟࡢㄢ㢟ࡀ᫂ࡽ࡞ࡗࡓࠋ
Peters (1983) ࡣࠕయⓗࢳࣕࣥࢡฎ⌮࡛ࣥࣉࢵࢺࡉࢀࡓㄒᙡ࣭ࣇ࣮ࣞࢬࡣ㸪ศᯒฎ⌮ࢆ
⤒࡚ᩥἲ࣮ࣝࣝࡢ୍⯡ࡣྍ⬟࡛࠶ࡿࠖࡋ࡚㸪ᚋᨵၿ᳨ドࡀࠕὙ⦎ࡉࢀࡓᙧࡢ⧞ࡾ㏉
ࡋ⨨ࡁ࠼㸪⨨ࡁ࠼ࢆಁࡍ᥎ㄽࣉࣟࢭࢫࡢ⫱ᡂ㸪⨨ࡁ࠼ࡀ㢖⦾㉳ࡁࡿሙᡤࡢࢹ࣮ࢱ
㞟㸪Ꮚ౪ྠኈࡢヰࡢ⏝㸪ಶேᕪࡢၥ㢟ࡢᑐฎࠖࡘ࠸࡚࡞ࡉࢀࡿࡼ࠺ᥦࡋࡓࠋࡇ ࡢᥦࢆཷࡅࡓࡍ࡚ࡢᩥ⊩ࡣ㸪యⓗࢳࣕࣥࢡฎ⌮ࡽศᯒฎ⌮ࡢ┤᥋࣮ࣝࢺࡣ࡞࠸ࡀ㸪 ᑗ᮶⾲⌧ຊࢆࡘࡅࡿࡓࡵศᯒຊࡢ㣴ᡂࡣ㑊ࡅ࡚ࡣ㏻ࢀ࡞࠸ࡍࡿⅬ୍࡛⮴ࡍࡿࠋศᯒຊࡢ㣴 ᡂࡣ㸪㐺ษ࡞ᤵᴗࢹࢨࣥࡢୗ࡛㸪ࢳࣕࣥࢡࡢ┦ᙜ㔞ࡢࠕ⧞ࡾ㏉ࡋࠖࡀᚲせከࡃࡢᩥ⊩
ࡣᣦࡍࡿࠋࡋࡋ㸪ࠕࢳࣕࣥࢡᏛ⩦ࡣศᯒᏛ⩦ࡘ࡞ࡀࡿࠖࢆㄢ㢟ࡋࡓ᪩ᮇ L2 ᩍᐊ࡛
ࡢᐇ㊶◊✲ࡼࢀࡤ㸪ࢳࣕࣥࢡࡢ 2 ᖺ㛫ࢃࡓࡿࠕ⧞ࡾ㏉ࡋࠖࡽ㸪᪤⩦ࡢࢳࣕࣥࢡ⏕ࡌ ࡓ᪂ࡓ࡞ࢸ࣒ࡢࠕ⨨ࡁ࠼ࠖࡀ㸪ศᯒࡢ⌮ゎࢆకࡗ࡚࠸ࡿྰࡢⅬ࡛ᩍᖌࡓࡕ◊
✲⪅㛫࡛ពぢࡀ2ศࡍࡿࠋ
ࡇࡢࡇࡽ㸪⧞ࡾ㏉ࡋࡽ⨨ࡁ࠼ࡀ⏕ࡌ࡚ࡺࡃࡍࢀࡤ㸪ࡑࡢ᥎ㄽࡀാࡃࣉࣟࢭࢫ㸪
⨨ࡁ࠼ࡀ↹㞧㉳ࡁࡿሙᡤࡣࡉࡽヲ⣽࡞ࢹ࣮ࢱࡼࡿㄪᰝࡀᚲせ࡛࠶ࡿࠋྠࡌࡃ 8 ṓ௨ 㝆ࡢᏛ⩦㜼ᐖせᅉ࡞ࡿศᯒฎ⌮ᩍᤵ᪉ἲࡢᡴ㛤⟇ࡋ࡚㸪Wray (2002) ࡀᣦࡍࡿࠕࢳ
ࣕࣥࢡᏛ⩦ࡢ 8 ṓ๓࡛ࡢ㛤ጞ㸪ゝㄒᏛ⩦ࡼࡾ௰㛫ྠኈࡢࣥࢱࣛࢡࢩࣙࣥࡢඃඛࠖࡀ
ࡢࡼ࠺࡞ྍ⬟ᛶࢆ⏕ࡌࡿ㸪ᥦࡉࢀࡓ᮲௳ࡢୗ࡛ࡢ᳨ドࡶᚲせ࡞ࡿࠋ
୍᪉CLTᨵၿㄽ࠾࠸࡚ࡣ㸪Rivers (1972) ࡀఏ⤫ⓗᏛ⩦ࡢᇶ♏ࡀ⨨ࢀ࡚ࡁࡓᑐヰᩥ
ࡘ࠸࡚㸪ࠕᏛ⩦⪅ࡀ㐠⏝ຊ㉳ຊࢆ⩦ᚓࡍࡿࡣࡢேࡢ⮬Ⓨⓗ࡞┦స⏝௨እ㐨ࡣ
࡞࠸ࠖࡋ࡚ᑐヰࡢᣢࡘ᭱⤊┠ᶆྍ⬟ᛶࢆᣦࡋࡓࠋ௨᮶㸪᪥ࡲ࡛┦ὶᆺࡣࢫ࢟ࣝ
⋓ᚓ㸪┦ᛶ㸪ࢥ࣑ࣗࢽࢣ࣮ࢩ࣭ࣙࣥࢱࢫࢡ㸪⏘ฟຊ㣴ᡂ㸪ㄯヰࡢ㐠Ⴀຊ㣴ᡂ࠸࠺㠃ࡽ
῝ࡃ㏣ồࡉࢀ㸪᪂ࡓ࡞ពㄢ㢟ࢆࡅຍ࠼ࡓࠋ
Curtain and Dahlberg♧ࡉࢀࡿࡢࡣ㸪᪩ᮇL2ᩍᐊ࠾࠸࡚㸪ࢫ࢟ࣝ⋓ᚓカ⦎ࡽᨃఝ
ఏ㐩ࢆ㉸࠼࡚┿ࡢࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάື⛠ࡍࡿ⮬Ⓨⓗ࡞ࠕ┦స⏝ࠖ฿㐩ࡍࡿࡓࡵ
ࡣᅵྎࡽࡢ⫱ᡂࡀᴟࡵ࡚ᅔ㞴ࡉࢆక࠺ࡇ࡛࠶ࡗࡓࠋࡲࡓSwain (1988, 2005)㸪McCarthy (1991)㸪Nattinger and DeCarico (1992) ࡣ㸪ᚑ᮶ࡢQ-Aάື᭰ࢃࡾ㸪ㄯヰ࡛ࣞ࣋ࣝࡦ
⥆ࡁࡢᑐヰάືࢆ⾜࠺ࡇࡼࡗ࡚㸪ᑐヰࡢ┦ᛶࢆ☜ಖࡋ࡞ࡀࡽ༠ྠ࡛ၥ㢟ࢆゎỴࡋ㸪ゝ ㄒ⬟ຊㄯヰ⥔ᣢ⬟ຊࢆ᭱㝈ఙࡤࡍᶵࢆ࠼ࡼ࠺ヨࡳࡿࠋ
ࡇࡢࡇࡽࠕ┦స⏝ࠖࡢᥦࡣ᪩ᮇL2ᩍᐊࡢᑟධ㝿ࡋ㸪2ࡘࡢㄢ㢟ࢆṧࡋ࡚࠸
ࡿࠋ➨ 1 㸪┦స⏝ࡢᥦ♧ࡀࡍ࡚ศᯒⓗせ⣲ࢆྵࡳ㸪࠶ࡿ⛬ᗘࡢㄆ▱ຊࡢ㧗ࡉࡀᚲせ
࡞ࡿࡇࡽ㸪యⓗࢳࣕࣥࢡฎ⌮ࡢᏛ⩦⪅ᑐᛂ࡛ࡁࡿᩍᮦ㛤Ⓨࡢᕤኵࡀせồࡉࢀࡿࡇ
㸪 ➨2㸪┦స⏝ࡢࣞ࣋ࣝ฿㐩ࡍࡿࡣ㸪Ꮫ⩦⪅ࡽෑ㝤ⓗ⢭⚄㸪༠ྠᑐヰάື
㈉⊩ࡍࡿᙉ࠸ពᛮࢆ⫱࡚ࡿᣦᑟᢏ⾡ࡀၥࢃࢀࡿࡇ࡛࠶ࡿࠋ
௨ୖࡢඛ⾜ᩥ⊩ࡽᑟࡁฟࡉࢀࡿㄢ㢟࣭ᥦࢆど㔝㸪᪩ᮇL2ᩍᐊ࡛ࡣࡢࡼ࠺ࢥ࣑ࣗ
ࢽࢣ࣮ࢩࣙࣥάືᑐࡍࡿᣦᑟἲࢆᵓ⠏ࡋ㸪ゎỴࡢ᪉ྥࢆぢฟࡏࡿࡢ㸪➨㒊᳨࡛ウࡍࡿࠋ
➨㒊 ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάື࠾ࡅࡿㄒᙡ࣭ࣇ࣮ࣞࢬ㸪᪉␎㸪ศ⠇ࡢ᥎
⛣᳨ド
➨3❶㸸ㄪᰝ◊✲
3.1 ┠ⓗ
ᮏ◊✲ࡢ┠ⓗࡣ㸪Peters (1983) ጞࡲࡿయฎ⌮ㄽࡢㄢ㢟࣭ᥦ㸪Widdowson (1990) ጞࡲࡿCLT (Communicative Language teaching) ᨵၿㄽࡢ♧ࡍㄢ㢟࣭ᥦࢆ㸪᪩ᮇL2ᩍᐊ
࡛ࡣࡢࡼ࠺ᐇ㊶ྲྀࡾධࢀ㸪ᣦᑟἲࢆᵓ⠏ࡋ㸪ㄢ㢟ゎỴࡢ᪂ࡋ࠸᪉ྥࢆぢฟࡍ࠶
ࡗࡓࠋࡇࡢࡓࡵᮏ◊✲ࡣୗグࡢ⌮⏤࡛බ❧ࡢ1◊✲㛤Ⓨᰯࢆᐇド◊✲ࡢᑐ㇟ࡋࡓࠋ
2011 ᖺᗘࡼࡾᑠᏛᰯ➨ 5࣭6 Ꮫᖺᑟධࡉࢀࡓࠕእᅜㄒάື࡛ࠖࡣࠕࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥ
⬟ຊࡢ⣲ᆅࠖ⫱ᡂࢆᣦᑟࡢ୰᰾ࡋ࡚ࡉࡲࡊࡲ࡞ྲྀࡾ⤌ࡳࡀ࡞ࡉࢀ࡚࠸ࡿࠋྛᆅ࡛◊✲㛤Ⓨ
ᰯࡋ࡚㛗ᖺ◊✲ᦠࢃࡗࡓᏛᰯࡣ㸪᪤ᡂࡢᣦᑟ᪉ἲ࣭⌮ᛕᤊࢃࢀࡎ⊂⮬ᣦᑟ᪉ἲ࣭ᩍ
ᮦ㛤Ⓨࢆ┠ᣦࡋ࡚ᩍဨ㸪ALT㸪ᆅᇦఫẸࡢཿᬛࢆ⤖㞟ࡋ࡚ᐇ㊶ࢆ✚ࡳ㔜ࡡ࡚ࡁ࡚࠾ࡾ㸪ࡑࡢ
⤖ᯝ᫂ࡽ࡞ࡿᡂᯝゎỴྥࡅࡓᚋࡢㄢ㢟ࡣⱥㄒᩍ⫱ᦠࢃࡿ⪅ࡗ࡚㔜せࡘ㈗
㔜࡞㈨ᩱࢆᥦ౪ࡍࡿࠋᮏ◊✲ࡣࡑࡢࡼ࠺࡞◊✲㛤Ⓨᰯࡢ୍ࡘ࡛࠶ࡿᒱ㜧┴ከぢᕷࡢ➟ཎᑠ Ꮫᰯࡢᖹᡂ15ᖺᗘጞࡲࡿ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡢྲྀࡾ⤌ࡳࡘ࠸࡚⌧ሙࡢඛ
⏕᪉㈗㔜࡞㈨ᩱࢆ㡬ࡁ࡞ࡀࡽ㸪ᐇド◊✲ࢆ⾜ࡗࡓࠋ
ᮏㄪᰝ◊✲ඛ❧ࡘ◊✲㸦㛵㸪2014b࡛㸪3ᖺ⏕ࡢ 1ࢡࣛࢫࡢ activity࠾࠸࡚᫂ࡽ
࡞ࡗࡓࡇࡣ㸪┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάື⏕ࡌࡿ≉ᐃࡢ㧗㢖ᗘࡢㄒᙡ࣭ࣇ࣮ࣞࢬ
⏝࡛࠶ࡗࡓࠋࡑࢀࡣ㸪Ꮫ⩦⪅ࡀⓎヰࡢ୍㒊ࢆ㐀㸪࠾ࡼࡧ ㄯヰ⥔ᣢ᪉␎ࢆ⏝ࡋࡓࡓࡵ
⏕ࡌࡓࡶࡢ࡛࠶ࡗࡓࠋࡋࡋ㸪ࡇࢀࡽࡣᑠつᶍࡢ୰㛫ゝㄒࢹ࣮ࢱ࣮࣋ࢫࢆࡶࡋࡓศᯒࡢ ࡓࡵ㸪Ꮫᖺ࡞ࡗࡓሙྜࡣㄒᙡ࣭ࣇ࣮ࣞࢬ⏝ㄯヰ⥔ᣢ᪉␎ࡢࡼ࠺࡞⤖ᯝࡀᚓࡽ
ࢀࡿ㸪ࡉࡽᏛ⩦⪅ࡓࡕࡣ㸪యⓗࢳࣕࣥࢡฎ⌮ࡽጞࡵ࡚ศᯒⓗฎ⌮せ⣲ࢆྵࡴゝㄒ⾲
⌧ᙧᘧࢆࡢࡼ࠺⋓ᚓࡋ࡚ࡺࡃࡢ㸪ࡍ࡞ࢃࡕศ⠇ࡢࣉࣟࢭࢫࡘ࠸࡚ࡶ㋃ࡳ㎸ࢇࡔ◊
✲ࡀᚲせ࡞ࡿࠋ
䛣䜜䜢ཷ䛡䛶ᮏ◊✲䛿యⓗࢳࣕࣥࢡฎ⌮࡛ㄯヰࢆ㔜どࡋࡓ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥ
άືࡀᏛᖺ䛻Ώ䛳䛯ሙྜ䠈䐟㻌 ᶵ⬟ㄒ䜢ጞ䜑䛸䛩䜛Ꮫ⩦⪅䛾ㄒᙡ䞉䝣䝺䞊䝈⏝䛻䛹䛾䜘䛖䛺᥎⛣
䛜ぢ䜙䜜䜛䛛䠈䐠㻌 ᪉␎⏝䛻䛹䛾䜘䛖䛺᥎⛣䛜ぢ䜙䜜䜛䛛䠈䐡㻌 ศ⠇䛻䛹䛾䜘䛖䛺᥎⛣䛜ぢ䜙䜜䜛 䛛䠈௨ୖ䛾
3Ⅼ䛻䛴䛔䛶ᮏㄪᰝᰯ䛾ྲྀ䜚⤌䜏䛛䜙ᚓ䛯ྛᏛᖺ䛾䝕䞊䝍䝧䞊䝇䜢ㄪᰝ䛩䜛䚹䛭䛾䛣䛸 䛻䜘䜚䠈ᮏㄪᰝᰯ䛾┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡣ䠈ᩍᤵ⌮ㄽ䛸ᩍᖌ䛾ពᕤኵ䛸䛜⤫ྜ
䛥䜜䛯䝅䝷䝞䝇䞉䝕䝄䜲䞁䛾ୗ䛷䠈ㄒᙡ䞉䝣䝺䞊䝈䛸ㄯヰ⥔ᣢ᪉␎䜢Ⓨᒎ䛥䛫䠈Ⓨヰ䛾ศ⠇
(segmentation process)
㻌 䜢䜒䛯䜙䛩ྍ⬟ᛶ䛜䛒䜛䛣䛸䜢᫂䜙䛛䛻䛩䜛䚹
3.2 ࣜࢧ࣮ࢳ࣭ࢡ࢚ࢫࢳࣙࣥ (RQs)ᮏ◊✲ࡣ㸪యⓗࢳࣕࣥࢡฎ⌮࡛ㄯヰࢆ㔜どࡋࡓ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡢᯝ ࡓࡍᙺࢆ᥈ࡿࠋࡑࡢࡓࡵ㸪┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡢࢩࣛࣂࢫ࣭ࢹࢨࣥ
ᇶ࡙࠸ࡓᩍᮦᩥࡢࢥ࣮ࣃࢫࢆ㏻ࡋ࡚ activity ࡢㄒᙡ࣭ࣇ࣮ࣞࢬࡀᑟࡁฟࡍ≉ᚩࢆ㸪Ꮫᖺẖ
ရモ᪉␎ࡢ 2 Ⅼ࡛ศᯒࡍࡿࠋྠ㸪Ꮫ⩦⪅ࡢศ⠇ࡢᐇែࢆ᥈ࡿࡓࡵ㸪Ꮫ⩦⪅ࡢᐇ㝿
ࡢⓎヰグ㘓ࢆࢥ࣮ࣃࢫࡋࡓࡶࡢ㸪ᩍᮦᩥࢥ࣮ࣃࢫࡢ㛵ಀᛶ↔Ⅼࢆᙜ࡚࡚ศᯒࡍࡿࠋ ᮏㄪᰝࡣ㸪ḟࡢ3Ⅼࡢࣜࢧ࣮ࢳ࣭ࢡ࢚ࢫࢳࣙࣥࢆタᐃࡋࡓࠋ
RQ1యⓗࢳࣕࣥࢡฎ⌮࡛ㄯヰࢆ㔜どࡋࡓ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࢆ⾜ࡗ࡚
࠸ࡿᏛ⩦⪅ࡀ⏝ࡍࡿㄒᙡ࣭ࣇ࣮ࣞࢬࡣ㸪Ꮫᖺ㐍⾜ඹࡢࡼ࠺࡞᥎⛣ࢆ♧ࡍࠋ RQ2Ꮫᖺ㐍⾜ࡶ᪉␎ࡣࡢࡼ࠺࡞᥎⛣ࢆ♧ࡍࠋ
RQ3Ꮫᖺ㐍⾜ࡶⓎヰࡢศ⠇ࡣࡢࡼ࠺࡞᥎⛣ࢆ♧ࡍࠋ 3.3 ◊✲ࡢ᪉ἲ
3.3.1 ㄪᰝᑐ㇟ᰯᤵᴗᙧែ
ᮏ◊✲ࡢㄪᰝᑐ㇟ᰯࡣᖹᡂ15ᖺᗘࡽᩥ㒊⛉Ꮫ┬ࡼࡾ◊✲㛤Ⓨᰯࡢᣦᐃࢆཷࡅ࡚࠸ࡿᒱ㜧
┴ከぢᕷ❧➟ཎᑠᏛᰯ࡛࠶ࡿࠋᖹᡂ23ᖺ4᭶ࡢⅬ࡛㸪ඣ❺ᩘ557ྡ, Ꮫ⣭ᩘ21Ꮫ⣭
ࢡࣛࢫ㸪ᤵᴗᩘࡣ1㸪2ᖺ㸦ྛ35㛫㸧; 3㸪4ᖺ㸦ྛ60㛫㸧㸹5㸪6ᖺ㸦ྛ70㛫㸧㸪ィ 330㛫࡛࠶ࡿࠋࡉࡽࣔࢪ࣮࡛ࣗࣝࡢάືࢆᏛᖺ㐌2ᅇ㸪15ศ࡛ᐇࡋ࡚࠸ࡿࠋᩍဨᩘ
28ྡ㸪ALT 1ྡࡀᖖ㥔ࡋ࡚࠸ࡿ⎔ቃ࠶ࡿࠋ
ᣦᑟ࠶ࡓࡗ࡚ࡣ㸪ࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࢆ୰ᚰࡋࡓእᅜㄒάືࢆྛᩍ⛉ෆᐜ୍య
ࡉࡏࡿ➟ཎᆺCBI (Modified Content Based Instruction) ᡭἲ2ࢆ㛤Ⓨࡋ࡚࠸ࡿࠋࡑࡢ≉
ᚩࡣ㸪ᩍ⛉ࡢ᪤⩦㡯࡛Ꮚ౪ࡓࡕࡀ㦫ࡁ㸪⯆ࢆ♧ࡋࡓෆᐜࢆࢺࣆࢵࢡ㸦㸸ࠕᮍ᮶ᥦ㹼 ࡇࢇ࡞㌴࠺࡛ࡍ㸽㹼ࠖ㸧ࡋ࡚ྲྀࡾୖࡆ㸪ࡑࢀࢆ1 ࣘࢽࢵࢺࡘࡁ㏻ᖖ 6㹼9 㛫ࡽᡂ
ࡿ࠸㛵㐃ࡍࡿၥ㢟ゎỴᆺactivityࢩ࣮ࣜࢬ❧࡚࡚࠸ࡿ㸦㸸㈨ᩱ1㸧ࠋྛactivityࡣ
᪥ᖖヰᏑᅾࡍࡿඹ㏻ࡢᵓ㐀ᯟࢆᛂ⏝ࡋࡓㄯヰࣇ࣮࣒ࣞ㸦≉Ⰽ 4 ࡛㏙ࡿ㸧タᐃࡉࢀ࡚
࠸ࡿࠋⓎ㐩ẁ㝵Ꮫຊᕪࡢᕤኵࡀᇶᮏࡢᑐヰάືࣞ࣋ࣝࡽࣥࢱࣅ࣮ࣗ㸪ࢹࢫ࢝ࢵࢩ
ࣙࣥ㸪ࢹ࣮࣋ࢺ⮳ࡿࣞ࣋ࣝࡲ࡛ࡢᘬࡁୖࡆぢࡽࢀࡿࠋලయⓗࡣୗグᣲࡆࡿ 5 ࡘࡢ
≉Ⰽ࡛ㄝ᫂ࡉࢀࡿࠋ
≉Ⰽ1 2ࡘࡢ┠ᶆタᐃ㸸ゝㄒ┠ᶆ⮬ື᥎㐍┠ᶆ
ᮏㄪᰝᰯࡣࠕࡍ࡚ࡢactivityࡣ㸪ࡑࡢactivityࢆ㐩ᡂࡍࡿࡓࡵ⏝ࡉࢀࡿゝㄒࡣูࡢ
┠ᶆࢆᚲせࡍࡿࠖ࠸࠺Ⅼ୍࡛㈏ࡋࡓጼໃࢆᣢࡘࠋᤵᴗᵓᡂࢆၥ㢟ゎỴⓗ࡞ⱥㄒάື
⤌ࡴࡇ࡛㸪2ࡘࡢ┠ᶆࢆタᐃࡍࡿࠋ࠼ࡤ3ᖺ⏕ࡢᤵᴗ࡛ࠕࢃࡓࡋࡓࡕࡢክࡢᐙࠖࢆࡾ㎸
ࡴࡓࡵࡢࣉࣞࢮࣥࢱ࣮㸪ࡑࢀࢆホ౯ࡍࡿࢪࣕࢵࢪ࠸࠺ᙺ┠ࢆᯝࡓࡍࡇࢆ activity ࡢ┠
ᶆࡋ㸪୍᪉࡛ࡑࡢ┠ᶆ㐩ᡂࡢࡓࡵ㸪ᇶᮏືモ (be, have) ࡽᡂࡿ༢ᩥࢆ㥑ࡋ࡚ࢥ࣑ࣗ
ࢽࢣ࣮ࢩࣙࣥࢆᅗࡿ࠸࠺ゝㄒ┠ᶆࡀタᐃࡉࢀ࡚࠸ࡿࠋ
ࡇࢀࡣ Willis (2003) ࡼࡗ࡚࡞ࡉࢀࡿᙇ㸪ࠕゝㄒ⏘ฟࡢ┠ⓗࡣ㸪ゝㄒ⏝࠶ࡿࡢ࡛ࡣ
࡞ࡃពࢆఏ࠼ࡿࡇ࠶ࡾ㸪ᩥ⏘ฟࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥࡢ┠ⓗ㐩ᡂࡣࡲࡗࡓࡃูࡢࣉࣟ
ࢭࢫ࡛࠶ࡿ (2003, p. 52)ࠖ࠸࠺ᙇ࡞ࡽ࡞࠸ࠋࡲࡓ㸪Gatbonton and Segalowitz (1988, 2005), N. Ellis (1996, 2001), N. Ellis, Simson-Vlach, and Maynard (2008) ࡀᙇࡍࡿ ࠕつ
๎⋓ᚓࡼࡾࡶࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥຊ⫱ᡂࡀὶ࡛࠶ࡿ㸪⮬ືࡣⓎヰྥࡅࡽࢀࡿࡁ࡛
࠶ࡾ㸪ゝㄒ⬟ຊࡀศ⫱ࡗ࡚࠸࡞࠸Ꮫ⩦⪅ᑐࡋ࡚ࡣゝㄒ┠ᶆຍ࠼࡚⮬ື᥎㐍┠ᶆࡢ ࡓࡵఱࡽࡢactivityࢆࡲࡎタᐃࡋ㸪㛵㐃ࡍࡿactivity series࠾࠸࡚┠ᶆᩥࡢࣜࣆ࣮ࢺࡀ
⮬↛࡞ࡉࢀࡿࡁ࡛࠶ࡿࠖࡢ⪃࠼᪉୍⮴ࡍࡿࠋࡇࡢࡇࡼࡾ㸪Ꮫ⩦⪅ࡣゝㄒⓗせ⣲
௨እࡢ♫ゝㄒᏛⓗ㸪ᩥὶᏛⓗせ⣲ࡶᑐᛂ࡛ࡁ㸪ࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡣ࠸ࡗࡑ࠺
ಁ㐍ࡉࢀࡿ⪃࠼ࡽࢀࡿࠋ
≉Ⰽ2 ᪂ࡋ࠸⧞ࡾ㏉ࡋࡢᡭἲ
ᮏㄪᰝᰯࡢᏛ⩦ᣦᑟࡣ㸪ࡲࡎpracticeࡀᢸ௵ᩍᖌࡸALTࡢࣥࣉࢵࢺࡽጞࡲࡾ㸪ᚎࠎ
ᦼೌࢆ㏻ࡋ࡚Ꮫ⩦⪅ࢆཧຍࡉࡏࡿᙧ⛣ࡾ㸪ḟ activity ⛠ࡍࡿᏛ⩦⪅ࡢ࢘ࢺࣉࢵ
ࢺάືࢆ⤒࡚㸪ୖࡆ improvisation⮳ࡿᣦᑟ㐣⛬ࡀグ㍕ࡉࢀ࡚࠸ࡿ㸦㸸㈨ᩱ1㸧ࠋࡇ ࡇ࡛ゝ࠺ࠕ᪂ࡋ࠸⧞ࡾ㏉ࡋࡢᡭἲࠖࡣ㸪ᩍᖌࡢࣥࣉࢵࢺࢆཷࡅࡓ practice ࡽ㸪activity
ࢆ㏻ࡋ࡚Ꮫ⩦⪅ࢆ࢘ࢺࣉࢵࢺάືྥࢃࡏ㸪Ⓨヰࡢ⮬ືࢆ┠ᣦࡍࡓࡵ࠶ࡿ ᅗ2ࠋ ᮏㄪᰝᰯ࡛ࡣ㸪ࢫ࢟ࣝ㣴ᡂࡢpracticeࢫ࢟ࣝ⏝ࡢactivityࡀྛࣘࢽࢵࢺ㸪ྛ 1༢
㛫࠾࠸࡚┤⥺ᆺ࡛࡞ࡃᚠ⎔ᆺࡋ࡚㓄⨨ࡉࢀࡿࠋ᪥ᮏ࡛ࡢ୍⯡ⓗഴྥࡉࢀࡿ PPP ᆺ (Presentation-Practice-Production) ࡢᵓᡂ࡛ࡣ࡞࠸ࠋ࠼ࡤὶᬸࡉࡢ㊊ࡀࢥ࣑ࣗࢽࢣ࣮ࢩ
ࣙࣥάືࡢࢆጉࡆ࡚࠸ࡿᤵᴗ⪅ࡀឤࡌࡓሙྜ㸪activityࡢ㛫㝽ࢆ⦭ࡗ࡚యࡸࢢ࣮ࣝ
ࣉ༢࡛⧞ࡾ㏉ࡋࡀᕪࡋᣳࡲࢀࡿࠋྛactivity࠾࠸࡚ࡣ㸪ၥ㢟ࢆゎỴࡍࡿࡓࡵᏛ⩦⪅ࡣ࣌㸪 ࢢ࣮ࣝࣉ㸪ࢡࣛࢫྠኈ┦ὶࣃࢱ࣮ࣥࢆኚ࠼ࡘࡘ㸪㔜㸪୕㔜┠ᶆᩥࡢ⧞ࡾ㏉ࡋࢆ⾜
࠺ࡇ࡞ࡿࠋࡑࡢ㐣⛬࡛㸪activityࡣ༢⣧࡞⧞ࡾ㏉ࡋ⤊ࢃࡽࡎ㸪࢘ࢺࣉࢵࢺάືࡢⓎᒎ
ඹࢫࣟࢵࢺࡢ⨨ࡁ࠼ࢆ⏕ࡌࡉࡏ࡚࠸ࡃࠋ࠼ࡤ㸪⾲3㸦ᮏ✏, p. 37㸧♧ࡍ⊂⮬ࡢㄯヰ
ࣇ࣮࣒ࣞタᐃࡉࢀࡓ activity ࡢ࠾࠸࡚㸪ୗ⥺࡛♧ࡉࢀࡿ⧞ࡾ㏉ࡋࡣ㸪ࢳࣕࣥࢡ࣭ࣇ
࣮࣒ࣞ (formulaic frames) ࡢ1ࡘ㸪͆be good for ~͇ࡀ4ᅇ⧞ࡾ㏉ࡉࢀ㸪ࡑࡢ࠶⥆ࡃࢫ
ࣟࢵࢺ 3 ✀ࡢྡモྃࡀ⨨ࡁ࠼ࡽࢀ࡚࠸ࡿࠋⓎヰࡢ⮬ືࢆ┠ᣦࡋࡓ‽ഛᕤኵࡢୗ࡞
ࡉࢀࡿ⧞ࡾ㏉ࡋ࡛࠶ࡿࠋ
Promoting Communicative Competence
Activity series
Practice expressions in problem-solving patterns Improvisation in chants/rap in language-action context in English/Japanese
in discourse frame in self-assessment
࣭input-based ࣭output-based ࣭reflection phase
࣭skill-building ࣭skill-using ࣭creative use of skills
ᅗ2ࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάື
≉Ⰽ3 యⓗࢳࣕࣥࢡฎ⌮ࢆᨭ࠼ࡿࣉࣟࢯࢹ
ᮏㄪᰝᰯࡣ㸪యⓗࢳࣕࣥࢡฎ⌮࡛⾜࠺practice activity ࢆࣉࣟࢯࢹษࡾ㞳ࡉ࡞࠸
᪉⟇ࢆࡿࠋࣉࣟࢯࢹࡀᏊ౪ࡢゝㄒ⩦ᚓᯝࡓࡍᙺࡢ㔜せᛶࡘ࠸࡚ከࡃࡢሗ࿌ࡀ࠶ࡿࠋ
Gerken (1996㸧ࡣ㸪Ꮚ౪ࡢ➨2ゝㄒᏛ⩦⪅ࡣὶࢀ࡚ࡃࡿሗࢆ⤫ㄒᵓ㐀༢࡛࡞ࡃ㸪ࣉࣟࢯ
ࢹ༢࡛⪺ࡇ࠺ࡍࡿࡇࢆᐇドࡋ࡚࠸ࡿࠋᏊ౪ࡢሙྜ㸪⌧ᐇࡣpractice activity
⏝ࡉࢀࡿᩥࡣ㏻ᖖ▷࠸ࡢ࡛⤫ㄒቃ⏺⥺ (syntactic boundary) 㸪ࣉࣟࢯࢹࡢቃ⏺ࡀ㔜࡞
ࡿࡇࡀከ࠸ࠋࡑࡢࡓࡵࣉࣟࢯࢹ༢࡛⌮ゎࡀࢫ࣒࣮ࢬ⾜ࡃࡇࡀࡑࡢ⌮⏤ࡉࢀࡿࠋ Harley, Howard and Hart (1995) ࡼࢀࡤ㸪➨1ゝㄒᏛ⩦⪅࡛࠶ࡿᑠᏛ⏕ࡢሙྜ㸪పᏛᖺ ࡣࣉࣟࢯࢹ㸪㧗Ꮫᖺࡣ⤫ㄒ (syntax) ࡼࡿゎᯒࡀ୰ᚰ࡛࠶ࡿࡢᑐࡋ࡚㸪➨2ゝㄒᏛ⩦⪅
࡛࠶ࡿ୰ᅜேᑠᏛ⏕ࡢࢣ࣮ࢫ࡛ࡣ㸪పᏛᖺࡶ㧗Ꮫᖺࡶࣉࣟࢯࢹ↔Ⅼࢆྜࢃࡏ࡚ゎᯒࡍࡿ
ࡇࡀ᫂ࡽࡉࢀ࡚࠸ࡿࠋ
ᮏㄪᰝᰯࡣᚭᗏࡋࡓࣜࢬ࣒ᣦᑟࢆࣛࢵࣉ࣭ࢳࣕࣥࢶ 3 ࡛⾜ࡗ࡚࠸ࡿ㸦ᰄ᳜࣭࣭ⷧᮌ⫤㸪
2011, pp. 41-44㸧ࠋࡇࢀࡀᏊ౪ࡓࡕࡢ⾲⌧άືࢆᨭ࠼࡚࠾ࡾ㸪activity࡛ࡣ㠀ᖖ㛗࠸Ⓨヰࢆ
ࢳࣕࣥࢶ࣭ࣜࢬ࣒ࡗ࡚ࡼࡳ࡞ࡃゝ࠸ษࡗ࡚ࡋࡲ࠺ࠋࡲࡓᤵᴗࡢࡾ㏉ࡾ࡛㸪ࢥ࣓ࣥࢺ㺃
࣮࢝ࢻࠕゝ࠺ࡇࡀࢃࡽ࡞ࡃ࡞ࡗࡓࡁhouse chantsࢆᛮ࠸ฟࡋ࡚᭱ᚋࡲ࡛ゝ࠸ษࢀࡲ
ࡋࡓࠖ࠶ࡿ㸦ࠗබ⾲ᣦᑟ㞟࠘2011, p. 34㸧ࠋࡇࡢࡇࡽࡶ┦ᙜ㛗࠸ㄒྃ㸪ᩥࡢ㐃࡞ࡾ
ࡶࣛࢵࣉ㺃ࢳࣕࣥࢶࡢࣜࢬ࣒࡛グ᠈ࢆࡧᡠࡋ࡚Ⓨヰฎ⌮ࢆࡋ࡚࠸ࡿࡇࡀ᥎ᐹࡉࢀࡿࠋࡇࢀ
ࡣᏊ౪ࡢ➨2ゝㄒᏛ⩦⪅ࡗ࡚㸪⪺ࡏࡓㄒྃ (ࢼࣥࢭࣥࢫㄒྃࡶྵࡴ) ࡢ⏕ᙺ❧ࡘࡢ ࡣࣜࢬ࣒ (rhythmic refrain) ࡛࠶ࡾ㸪࣒ࣛ (rhyme) ࡛ࡣ࡞࠸࠸࠺Kolsawalla (1999) ࡢ
᳨ド⤖ᯝ୍⮴ࡍࡿࠋ
≉Ⰽ4 ㄯヰࣇ࣮࣒ࣞタᐃࡉࢀࡓၥ㢟ゎỴᆺactivity
ᮏㄪᰝᰯࡣ㸪ㄯヰࣞ࣋ࣝࡢࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࢆಁ㐍ࡍࡿࡓࡵ㸪Nattinger and
DeCarrico (1992) ࡼࡗ࡚ᥦࡉࢀࡿㄯヰࣇ࣮࣒ࣞࡀ⊂⮬ࡢᵓᡂ❧࡚ࡽࢀ࡚࠸ࡿࠋㄯヰ
ࣇ࣮࣒ࣞࡣ㸪⾲ 3 ࡢࡀ♧ࡍࡼ࠺ࣇ࣮࣒ࣞ᪉␎ࣇ࣮࣒࡛ࣞᵓᡂࡉࢀࡿࠋࣇࣞ
࣮࣒ࡣㄯヰࡢᙧᡂᯟࡋ࡚ᑐヰάື⏝ࡉࢀࡿࠋ୍᪉㸪᪉␎ࣇ࣮࣒ࣞࡣ㸪ㄯヰࡢ⥔ᣢ᪉␎
ࡋ࡚ᥦࡉࢀࡿࣔࢹࣝ (Nattinger and DeCarrico, 1992, pp.186-189; Bygate, 1988, pp.69-74; D. Willis, 2003, pp.194-197) ࡉࡽᕤኵࡀຍ࠼ࡽࢀ࡚࠸ࡿࠋ
ᮏㄪᰝᰯࡢㄯヰࣇ࣮࣒ࣞࡢ⊂⮬ᛶࡣ㸪⮬↛࡞ヰࡢࢸࢡࢫࢺᗈࡃ୍⯡ⓗぢࡽࢀㄯヰࡢ ᵓ㐀ࢆࢺࢵࣉ࣭ࢲ࢘ࣥⓗᐃࡉࡏࡿ㸪ࠕࡼࡾࡁ࡞ࣃࢱ࣮ࣥ(McCarthy, pp. 30-32)ࠖࡢ 1
✀࡛࠶ࡿࠕၥ㢟ゎỴᆺࠖࡀタᐃࡉࢀ࡚࠸ࡿࡇ࠶ࡿࠋၥ㢟ゎỴᆺࡣ㸪᭱ࡶⓎᒎⓗ⏝ᗘࡀ 㧗ࡃ㸪ᖜᗈࡃ㧗࠸ㄆ▱άືࡀྍ⬟ࡉࢀ㸪ࠕၥ㢟ᥦ♧࣭㉁ᛂ⟅࣭ホ౯࣭ᨭᣢᨭᣢ࣭⤊ࠖ
࠸࠺ὶࢀ࡛ᡂ❧ࡍࡿࠋࡇࡢὶࢀἢࡗ࡚Ꮫ⩦⪅ྠኈࡣヰ⥔ᣢ᪉␎ࢆ㐺ษ⾜ࡋ࡞ࡀࡽ㸪 ၥ㢟ࢆゎỴࡍࡿ᪉ྥྥ࠺ࡇ࡞ࡿࠋ࠼ࡤ㸪⾲ 3 ࡛ࡣᮍ᮶ࡢ㌴ࡢࢭ࣮ࣝࢫ࣏ࣥࢺ
ࡘ࠸࡚ヰࡋᡭࡣ㐀ⓗᛮ⪃ࢆാࡏ࡚͆special point, number 1, 2, 3͇࡛ጞࡵࡿࣆ࣮ࣝ
ࢆ⾜࠸㸪⪺ࡁᡭࡣ᭱⤊ⓗホ౯ࢆୗࡍࡓࡵ㸪ㄽ⌮ⓗㄝ᫂ࢆồࡵ࡚͆why – because͇ࡢ⏝࡛
ヰࡋᡭ㉁ᛂ⟅ࢆ⾜࠺ࠋࡑࢀࡼࡗ࡚ㄯヰࡣヰ㢟ࡽูࡢヰ㢟⛣⾜࣭ᒎ㛤ࡍࡿࡼ
࠺⤌ࡲࢀ࡚࠸ࡿࠋ
㧗Ꮫᖺ࡛ࡢᩥᏐᣦᑟ㸪ⱥᩥゎㄞࡶࡍ࡚ࡇࡢㄯヰࣇ࣮࣒ࣞタᐃࡉࢀࡓၥ㢟ゎỴᆺactivity
ࢆ㏻ࡋ࡚࡞ࡉࢀࡿ㸦㸸ࠗእᅜㄒάືᣦᑟィ⏬㞟࠘, 2011, p.313; p.469㸧ࠋࡑࡇࡣ୍㈏ࡋ࡚ㄯ ヰࢆ㔜どࡋࡓ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡢព⩏ࡀ᫂☜ࡉࢀ࡚࠸ࡿࠋ
⾲3 ㄯヰࣇ࣮࣒ࣞࡢ (5ᖺ⏕
Topic: ࠕᮍ᮶ᥦ㹼ࡇࢇ࡞㌴࠺࡛ࡍ㸽㹼ࠖ7/9ᰯ
㸦ࠗእᅜㄒάືᣦᑟィ⏬㞟࠘2011, p. 364㸧
ࢫࢡࣜࣉࢺ
ࣇ࣮࣒ࣞ ᪉␎ࣇ࣮࣒ࣞ
(Exchange Structures) (Strategic Tools)
C1: Hello. Which car iis good for the future? ࠶࠸ࡉࡘ 㻌
C3: I think the “Small Body and Big Dream” car is good. ヰ㢟ࢺࣆࢵࢡᥦ♧ 㻌
C4: This car is good for city life. 㻌
C1: City Life? Back-focusing 㻌
C3: Yes. City life in Tokyo, Nagoya etc. Amplification㻌
C2: I see. 㻌
㻌
C4: Special point number 1. This car has four sensors. So this car is safe. ヰ㢟⛣⾜
C2: Where are four sensors? ㉁ᛂ⟅ 㻌
C3: Here, here, here, and here. This four sensors teach danger. Amplification
C1: I see. It’s safe. 㻌
㻌 㻌
C3: Special point number 2. In traffic jams, this car can jump. ヰ㢟⛣⾜ 㻌
C2: What is traffic jams? ㉁ᛂ⟅ 㻌
C3: Car and car and car and car. Many cars are lined . OK? Paraphrase 䠃
Confirmation check
C2: OK. I see. Thank you.
㻌
C4: Special point number 3. This car’s engine is a solar engine. So this car iis good for the earth.
ヰ㢟⛣⾜
㻌
C2: How many seats? ㉁ᛂ⟅ 㻌
C3: This car has five seats. 㻌
C2: I see. Thank you. 㻌
㻌 㻌
C3: What do you think about my car? 㻌
C1: I think it’s great (ok/ good/ very good). ホ౯ᨭᣢ 㻌
C3: Thank you. Why? 㻌
C2: Because this car has a solar engine. It’’s good for the future. ᨭᣢࡢ⌮⏤ 㻌
C3: Thank you. ⤊ 㻌
㻌 㻌 㻌 㻌 㻌
Notes:ࢫࢡࣜࣉࢺḍࡢࢳࣕࣥࢡ࣭ࣇ࣮࣒ࣞ (formulaic frames) 㸩⨨ࡁ࠼ㄒྃࢆ࣮࣎ࣝࢻయ㸪ヰ㢟ࡢ⛣⾜ࢆ
࣮࣎ࣝࢻ㸩ࢱࣜࢵࢡయ࡛♧ࡍࠋࣇ࣮࣒ࣞ㸪᪉␎ࣇ࣮࣒ࣞࡢḍࡣ㸪ⴭ⪅ࡼࡿຍ➹࡛࠶ࡿࠋ
≉Ⰽ5: ༶⯆ (improvisation)
ࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡢ᭱⤊ẁ㝵࡛༶⯆ (improvisation) ࡼࡗ࡚Ꮫࢇࡔࡇࢆ⮬ศ⮬
㌟ࡢⱥㄒ࡛⥲ᣓ (summarize) ࡲࡓࡣ⾲♧ (highlight) ࡍࡿάືࡀ⤌ࡲࢀ࡚࠸ࡿࠋࡇࢀࡣ D.
Willis (2003) ࡀ≉ᑠ୰Ꮫᰯࡢ➨2ゝㄒᩍᐊ࠾࠸࡚ࡣ࡛ࡁࡿ㝈ࡾ᪩࠸ᮇࡽ༶⯆࡛⮬ศ
ࡢ࣓ࢵࢭ࣮ࢪࢆఏ࠼ࡿカ⦎ࡀ࡞ࡉࢀࡿࡁ࡛࠶ࡿࡍࡿぢ᪉୍⮴ࡍࡿ (2003, p. 68; p. 213)ࠋ
D. Willisࡣḟࡢࡼ࠺㏙࡚࠸ࡿ㸸ձ᮶ࡿࡁᩍᐊእ࡛ࡢ⏝ᑐᛂࡍࡿࡓࡵᏛࢇࡔ▱
㆑ࢆᣑ㸪ᛂ⏝ࡋࡼ࠺ࡍࡿᶵࢆ࠼ࡿࠋղᏛ⩦⪅ࡗ࡚ᑡࡋࡤࡾࡢᏛࢇࡔゝⴥࡀᗈ ࡃ㏻⏝ࡍࡿࡇẼ࡙ࡏࡿࠋճᏛ⩦⪅ࡣ⮬ຊ࡛⾲⌧ࡍࡿࡇࡼࡾ⮬ศࡢゝㄒ┠ᶆゝㄒ
ࡢࢠࣕࢵࣉ (gap) Ẽ࡙ࡃࠋմ⤖ᯝࡋ࡚ࣥࣉࢵࢺᩄឤ࡞ࡾ㸪⮬ᕫಟṇ࡛ࢠࣕࢵࣉ
ࢆᇙࡵࡼ࠺ࡋ࡚ࡑࡢ᪉ἲࢆ᥈ࡋጞࡵࡿࡇ࡞ࡿࠋ
௨ୗࡣ 3 ᖺ⏕ᤵᴗࠕࢃࡓࡋࡓࡕࡢክࡢᐙ࡛ࠖᣲᡭࡋ࡚ពぢࢆゝࡗࡓᏊ౪ࡢ༶⯆࡛࠶ࡿࠋ ඛ⏕ࡽࠕᴦ㆕ࡢᐙࠖࡀዲࡁ࡞⌮⏤ࢆၥࢃࢀ࡚㸪“Music is + + ear”࠸࠺᪥ᮏㄒࡢࠕ㢟㸩 ホゝᆺ࡛ࠖ⟅࠼ࡓࠋඛ⏕ࡽ㸪“YOU” ࣇ࣮ࢻࣂࢵࢡࢆ࠼ࡽࢀ㸪“You can㹼 ” ࠸࠺
ⱥㄒࡢࠕㄒ㸩㏙ㄒᆺࠖษࡾ᭰࠼ࡿࡇࡀ࡛ࡁ࡚㸪᭱ᚋඛ⏕ྠ “You can hear
music.” ඹྠಟṇࢆ⾜ࡗࡓࠋMࡢⓎヰࡣ㸪ࢪ࢙ࢫࢳ࣮ࣕ⏝㸪ALTࡀᣢࡗ࡚ࡁ࡚ࡃࢀࡓ
↷ᛂ≀ࡢຓࡅඹ࡞ࡉࢀ࡚࠸ࡿࠋ
T: How about you, Miki-san. Which house do you like the best?
M: Ai-san ((no uchi))
T: One more time, please?
M: Ai-san ((no uchi)) ALT: Where’s the house?
T: Ai-san’s house! Music Note House! Why?
M: Music is + + ear + (pointing at her own right ear).
T: YOU (with rising intonation) M: You can + / / You can (( hear)) music.
T: / / You can hear music. Ok. Thank you.
(ᩥ㒊⛉Ꮫ┬ᣦᐃᩍ⫱◊✲㛤Ⓨᴗ ᤵᴗබ⾲ බ㛤ᤵᴗ2011, ➨3Ꮫᖺ ࠕ⚾
ࡓࡕࡢክࡢᐙࠖࡼࡾ)
≉Ⰽ6: ᩥἲᣦᑟ
ᩥἲᣦᑟࡣḟࡢ≉Ⰽࢆᣢࡘࠋ➨ 1 ఏ⤫ⓗ࡞ᵓ㐀ࢩࣛࣂࢫ୰ᚰࡢᣦᑟࢆ㌿ࡌ࡚Ꮫ⩦⪅ࡢᩥ
ἲࡢẼ࡙ࡁࢆ⫱ᡂࡍࡿᣦᑟࡀ୰ᚰ࡛࠶ࡿࠋᩥἲࢆศᯒⓗฎ⌮ࡋ࡞࠸ࠋ࠼ࡤ㸪పᏛᖺ࡛
ᑟධࡉࢀࡿᮍ᮶ࢆ⾲ࡍ⾲⌧ᙧᘧࠕbe going to + ᐃモࠖࡣ㸪୰Ꮫᰯ୍࡛⯡ⓗ⾜ࢃࢀࡀࡕ࡞
⩦័ⓗືసࢆពࡍࡿ⌧ᅾᙧࡢᑐẚ࣭ẚ㍑࡛ᑟධࡋ࡞࠸ࠋᐇ≀ࢆᩍᐊෆᣢࡕ㎸ࡳ㸪ᐇ㦂
ࢆ⾜࠸㸪ゝㄒ㸩ࢡࢩ࡛ࣙࣥᏛ⩦ࡣ㐍ࡵࡽࢀࡿࠋ
௨ୗࡣ➨2Ꮫᖺࡢᤵᴗ࡛㸪ฟ㢟ࡍࡿ࣌ணࡍࡿ2ே1⤌ࡢ࣌ศࢀ࡚1ᅇ┠ࡢ
ὶࢆࡍࡿ㒊ศ࡛࠶ࡿࠋ
C1, 2: What do you have?
C3, 4: A tomato.
C1, 2: What’s going to happen?
C3, 4: It’s going to sink/float. ᾋࡃỿࡴဨࢪ࢙ࢫࢳ࣮ࣕࢆࡋࡘࡘ⟅࠼ࡿࠋ C1, 2: Let’s see.
ࠗእᅜㄒάືᣦᑟィ⏬㞟࠘, 2011, p. 133
➨2࢚࣮ࣛࡢᘓタⓗぢ᪉ࡀ࠶ࡿࠋᏊ౪ࡓࡕࡢⓎヰࡣ㸪㐣୍⯡ (e.g., go to up~ ) ࡸ㸪 ᙧែ࢚࣮ࣛ (e.g., No door!) ࡀ㢖⦾㉳ࡁࡿࠋࡋࡋࡇࡢᣦᑟ4ࡘ࠸࡚ࡣ⦆ࡸ࡛࠶ࡿࠋᏛ
⩦⪅ࡣࡇࡢሙྜศᯒⓗฎ⌮࡛࡞ࡃ㸪యⓗࢳࣕࣥࢡฎ⌮ࢆ⾜ࡗ࡚࠸ࡿࡇࡀㄆ㆑ࡉࢀ࡚࠸ࡿ
⤖ᯝ࡛࠶ࡿ⪃࠼ࡽࢀࡿࠋ
Nattinger and DeCarrico (1992, p.184) ࡣࡇࡢࡼ࠺࡞ሙྜࡢ࢚࣮ࣛゞṇࡣຠຊࡀ࡞࠸㏙
࡚࠸ࡿࠋMitchell and Martin (1997, p. 12) ࡣ㸪ᛴᩥἲ᧯సࡍࡿࡇࡣ㸪ࢳࣕࣥࢡ⮬
యࢆᴦࡋࢇ࡛࠸ࡿᏊ౪ࡓࡕࡢ⮬ಙࢆኻࡃࡉࡏ㸪ཱྀࢆ㛤࡞ࡃࡉࡏࡿᜍࢀࡀ⏕ࡌࡿ㏙࡚࠸
ࡿࠋ࢚࣮ࣛࡣゞṇࡉࢀࡿࡁࡍࡿᚑ᮶ࡢ⪃࠼᪉ࡽ㸪࢚࣮ࣛࡸゝ࠸ࡼࡳࢆヰ⥔ᣢࡢᡭ ẁᤊ࠼㸪ゞṇࢆᘬࡁฟࡍ࠸࠺ࡼࡾࡣ㸪่⃭ (stimulus) ࡋ࡚ࡢຊࡽࡶ࠺୍ẁୖࡀࡿ
ࡓࡵࡢࡶࡢࡍࡿ⪃࠼᪉ࡀ࠶ࡿࠋ
Lewis (1993, pp.160-179) ࡼࢀࡤ㸪࢚࣮ࣛゞṇࡣヰࡢ୍㐃ࡢࡘ࡞ࡀࡾࢆ㔜どࡋࡘࡘ
ᡂࡉࡏࡿࡁ࡛࠶ࡿ⪃࠼ࡽࢀ࡚࠸ࡿࠋࡇࡢࡋ࡚ඛ㏙ࡓ≉Ⰽ5ࡢimprovisationࡀᣲ ࡆࡽࢀࡿࠋ࢚࣮ࣛࡀᩘᅇΏࡿヰࡋᡭࡢ᭰ࢆ⤒࡚⮬ᕫಟṇࡀඃඛࡉࢀࡿ⤖ᯝ࡞ࡿᡤࡑ ࡢᘓタⓗぢ᪉ࡀᫎࡉࢀࡿࠋ
3.3.2 ࢹ࣮ࢱ㞟࣭ศᯒ
ᮏ◊✲ࡢㄢ㢟 (RQ1-3) ἢࡗ࡚㸪ḟࡢᡭ㡰࡛ࢹ࣮ࢱ㞟࣭ศᯒࢆ⾜ࡗࡓࠋ(1)ᩍᮦᩥࡢࢥ
࣮ࣃࢫࢆ㏻ࡋ࡚㸪activity࠾࠸࡚࡞ࡉࢀࡿ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡢㄒᙡ࣭ࣇ
࣮ࣞࢬࡀᑟࡁฟࡍᏛᖺẖࡢရモࡢ᥎⛣ࢆㄪᰝࡍࡿࠋ(2) ᩍᮦᩥࡢࢥ࣮ࣃࢫ㸪࠾ࡼࡧ᪉␎ࡢ࢝
ࢸࢦ࣮ࣜࢆ㏻ࡋ࡚Ꮫᖺẖࡢ᪉␎ࡢ᥎⛣ࢆㄪᰝࡍࡿࠋ(3) Ꮫ⩦⪅ࡢⓎヰグ㘓ࡢࢥ࣮ࣃࢫ㸪࠾ࡼ
ࡧศ⠇ࡢ࢝ࢸࢦ࣮ࣜࢆ㏻ࡋ࡚㸪ᩍᮦᩥࢥ࣮ࣃࢫࡢ㛵ಀᛶࢆㄪᰝࡋศ⠇ࡢ᥎⛣ࢆㄪᰝࡍ
ࡿࠋ
3.3.2.1 ᩍᮦᩥࡢࢥ࣮ࣃࢫ
ᩍᮦࢥ࣮ࣃࢫࡢసᡂࡘ࠸࡚ࡣ㸪ᮏㄪᰝᰯࡢ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡢグ㘓
ࡋ࡚ࡢ ࠗእᅜㄒάືᣦᑟィ⏬㞟, 2011࠘㸪538࣮࣌ࢪ࠾ࡅࡿྛᏛᖺ㸪ྛ༢ඖ㸪ྛᤵᴗࡢᏛ
⩦ᣦᑟグ㍕ࡉࢀ࡚࠸ࡿᩍᮦᩥࢆᮏㄪᰝࡢᑐ㇟ࡋࡓࠋ
ࢥ࣮ࣃࢫᵓ⠏ࡢᑐ㇟ࡋࡓࡶࡢࡣ㸪グ㍕ࡉࢀ࡚࠸ࡿᩍᮦᩥࡢ୰࡛㸪ᢸ௵ᩍᖌࡸALTࡀධ ࡋࡓactivityࢆ㝖ࡃᏛ⩦⪅ࡢࡳ࡛ᡂ❧ࡋ࡚࠸ࡿ⥲ᩘ242ࡢactivity࡛࠶ࡿࠋactivity࡛⏝ࡉ
ࢀࡿㄒᙡ࣭ࣇ࣮ࣞࢬࢆࢥ࣮ࣃࢫࡋ㸪ရモ᪉␎ࡢ 2 Ⅼ࡛㸪Ꮫᖺࡈ㢖ᗘࡢ᥎⛣⏝ഴ
ྥࢆㄪᰝࡋࡓࠋ᪉␎ࡢ᳨ฟࡘ࠸࡚ࡣ㸪ࢫࢡࣜࣉࢺࡢศᯒࡶేࡏ࡚⾜ࡗࡓࠋࢹ࣮ࢱࡢࢥ࣮ࣃ
ࢫࡘ࠸࡚ࡣ㸪ⱥᅜࣛࣥ࢝ࢫࢱ࣮Ꮫࡀ㛤Ⓨࡋࡓ⮬ືࢱࢢࡅࢯࣇࢺCLAWS 5࡛ရモุ᩿
ࢆ⾜࠸㸪㛗㇂ᕝ(2010 b)ࡢᶵ⬟ㄒࣜࢫࢺ㸪࠾ࡼࡧ▼ᕝ(2012)㸪ᢞ㔝(2007)ࡢࢱࢢศ㢮ࢆ
ཧ↷ࡋ㸪ᡭಟṇモᙧᐜモࡢ୍㒊ࢆ㛫ᢞモ⛣ື㸪“when” ࢆၥモࡽ㸪࠾ࡼࡧ“so”
ࢆモࡽ᥋⥆モ⛣ືࢆຍ࠼࡚ࢹ࣮ࢱฎ⌮ࢆ⾜࠸㸪13 㡯┠ࡢရモ࢝ࢸࢦ࣮ࣜ⦅ᡂࡋࡓ 㸦⥲ㄒᩘ㸸15337㸪⥲ࢱࣉᩘ㸸1597㸪TTR㸸0.09㸧ࠋ
ྛᏛᖺࡢရモ⏝㢖ᗘࡣ㸪ࢫࢡࣜࣉࢺࢆ᪩✄⏣Ꮫ Laurence Anthonyࡀ㛤Ⓨࡋࡓࢥࣥࢥ
࣮ࢲࣥࢧ (concordancing) ࢸ࢟ࢫࢺศᯒࡢࡓࡵࡢࣇ࣮࢙ࣜ࢘ࡢࢥ࣮ࣃࢫศᯒࢶ࣮ࣝ࢟ࢵ
ࢺAntConc 3.2.4w࡛ฎ⌮ࡋ㸪▼ᕝ(2012, p. 116) ࢆཧ⪃ྛᏛᖺูࢥ࣮ࣃࢫࢆzᚓⅬ࡛ᶆ‽
ࡋ㸦z ᚓⅬ㸻ࢹ࣮ࢱࡢ್ࡽᖹᆒ್ࢆᕪࡋᘬ࠸ࡓ್ᶆ‽೫ᕪ㸪ᇶᮏㄒᙡࣜࢫࢺࢆసᡂࡋ ࡓ㈨ᩱ2ࠋ
3.3.2.2 ᪉␎ࡢ࢝ࢸࢦ࣮ࣜ
┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάື࠾ࡅࡿ᪉␎ࡢ࢝ࢸࢦ࣮ࣜసᡂࡣḟࡢࡼ࠺࡞⤒⦋ࢆ㋃
ࡲ࠼࡚࠸ࡿࠋ㛵(2014b) ⏝ࡋࡓ᪉␎ࡢ࢝ࢸࢦ࣮ࣜࡣ㸪Nattinger and DeCarrico (1992);
Bygate (1988) ᇶ࡙࠸࡚⊂⮬⦅ᡂࡋ࡚࠾ࡾ㸪Ꮫ⩦⪅ࡢࣅࢹ࣭࢜ࢺࣛࣥࢫࢡࣜࣉࢺࢆࢥ࣮ࣃ
ࢫࡢୖ㡯┠㸸Repetitionศ㢮ࡋ㸪ࡉࡽࡑࢀࡒࢀࡢୖ㡯┠ࢆୗ㡯┠㸸
Back-focusingศ㢮ࡋࡓࡶࡢ࡛࠶ࡿࠋᮏ◊✲࡛ࡣ㸪㛵(2014b) ຍ࠼࡚㸪ᩍᮦᩥࢫࢡࣜࣉ
ࢺ࠾ࡼࡧ3, 6ᖺ⏕ࡢࣅࢹ࣭࢜ࢺࣛࣥࢫࢡࣜࣉࢺࢆศᯒࡍࡿࡇࡼࡗ࡚᪂ࡓ࡞᪉␎ࡑࡢⓎ
ヰࢆ᳨ฟࡋ㸪࢝ࢸࢦ࣮ࣜࢆ⦅ᡂࡋ࡚࠸ࡿ㸦⾲4㸧ࠋᮏ◊✲࡛᪂ࡓ㏣ຍࡋࡓࡢࡣ⾲4ࡢḟ ࡢ㡯┠࡛࠶ࡿࠋ
ୖ㡯┠(7) Expressing politeness㸪
ୗ㡯┠ (1) b: Holding device; (4) c: Paraphrase; (6) a: Confirmation check;
(6) b: Acceptance; (6) c:Macro organizer
⾲4 ᮏㄪᰝ࡛⏝ࡍࡿ᪉␎ࡢ࢝ࢸࢦ࣮ࣜ
㻌 (a) Back-focusing┦ᡭࡢⓎヰࡢ୍㒊ࡲࡓࡣయࢆ⧞ࡾ㏉ࡍ 㻌 㻌 㻌
㻌 A: This house is 3 rocket ufo alien space house, ok? 㻌 㻌 㻌
㻌 B:3 rocket ufo alien space house,ok? 㻌 㻌 㻌 㻌
(1) Repetition A: ok. 㻌 㻌 㻌 㻌 㻌 㻌
⧞ࡾ㏉ࡋ (b) Holding device┦ᡭࡢⓎヰࡢ୍㒊ࢆ⧞ࡾ㏉ࡋࡘࡘ㸪ᛂ⟅ᩥᙧᡂࢆ┠ᣦࡍ
㻌 A: Do you know my father? 㻌 㻌 㻌 㻌 㻌
㻌 B: Your father? He is so cool. 㻌 㻌 㻌 㻌
㻌 A: This is my father. He is a barber. 㻌 㻌 㻌 㻌
㻌 (a) Amplification᫂⣽㸸࠶ࡿࣘࢽࢵࢺࡢ๓ᚋヲࡋ࠸ሗࢆຍ࠼ࡿࡇࡼࡗ࡚᫂⣽㏙ࡿ
㻌 A: 9 window. 㻌 㻌 㻌 㻌 㻌
㻌 B: Really? 㻌 㻌 㻌 㻌 㻌 㻌
(2) Expansion A: Really.㻔pointing㻕1-2-3-4-5-6-7-8-9. 㻌 㻌 㻌 㻌
ᣑ (b) Re-using⏝┦ᡭࡢⓎヰࡢ୍㒊ࢆྲྀࡗ࡚ᛂ⟅ᩥࢆᙧᡂࡍࡿࠋ 㻌 㻌
㻌 A: Which season do you like, spring, summer, fall and winter? 㻌 㻌
㻌 B: I like winter. 㻌 㻌 㻌 㻌 㻌 㻌 A: Winter, ok. This house has a 4 season switch. You can go to winter. 㻌 㻌 (3) Topicalization
(ヰ㢟)
A: This house has a planetarium, museum, aquarium. You can study science, ok?
B: Ok. 㻌
B: Planetarium, museum, aquarium, which do you like? 㻌 㻌
㻌 (a) L1 useᮍ▱ࡢㄒࢆẕㄒ⨨ࡁ࠼ 㻌 㻌 㻌 㻌
㻌 A: This house is shoe dokodemo switch fruit tree house. 㻌 㻌 㻌
(4㻕㻌Substitution (b) Self-repair⮬ᕫಟṇ 㻌 㻌 㻌 㻌 㻌
㻔⨨ࡁ࠼㻕 A: How … what color is your house inside? 㻌 㻌 㻌 㻌
㻌 (c) Paraphraseゝ࠸࠼ 㻌 㻌 㻌 㻌 㻌
㻌 A: What is traffic jams? 㻌 㻌 㻌 㻌 㻌
㻌 B: Car and car and car and car. Many cars are lined, ok? 㻌 㻌 㻌
㻌 (a) Sympatheticᛮ࠸ࡸࡾ 㻌 㻌
(5㻕Framing/Completion A: Parachuting tornado elevator jumping clouds a..chi… 㻌 㻌 㻌 ಟṇ㸪⿵ሸ B:㻔*whisper hint: jumping on the clouds㻕 㻌 㻌 㻌 㻌
㻌 A: jumping …jumping on the clouds, ok? 㻌 㻌 㻌 㻌
㻌 (a) Confirmation check☜ㄆᢎ 㻌 㻌 㻌 㻌
㻌 A: What kind of baby were you? 㻌 㻌 㻌 㻌
㻌 B: I was a shy baby. Shy, ok? 㻌 㻌 㻌 㻌
㻌 (b) Acceptance㓄៖ 㻌 㻌 㻌 㻌 㻌
㻌 A: What kind of rice is this? 㻌 㻌 㻌 㻌
(6㻕㻌Discourse㻌markers B: It’s a short grain rice. 㻌 㻌 㻌 㻌 㻌
ࢹࢫࢥ࣮ࢫ࣭࣐࣮࣮࢝ A: Ok. It’s a medium grain rice. 㻌 㻌 㻌 㻌
㻌 (c) Macro-organizerពぢ㞟⣙ࡢࢩࢢࢼࣝ 㻌 㻌 㻌 㻌
㻌 A: Which car is the best for the future, first, let’s think about the energy. 㻌 㻌
㻌 B: Solar energy is free, so solar energy is the best. 㻌 㻌 㻌
㻌 (opinions from speakers C, D, and E㻕 㻌 㻌 㻌 㻌
㻌 A: OOk. We think Mr. Okuda’s car is the best because this car has a solar battery. 㻌
㻌 It’s good for environment. 㻌 㻌 㻌 㻌 㻌
(7㻕㻌Expressing politeness A: I see. I think the answer is 10 years. 㻌 㻌 㻌 㻌
ᑀ⾲⌧ B:No, I’m sorry. One more try. 㻌 㻌 㻌 㻌
㻌
A: Ok. The answer is longer or shorter?㻌 㻌 㻌 㻌
3.3.2.3 Ꮫ⩦⪅ࡢⓎヰグ㘓ࡢࢥ࣮ࣃࢫ
Ꮫ⩦⪅ࡢⓎヰグ㘓ࡽࡢࢥ࣮ࣃࢫసᡂࡣḟࡢࡼ࠺㐍ࡵࡓࠋ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙ
ࣥάືࡢグ㘓ࡋ࡚సᡂࡉࢀࡓ➨3Ꮫᖺ㸪7⤌ࡢ࣌ 2011ᖺ㸪3᭶㸪➨6Ꮫᖺ㸪7⤌ࡢ
࣌ 2014ᖺ㸪11᭶ ࡼࡿᐇ㝿ࡢⓎヰࢆᑐ㇟ࡋࡓࠋ➨3Ꮫᖺࡣ㸪ࠕ⚾ࡓࡕࡢክࡢᐙࠖ㸪➨
6Ꮫᖺࡣࠕࡇ⾜ࡁࡓ࠸㸪ୡ⏺⦅ࠖࢆࡑࢀࡒࢀࡢྛ༢ඖࡢࢺࣆࢵࢡࡋࡓᤵᴗࢆཷࡅࡓࠋྛ
༢ඖࡢᤵᴗ⤊ᚋᢸ௵ᩍᖌࡸALTࡀᅾࡋ࡞࠸Ꮫ⩦⪅ྠኈࡢࡳࡼࡿ࢘ࢺࣉࢵࢺάືࡢ ࢥ࣮ࣃࢫ࡛࠶ࡿࠋ
ࢹ࣮ࢱࡢࢥ࣮ࣃࢫࡘ࠸࡚ࡣ㸪ㄪᰝᰯࡢDVDグ㘓 6ᖺ⏕ ࢆ➹⪅ࡀMicrosoft Word࡛
᭩ࡁ㉳ࡇࡋ㸪Microsoft Excel࡚852ᩥࡢࣅࢹ࣭࢜ࢺࣛࣥࢫࢡࣜࣉࢺࢆసᡂࡋࡓࠋ3ᖺ⏕ࡢ DVDグ㘓ࡣ㸪ࡍ࡛ㄪᰝᰯࡢ ALT, Robert MiddletonẶࡼࡗ࡚సᡂࡉࢀࡓ311ᩥࡢࣅࢹ
࣭࢜ࢺࣛࣥࢫࢡࣜࣉࢺࢆ⏝ࡉࡏ࡚㡬࠸ࡓࠋ➨3 Ꮫᖺ➨ 6Ꮫᖺࢆ⏝㢖ᗘẚ㍑ࡣᩍᮦࢥ
࣮ࣃࢫྠᵝ㸪zᚓⅬ࡚ᶆ‽ࡋࡓࠋ
3.3.2.4 ศ⠇ࡢ࢝ࢸࢦ࣮ࣜ
ศ⠇ࡢ᥎⛣ㄪᰝ⏝ࡍࡿศ⠇ࡢ࢝ࢸࢦ࣮ࣜࡣḟࡢ 2 ✀ࢆసᡂࡋ࡚࠸ࡿࠋ(1)ၥᩥࢆ
ศ⠇ࡢㄪᰝᑐ㇟ࡋࡓඛ⾜◊✲ Myles, Mitchell, and Hooper (1999, p.74) ᇶ࡙࠸ࡓࠕၥᩥ
ࡢⓎ㐩ࢫࢣ࣮ࣝࠖ㸪(2)Peters (1983, pp. 46-51)ࡼࡿศ⠇ࡢࣉࣟࢭࢫ (segmentation
process) ᇶ࡙࠸࡚⤫ㄒࡢⓎ㐩ࢆẁ㝵ⓗ♧ࡍࠕศ⠇ࡢstage࡛ࠖ࠶ࡿࠋࡍ࡞ࢃࡕ㸪5ẁ㝵
ูࣞ࣋ࣝၥᩥࡢⓎ㐩ࢫࢣ࣮ࣝศ⠇ࡢ stage ࡢ 2 ✀ࡢᇶ‽ࡼࢀࡤ㸪ᮏㄪᰝᰯࡢᏛ⩦⪅
ࡀⓎヰࡍࡿၥᩥࡢࡢࣞ࣋ࣝศ⠇ࡀ⏕ࡌࡿ㸪ࡑࡢࣞ࣋ࣝࡣPeters♧ࡉࢀࡿ⤫ㄒⓎ
㐩ࡢࡢstageヱᙜࡍࡿࡢࢆ ᐃ࡛ࡁࡿࡇ࡞ࡿࠋ2✀ࡢᇶ‽࡛◊✲ㄢ㢟 (RQ3) ࢆศ
⠇ࡢⓎ⏕㛵ࡿ⧞ࡾ㏉ࡋࡸ⨨ࡁ࠼㸪ࡑࢀࡽࡀ↹㞧⏝ࡉࢀࡿᐇែࡽ㏣ồࡍࡿࡇࡀ ጇᙜ⪃࠼ࡓࠋ2✀ࡢ࢝ࢸࢦ࣮ࣜࡢ≉ᚩࡣ௨ୗ♧ࡍ࠾ࡾ࡛࠶ࡿࠋ
(1) ၥᩥࡢⓎ㐩ࢫࢣ࣮ࣝ
ᮏ◊✲࡛ࡣၥᩥࢆᑐ㇟ࡋ࡚ࡑࡢⓎ㐩ࢫࢣ࣮ࣝࢆసᡂࡍࡿࠋࡑࡢ⌮⏤ࡋ࡚㸪ၥᩥࢹ
࣮ࢱࡣ㸪wh⛣ື㸪Subject + verbࡢㄒ㡰㌿ಽ࡞⤫ㄒⓗ」㞧ࡉࢆྵࡴࡇ࡛㸪యฎ⌮ࡽศ
ᯒฎ⌮ࡢ⛣⾜ᮇࡢᐇែࢆᤊ࠼ࡿࡢ㐺ษࡉࢀࡿࡽ࡛࠶ࡿ (Myles, Mitchell & Hooper, 1999, p. 74)ࠋຍ࠼࡚㸪ၥᩥࡣࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάື࠾ࡅࡿㄯヰࢹࢫࢥ࣮ࢫࡢᙧ ᡂ㺃Ⓨᒎࡢᙺࢆᣢࡕ㸪࡞࡛ࡶWhၥᩥࡣከᵝᛶࡢ࠶ࡿ⟅࠼ࢆᑟࡁฟࡍࡋ࡚⌮ㄽ㸪ᐇ㊶ ࡢ୧ศ㔝࡛ࡑࡢຠ⏝ࡀᗈ⠊ᅖΏࡿࡉࢀ࡚࠸ࡿࡇᣐࡿ 5(Morgan & Saxton, 2006, pp.64-71; 75-77)ࠋ
ᮏ ◊ ✲ ࡛ స ᡂ ࡋ ࡓ ၥ ᩥ ࡢ Ⓨ 㐩 ࢫ ࢣ ࣮ ࣝ ࡣ 㸪 ၥ ᩥ ࢆ ศ ⠇ ࡢ ᑐ ㇟ ࡋ ࡓ ඛ ⾜ ◊ ✲ (Pienemann, Johnston, and Brindley, 1988, pp.226-230) ࡼࡗ࡚ᥦࡉࢀࡓၥᩥࡢⓎ㐩 ࢫࢣ࣮ࣝࢆ㸪᪩ᮇ L2 ᩍᐊࡢ࣮࢜ࣛࣝ㺃ࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάື࠾ࡅࡿศ⠇ࡢㄪᰝᛂ⏝
ࡋࡓMyles, Mitchell, and Hooper (1999, p.74) ࡢ࢝ࢸࢦ࣮ࣜᇶ࡙࠸࡚࠸ࡿࠋᮏㄪᰝᰯྥࡅ࡚
⊂⮬ᨵኚࡍࡿ࠶ࡓࡾ㸪ㄯヰࢆ㔜どࡋࡓ┦ὶᆺࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥάືࡀヰࡋゝⴥࡢ
≉ᚩࢆᫎࡍࡿணࡉࢀࡿࡇࡽCarter, & McCarthy (2006, pp.724-726) ࠾ࡅࡿ᪥
ᖖヰ≉᭷ࡉࢀࡿၥᩥ㸪࠾ࡼࡧᏳ⸨ (2005, p. 752; p.874) ࠾ࡅࡿᩥࡢሗᵓ㐀㸪ㄒ
⏝ㄽⓗせ⣲ࢆྵࡴᩥࡢᶵ⬟ࢆ⪃៖ࡋࡓࠋᩥࡣࠗእᅜㄒάືᣦᑟィ⏬㞟, 2011࠘, ࠾ࡼࡧ3, 6 ᖺ⏕ᤵᴗDVDグ㘓ࡼࡾᢳฟࡋ㸪5ẁ㝵ูࣞ࣋ࣝၥᩥࡢⓎ㐩ࢫࢣ࣮ࣝࡋ࡚సᡂࡋࡓ㻌 㻔⾲5㻕ࠋ
⾲5 ᮏㄪᰝ࡛⏝ࡍࡿ5ẁ㝵ูࣞ࣋ࣝၥᩥࡢⓎ㐩ࢫࢣ࣮ࣝ
䝺䝧䝹 1
ㄒᙡࡲࡓࡣㄒྃࡼࡿၥᩥ
(a)ㄒᙡ䛻䜘䜛ၥᩥ 㻌 㻌 㻌
A: Really? B: Yes! 㻌 㻌 㻌
(b)ㄒྃ䛻䜘䜛ၥᩥ
A: Nasca Line wide is about two meter. And deep, deep,OK? 㻌 㻌
B: OK. 㻌 㻌 㻌 㻌 㻌
䝺䝧䝹 2
Yes/ Noၥᩥ䛚䜘䜃ᖹླྀᩥၥᩥ (beືモ䠈䜎䛯䛿ຓືモ䜢క䛖) 㻌 㻌
(a) beືモ
A: Is this China? 㻌 㻌 㻌 㻌 㻌 㻌 㻌
B: That's right. 㻌 㻌 㻌 㻌 㻌 㻌 㻌
(b) ຓືモ
A: Can you find a fish? 㻌
㻌 㻌 㻌
B: I think it’s here. 㻌 㻌 㻌 㻌 㻌 㻌 㻌
(c)ᖹླྀᩥၥᩥ 㻌 㻌 㻌 㻌 㻌 㻌 㻌
A: Wine isred wine or white wine? 㻌 㻌
B: Maybe white wine. 㻌 㻌 㻌 㻌 㻌 㻌 㻌
䝺䝧䝹 3
:K ၥᩥEH ືモࡲࡓࡣຓືモ FDQ ࢆక࠺
(a) beືモ 㻌 㻌 㻌 㻌 㻌
A: What’s in Santa’s bag? 㻌 㻌 㻌
B: One angel and one bear 㻌 㻌 㻌 㻌 㻌
(b) ຓືモcan 㻌 㻌 㻌 㻌 㻌 㻌 㻌
A: What canwe see? 㻌 㻌 㻌 㻌 㻌 㻌 㻌
B: We can see Jomon Sugi. 㻌 㻌 㻌
䝺䝧䝹 4
:K ၥᩥGR ࢆక࠺
㻌 㻌
A:How long do you have club activities in the morning?
B: About thirty minutes. 㻌 㻌 㻌 㻌 㻌 㻌 㻌
䝺䝧䝹 5
:K ၥᩥࡲࡓࡣGRGRHVGLG ࡢၥᩥ௨ୗࡢ 㹼 ࡢ࠸ࡎࢀࢆక࠺
(1) thereᵓᩥ
A: How many diamonds are there in this box? B: Five. 㻌 㻌
(2) ᐃモ
A: What do you want to be? 㻌 㻌 㻌
B: I want to be a cartoonist. 㻌 㻌 㻌 㻌 㻌
(3) does, did
A: When didice cream come to Japan? 㻌 㻌 㻌
B: In the Edo period. 㻌 㻌 㻌 㻌 㻌
(4) be䛾㐣ཤᙧ
A: Where were you born? 㻌 㻌 㻌
B: I wasborn in Tajimi 㻌 㻌 㻌 㻌 㻌
(5) ᮍ᮶⾲⌧
A: What’s going to happen? 㻌 㻌 㻌
B: It’s going to sink/ float. 㻌 㻌 㻌 㻌 㻌
(6) it䜢㝖䛟3ே⛠༢ᩘ䛾ே⛠௦ྡモ
A: What animal does she like? 㻌 㻌 㻌
B: She likes dogs. 㻌 㻌 㻌 㻌 㻌
(7) ᙧᐜモ䠈モ䛾ẚ㍑䡡᭱ୖ⣭
A: Which is bigger, a broad bean seed or a plum seed? 㻌 㻌 㻌
B: Maybe a plum seed is bigger. 㻌 㻌 㻌 㻌 㻌
(8) 䜲䝕䜱䜸䝮⾲⌧
A: Which car is good for the future? 㻌 㻌 㻌
B: I think the Small Body and Big Dream car is good. 㻌 㻌 㻌
(9) 㛫᥋ၥ
A: Do you know which one is an orange seed? 㻌 㻌 㻌
B: Yes, I know. 㻌 㻌 㻌 㻌 㻌
(10)ㄒ䛾ၥモ
A: How many diamonds are there in this box? B: Five. 㻌 㻌
(11) ヰ㢟 㻌 㻌 㻌
A: Planetarium, museum, aquarium,which do you like? 㻌 㻌
B: I like museum. 㻌 㻌 㻌 㻌 㻌
(12) ๓⨨モ䛾ᚋ⨨
A: What is it like? 㻌 㻌 㻌 㻌B: It makes me happy. 㻌 㻌 㻌
(2) ศ⠇ࡢstage
ศ⠇ࡢ᥎⛣ㄪᰝ࠶ࡓࡗ࡚ࡣ㸪5 ẁ㝵ูࣞ࣋ࣝၥᩥࡢⓎ㐩ࢫࢣ࣮ࣝ⾲ 5ຍ࠼࡚㸪 Peters (1983, pp. 46-51)♧ࡉࢀࡿศ⠇ࡢࣉࣟࢭࢫ(segmentation process) ᇶ࡙࠸࡚
⤫ㄒࡢⱆ⏕࠼ࢆẁ㝵ⓗ♧ࡍศ⠇ࡢstageࢆ⏝ࡍࡿࡇࡀጇᙜุ᩿ࡋࡓࠋPeters (1983, pp. 46-51) ࡼࡿศ⠇ࡢࣉࣟࢭࢫ (segmentation process) ࡢ◊✲ࡣ㸪⤫ㄒᵓ㐀ࡢẼ࡙ࡁ
ࡽศᯒ๓ࡢࢳࣕࣥࢡࡀḟ➨⤫ㄒࡢⓎ㐩ࢆ⤒࡚㸪ࢭࣥࢸࣥࢫࣃࢱ࣮ࣥࡢ⏘ฟ⮳ࡿ㐣⛬
↔Ⅼࢆᙜ࡚࡚࠸ࡿࠋࡑࡢⅬ࡛ศ⠇ࡣ୍⯡ⓗᤊ࠼ࡽࢀ࡚࠸ࡿࠕ⪺ࡇ࠼࡚ࡃࡿ㡢ࡢὶࢀࢆྃ
ࡸ ㄒ ࡛ ༊ ษ ࡾ ࢆ ࡘ ࡅ ࡿ ࡇ ⓑ ⏿ , 1999 ࠖ ࡣ ど Ⅼ ࡀ ␗ ࡞ ࡿ ࠋ ศ ⠇ ࡢ ࣉ ࣟ ࢭ ࢫ (segmentation process) ࡣ㸪1ࡘࡢunitࢆ2ࡘศゎࡋࡓࡇࢁ࡛┤ࡕ⏕ࡌࡿࢃࡅ࡛ࡣ࡞
࠸ࠋ⧞ࡾ㏉ࡋࡸࢫࣟࢵࢺࡢ⨨ࡁ࠼ࢆ㏻ࡋ࡚௨ୗ♧ࡍ1st stageࡽ㸪Later stage ࡲ࡛⤫
ㄒࡢⓎ㐩ࡣẁ㝵 (stage) ࢆ㏣࠺ࡉࢀࡿࠋ1st stage 2nd stageࡣࢳࣕࣥࢡࡀࡲࡔᮍศ≧
ែ࡛࠶ࡾ㸪3rd stageࡽ⤫ㄒࡢⓎ㐩 ึᮇᙧែࡀጞࡲࡿࡉࢀࡿࠋ
⾲6 ᮏㄪᰝ࡛⏝ࡍࡿศ⠇ࡢ VWDJH
1st stage unit + unit (all clean, all dry, all gone㸧2ࡘࡢunitࡀ୪ิࡋ࡚࠸ࡿẁ㝵࡛࠶ࡿࠋ
2nd stage
unit + list㸦all + clean, dry, gone㸧allࡀunitࡋ࡚ᗄᗘࡶ⌧ࢀࡿẁ㝵ࠋࡇࡢሙྜ㸪 list࡛࠶ࡿclean, dry, goneࡀ㛢ࡌࡽࢀࡓㄒ⩌ (closed list) ࡋ࡚ࡑࢀࡒࢀࡀಶࠎ≉ᐃunitࡢall㐃⤖ࡋ࡚࠾ࡾ㸪⤫ㄒࡢⓎ
ᒎ┤᥋ࡢ㛵ࡣ࡞࠸ࠋ
3rd stage
frame + slot (all gone + X, there + X, more + X,)㸪ࡇࡢሙྜ㸪list (=X) ࡢࡍ࡚ࡀ࠶ࡿ୍⯡ⓗ≉ᚩࢆඹ᭷
ࡋ࡚࠸ࡿࡇࢆㄆ㆑ࡋ㸪ࡢࡢࡼ࠺࡞listࡶࡇࡢ≉ᚩࢆഛ࠼࡚࠸ࢀࡤ㸪≉ᐃࡢunit㐃⤖ࡍࡿࡇࡀ
࡛ࡁࡿㄆ㆑ࡍࡿẁ㝵࡛࠶ࡿࠋ㏻ᖖ㸪≉ᐃࡢunitࢆframeࡧ㸪⥆ࡃlist (=X) ࢆslot (analyzed slot)
ࡪࠋframe + slotࡣ㸪࠸᩿∦࡛࠶ࢁ࠺㐀ⓗ㐃⤖ࡢドᣐ࡛࠶ࡾ㸪⤫ㄒ⩦ᚓࡢጞࡲࡾࡉࢀࡿࠋ
ࡾࢃࡅ㸪Ꮚ౪ࡢሙྜࡣࣥࣉࢵࢺࡼࡾ㸪ศ⠇ࡢᡭຓࡅࡋ࡚formulaic sentence frames (e.g., What’s this X; That’s a X) ࢆά⏝ࡍࡿࡉࢀ࡚࠸ࡿࠋ
Later stage
frameࡢ୍⯡ࡀ㐍ࡴࢫࢸ࣮ࢪࠋࡘࡲࡾ㸪1ࡘࡢslotࢆྵࡴ㐃⥆ࡢframe (e.g., What a nice X you have Ѝ What a nice elbow you have) ࡽ㸪ᩘ✀㢮ࡢslotࢆྵࡴ㐃⥆ࡢframe (e.g., Is + X + it + X’ ЍIs
making it the car) Ⓨᒎࡍࡿࠋ௨ୗ♧ࡉࢀࡿࡢࡣL2ⱥㄒᏛ⩦⪅Nora㛵ࡍࡿ୍⯡ࡢጞࡲࡾࡢ
࡛࠶ࡿ (Peters, 1983, p. 54)ࠋHow do you do dese࠸࠺ศᯒ๓ࡢࢳࣕࣥࢡࡀ㸪ศ⠇ࡢࣉࣟࢭࢫࢆ⤒
࡚do, dese, you ࢆษࡾ㞳ࡋ࡚㸪ྃ㸪⠇ࢆᚑ࠼ࡿࡼ࠺࡞ࡾ㸪ࡦ࠸࡚ࡣsentence pattern ࡢ⏘ฟ⮳ࡿࠋ
1.How do you do dese + X (NP, PP) e.g., How-do- you- do-dese flower power?
2. How do you + X (VP) e.g., How-do-you make the flower?
How did you + X (VP) e.g., How-did-you make it?
3. How do
How does + X (X = whole clause) e.g., How does this color is?
How did
4. How was also segmented off. e.g., How you make it?
(3) ศ⠇ࡢ᥎⛣ㄪᰝ
ศ⠇ࡢ᥎⛣ࡘ࠸࡚ࡣ㸪ᩍᮦᏛ⩦࡛Ꮫ⩦⪅ࡓࡕࡀࡘࡅࡓຊࢆ⮬Ⓨⓗヰ࡛ᛂ⏝ࡋࡓ⤖ᯝ㸪 ࡑࡢⅬ࡛ࡇࡲ࡛ࡢศ⠇ࡀ⏕ࡌ࡚࠸ࡿ࠸࠺Ⅼ↔Ⅼࢆᙜ࡚ࡓࠋୗグࡢᡭ㡰ࡼࡾ㸪 ᩍᮦ࣭Ꮫ⩦⪅୧ࢥ࣮ࣃࢫࢆㄪᰝᑐ㇟ࡋ㸪5ẁ㝵ูࣞ࣋ࣝၥᩥࡘ࠸࡚㸪1) ࡑࡢ⏝㢖ᗘ㸪 2) ⧞ࡾ㏉ࡋ⨨ࡁ࠼ࡢ⏝ᐇែㄪᰝ㸪3)⧞ࡾ㏉ࡋ⨨ࡁ࠼ࡢᩍᮦ㺃Ꮫ⩦⪅୧ࢥ࣮ࣃࢫ㛫 ࡢ㛵ಀᛶࡘ࠸࡚ㄪᰝࡋ㸪4)ୖグ1)㸪2)㸪3) ࡽᚓࡽࢀࡿ≧ἣドᣐᇶ࡙࠸࡚ศ⠇ࡢ᥎⛣
ࢆㄪᰝࡋࡓࠋ
ᩍᮦࢥ࣮ࣃࢫࡼࡿㄪᰝ
⏕ᚐྠኈࡢࡳ࡛⾜ࢃࢀࡿactivityࡢ⥲ᩘ242⏝ࡉࢀࡿ⥲ࢭࣥࢸࣥࢫᩘ3895ࡢ࠺ࡕ㸪
ၥᩥ 835 ࢆศ⠇ࡢㄪᰝᑐ㇟ࡋࡓࠋࡍ࡚ࡢၥᩥࡘ࠸࡚ᮏㄪᰝ࡛⏝ࡍࡿၥᩥࡢⓎ
㐩ࢫࢣ࣮ࣝἢࡗ࡚5ẁ㝵ࣞ࣋ࣝࡢ༊ศࢆᡭసᴗ࡛⾜࠸㸪Ꮫᖺู㸪5ẁ㝵ูࣞ࣋ࣝၥᩥࡢ
⏝㢖ᗘࢆ㸪zᚓⅬ㸪ᐇ㢖ᗘ࡛♧ࡋࡓᅗ9ࠋḟ㸪Ꮫᖺู㸪5ẁ㝵ูࣞ࣋ࣝၥᩥ࠾ࡅ
ࡿ⧞ࡾ㏉ࡋ⨨ࡁ࠼ࡢ⏝㢖ᗘࢆ㸪zᚓⅬᐇ㢖ᗘ࡛♧ࡋࡓᅗ10, 11ࠋࡉࡽ⧞ࡾ㏉ࡋ
⨨ࡁ࠼ࡢ⏝ᐇែࢆㄪᰝࡋࡓ㈨ᩱ3,4ࠋ
Ꮫ⩦⪅ࢥ࣮ࣃࢫࡼࡿㄪᰝ
3ᖺ⏕ࡢᏛ⩦ࢥ࣮ࣃࢫࡘ࠸࡚ࡣ㸪⥲ࢭࣥࢸࣥࢫᩘ311ࡢ࠺ࡕ㸪ၥᩥ84ࢆᢳฟࡋ㸪ᩍᮦ
ࢥ࣮ࣃࢫྠࡌࡃᡭసᴗ࡛ၥᩥࡢ5ẁ㝵ࣞ࣋ࣝ༊ศࡋࡓࠋ6ᖺ⏕ࡘ࠸࡚ࡶ㸪⥲ࢭࣥࢸࣥ
ࢫᩘ851ࡢ࠺ࡕ㸪ၥᩥ143ࢆᢳฟࡋ㸪3ᖺ⏕ྠࡌ᪉ἲ࡛ฎ⌮ࡋࡓࠋḟ㸪ၥᩥࡢ 3ᖺ
⏕6ᖺ⏕ࡢᏛᖺู㸪5ẁ㝵ูࣞ࣋ࣝၥᩥࡢ⏝㢖ᗘࢆzᚓⅬᐇ㢖ᗘ࡛♧ࡋࡓᅗ12ࠋ ࡉࡽ㸪࢝2᳨ᐃ▼ᕝ㸪2010, pp 67-68࡛㸪ࡑࡢ᭷ពᕪࢆㄪᰝࡋ⾲8)㸪Ꮫᖺู㸪 5ẁ㝵ูࣞ࣋ࣝ⧞ࡾ㏉ࡋ⨨ࡁ࠼ࡢ⏝㢖ᗘࢆzᚓⅬᐇ㢖ᗘ࡛♧ࡋࡓᅗ13,14ࠋࡉࡽ
⧞ࡾ㏉ࡋ⨨ࡁ࠼ࡢ⏝ᐇែࢆㄪᰝࡋࡓ㈨ᩱ5, 6)ࠋ