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経産省前　脱原発アルゴリズムデモ行進（４回目）

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Lit Circle Notes: Introduction
pdf

Deadline 締め切り
You must finish this book and all related assignments by: Wednesday, June 6th.
終了する必要がありますこの本と課題に関係する全てを：6月6日（水曜日）までに
Literature Circle Notes
文学サークルの注意事項











Jim Burke 2000. For more information on this and other such Tools for Thoughtvisit www.englishcompanion.com
Name
Topic
Date
Class/
Suject
Here, in the Connections Column, you
might write one or more of the
following:
• Categories
• Causes of WW II
• Parts of a Cell
• Questions
• What caused WW II?
• What are the parts of a cell?
• Vocabulary words
• Holocaust
• synthesis
• Review/test alerts!
• WW II causes and names of allies
will definitely be on exam!
• Parts of a Cell
• Connections
• check the Owens poem for
his comments on war
• similar to process westudied in last
unit
• Reminders
• Be sure to check the meaning of
variant.
Sample Question and Notes
What should I write down when I take
notes?
Write down only important information. Look for:
• bold, underlined, or italicized words
• information in boxes or with an icon/symbol
• headers/subheaders on the page
• information the book or teacher repeats
• words, ideas, or events that might be on a test
• quotes, examples, or details you might be able to use later in a
paper or presentation
Down here write one of the following; summary of what you read/lecture; the five most important points of
the article/chapter/lecture; questions you still need to answer.
• abbreviate familiar words/use symbols (+, -->, #)
• take notes in bullets and indents; not formal outlines
• cut unnecessary words
• use telegraphic sentences: “America enters war 12/44”
How can I take notes faster?
C



Name
Subject
Date
Period
Says/Does
Means/Implies
Directions: Find six quotes or examples that reveal important or different aspects of your subject. Then in the outer strand,
explain what they mean. Be sure, when possible, to include page citations for your quotes.
Making Inferences: Using the notes from your target, draw some conclusions about yoru subject. If you are writing about
a fictional character, for example, explain what kind of person they are. Be sure to use direct quotations and citation
information (e.g., I, ii, 35-40) when supporting your analysis.
Inference Notes
Subject


BEFORE
Prepare to Read
DURING
Question & Comment
AFTER
Summarize and Synthesize
• Ask questions
• Make predictions
• Set a purpose
• Decide what matters most
• I wonder why....
• What caused...
• I think...
• This is similar to...
• This is important because...
• What do they mean by...
• What I find confusing is...
• What will happen next is...
• I can relate to this because...
• This reminds me of...
• As I read, I keep wanting to ask...
• Three important points/ideas are...
• These are important because...
• What comes next...
• The author wants us to think...
• At this point the article/story is about...
• I still don’t understand...
• What interested me most was...
• The author’s purpose here is to...
• A good word to describe (e.g., this story’s
tone) is...because...
• This idea/story is similar to...
Directions: Use Interactive Notes to help you read informational or literary texts. Interactive Notes guides you through a
reading process to help you develop your ideas and express them in academic language. You may put questions, comments,
connections, or favorite lines in any column; then use the prompts (or create your own) to help you write.
© Jim Burke 2001. For more information on this and other such School Tools visit www.englishcompanion.com
Ö title(s)
Ö headings
Ö captions
Ö objectives
Ö themes
Ö words to know
• List:
Name
Topic
Date
Period
Interactive Notes: Sample SSR Responses (September)
Sample One (Robert V)
• Of Mice and Men: The
title comes from an old
saying that mice and men
run astray, or something
like that.
• I think in this chapter
Lennie and Curley will
have a great conflict.
Sample Two (Danny M.)
• How did he get his face
ripped off?
Sample One (Robert V)
• I wonder why Curley tried
to lick Lennie. I was pretty
happy when Lennie broke his
hand. This will keep Curley
from messing with Lennie
anymore. So now George and
Lennie can make their stake.
Sample Two (Danny M.)
• As I read I keep wanting to
ask, “How can someone live
like that?” What I mean is
how can someone still want to
live without a face?
Sample One (Robert V)
• I still don’t understand why Curley
has a problem with big guys. I think
it was good that Curley got his hand
broken; now maybe he won’t be such
a punk. I think George should teach
Lennie how to fight.
Sample Two (Danny M.)
• What interested me the most is
that even though he got his face
blown off he doesn’t care.
• I think what comes next is that he
can’t take it anymore so he will
shoot Larry LaSalle.
Directions: Identify three of the most important events in the section you read today.
Explain why they are important to the story. (Today’s example by Jackie Ardon)
1. They are all sad because they can’t be with their family and friends. This is important be
cause it will cause problems for them on board the ship,
2. They saw a boat sink. Being on the ship is a new reality for them.
3. They entered the most dangerous straight which can cause them problems.

Inference Notes

Name
Subject
Date
Period
Says
Means
Iago: “I follow him
to serve my turn
upon him.” I, i, 42.
Iago explains why he continues to serve
Othello, even when he hates him. His
motivation is to get revenge on Othello
for the imagined insults of being
overlooked for promotion and possibly
having had an affair with Iago’s wife
(I,iii, 370)
Directions: Find six quotes from or about Iago that reveal his character. Then in the outer strand, explain what they mean.
Be sure to include citation information (Act, Scene, line #)
Making Inferences : Using the notes from your target, explain what kind of person Iago is. Be sure to
use direct quotations and citation information (e.g., I, ii, 35-40) when supporting your analysis.


Making Inferences: Using the notes from your target, draw some conclusions about yoru subject. If you are writing about
a fictional character, for example, explain what kind of person they are. Be sure to use direct quotations and citation
information (e.g., I, ii, 35-40) when supporting your analysis.

Judge’s Notes
Introduction
During an interview about a major trial, the state supreme court judge said he took different kind of notes than he
usually did. In one column, he wrote down the questions he thought would help him make the right decision and
understand the issues in the case. In another column he jotted down personal observations and responses about the
defendants (Bill Gates and his legal team). In a third column he noted evidence or other details that would support
his final decision. Use this graphic organizer in the same way; these notes will prepare you to write a subsequent
paper in which your state your opinion and support your argument with evidence from your notes.
Questions Observations/Reactions Support/Evidence


Name
Topic
Date
Assigned Role
Lit Circle Notes Intro
Directions: In this column write the
following, depending on your role; be sure
to include page and paragraph numbers:
1. Discussion Director: develop questions about “big ideas” for the group to discuss; should be of compelling interest to all.
2. Illustrator: Draw an idea, event, or sequence to help them understand; use cartoons, graphs, webs, charts, maps.
3. Connector: Connect what you read to the world; use recent events, familiar people and places, “real life” events.
4. El Lector: Find sections you/your group want to hear read aloud; decide how to present or perform for group or class.
5. Word Watcher: Find words that the group must/should know: new, difficult, interesting, important, strange
6. Summarizer: Prepare a brief summary of today’s reading and discussion.
Down here you should review, retell, or reflect on what you read so far. (Use the back if necessary).
Directions: In this area, you write the following:
• Discussion Director: Questions
• Illustrator: Drawings, diagrams
• Connector: Connections
• El Lector: Passages/quotes to read aloud
• Word Watcher: Vocabulary words
• Summarizer: Key events, scenes, ideas.
Discussion Director: Response or answers to the questions you asked.
Illustrator: Explanation of the drawing or diagram you drew on the back.
Connector: Explanation and/or discussion of the connections you made.
El Lector: Reasons you picked these passages to read aloud.
Word Watcher: Definitions, sentences in which the word is used.
Summarizer: Description and discussion of the events, scenes, ideas.
Assignment for Tomorrow: page _______ – page_______
Assignment for Today: page _______ – page_______
Topic to be carried over to tomorrow:



http://www.englishcompanion.com/pdfDocs/litcirclepacket.pdf

Lit Circle Notes: Introduction
Group Members
1.
2.
3.
4.
5.
6.
Deadline
You must finish this book and all related assignments by: Wednesday, June 6th.
Assessment
You will be assessed according to:
`• the quality of your contributions to your lit circle discussion
`• the extent to which you keep up with your responsibilities to your group
`• the quality of your ideas on your Lit Circle Notes
`• the quality of your group’s discussion
Assignments
Your group must:
`• assign itself the reading for each night, pacing yourselves so you get it done by June 6th.
`• hold each member accountable for work, contributions to discussion, and respectful participation
`• rotate the assigned roles so that each night someone has a different responsibility; when you
complete one cycle through the group, begin again as you think appropriate, rotating jobs daily.
Schedule
Here is the schedule for each week:
`•Monday
` •LC (Lit Circles)
` •Groups meet
`•Tuesday
` •LC (Lit Circles)
` •Read and roles
`•Wednesday
` •LC (Lit Circles)
` •Groups meet
`•Thursday
` •LC (Lit Circles)
` •Read and Roles
`•Friday
` •LC (Lit Circles)
` •Groups meet
Source: I must credit Harvey Daniels with the idea of Lit Circles. Though I have taken small liberties
with the ideas and roles, and created my own Lit Circle Notes pages, the core ideas and
technique are his, not mine. To learn more, read Harvey Daniels’s book Literature Circles: Voice
and Choice in the Student-Centered Classroom (Stenhouse1994)

Lit Circle Notes: Overview of the Roles
Illuminator: You find passages your group
would like to/should hear read aloud.
These passages should be memorable,
interesting, puzzling, funny, or important.
Your notes should include the quotations
but also why you chose them, and what
you want to say about them. You can either
read the passage aloud yourself or ask
members of your group to read roles.
Sample Questions
 What were you thinking about as you read?
What did the text make you think about?
What do you think this text/passage was about?
How might other people (of different backgrounds) think about this text/passage?
What one question would you ask the writer if you got the chance? Why?
What are the most important ideas/moments in this text/section?
What do you think will happen next---and why?
What was the most important change in this section? How and why did it happen?
Illustrator: Your role is to draw what you read.
This might mean drawing a scene as a cartoonlike sequence, or an important scene so readers
can better understand the action. You can draw
maps or organizational trees to show how one
person, place, or event relates to the others.
Use the notes area to explain how your drawing
relates to the text. Label your drawings so we
know who the characters are. Make your
drawing on the back of this page or on a
separate sheet of paper.
Sample Questions
 Ask members of your group, “What do you think this picture means?”
Why did you choose this scene to illustrate?
How does this drawing relate to the story?
Why did you choose to draw it the way you did?
What do we see---i.e., who and/or what is in this picture?
What, if anything, did drawing it help you see that you had not noticed before?
What did this quotation/passage make you think about when you read it?
What are you trying to accomplish through this drawing?
Connector: Your job is to connect what
you are reading with what you are studying
or with the world outside of school. You
can connect the story to events in you own
life, news events, political events, or
popular trends. Another important source
of connections is books you’ve already
read. The connections should be meaningful
to you and those in your group.
Sample Questions
 What connections can you make to your own life?
What other places or people could you compare this story to?
What other books or stories might you compare to this one?
What other characters or authors might you compare to this one?
What is the most interesting or important connection that comes to mind?
How does this section relate to those that came before it?
Word Watcher: While reading the
assigned section, you watch out for words
worth knowing. These words might be
interesting, new, important, or used in
unusual ways. It is important to indicate the
specific location of the words so the group
can discuss these words in context.
Sample Questions
 Which words are used frequently?
Which words are used in unusual ways?
What words seem to have special meaning to the characters or author?
What new words do you find in this section?
What part of speech is this word?
What is the connotative meaning of this word?
What is the denotative meaning of this word?
Discussion Director: Your role demands
that you identify the important aspects of
your assigned text, and develop questions
your group will want to discuss. Focus on
the major themes or “big ideas” in the text
and your reaction to those ideas. What
interests you will most likely interest those
in your group. You are also responsible for
facilitating your group’s discussion.
Sample Questions
What were you thinking about as you read?
What did the text make you think about?
What do you think this text/passage was about?
How might other people (of different backgrounds) think about this text/passage?
What one question would you ask the writer if you got the chance? Why?
What are the most important ideas/moments in this text/section?
What do you think will happen next---and why?
What was the most important change in this section? How and why did it happen?
Summarizer: Prepare a brief summary of
the day’s reading. Use the questions to the
right to help you decide what to include. In
some cases, you might ask yourself what
details, characters, or events are so
important that they would be included on
an exam. If it helps you to organize the
information, consider

Summarizer: Prepare a brief summary of
the day’s reading. Use the questions to the
right to help you decide what to include. In
some cases, you might ask yourself what
details, characters, or events are so
important that they would be included on
an exam. If it helps you to organize the
information, consider making a numbered
list or a timeline.
Sample Questions
 What are the most important events in the section you read?
What makes them so important?
What effect to these events have on the plot or the other characters?
What changes---in plot, character, or tone---did you notice when you read?
What questions might appear on an exam about this section you read?
What might be a good essay topic for this section of the story?


Lit Circle Notes: Examplars and Reminders
Down here you should review, retell, or reflect on what you read so far. (Use the back if necessary).
Illuminator
“I was told by my father that I had no
free will, no control whatsoever over
my destiny, that each minute detail
about my life, my existence---before
now and to come---were all contained
in a big scroll made of my life, over
which my ancestors pondered day and
night as they alternately tossed random
situations into my life...” (p. 126, ¶4,
from Kaffir Boy)
Response
This quote is important because it makes you think about your future.
When I was reading this, I stopped for a second and thought about
my destiny. There is no way you can avoid the future. Every second
counts. In a few seconds you can make a wrong decision. Sooner or
later those seconds turn into minutes, which turn into hours that turn
into days... Your destiny is something you come up with by making
those decisions. What if someone just scrambled a few obstacles
together and then put them in our destiny book? We must learn to
make correct choices. They might just change some obstacles in the
destiny book. We might be able to overcome those challanges that were
put in the future. (Jessica Perez about Kaffir Boy)
Connector
What other places can you compare
this to?
Response
This passage reminds me of Germany during the Holocaust. The
police in South Africa are just like the Nazis banging on the
Jewish doors and looking for the Jewish star or other required
identification papers; this is how they use the blacks’ passbooks in
South Africa. (Jen Lescher about Kaffir Boy)
Summarizer
What are the most important events?

Prepare for a Test: Make Your Own
Mr. Burke/Fall 2001
Overview What is on a big test is rarely a surprise if you take time to think about it.
Sure the teacher might throw in a few curveballs, sneak in a few questions
you had not expected, but most of the time what they ask will be no
surprise if you are prepared. The following steps will prepare you for any
a quiz or exam in any class. This exercise get you ready for your exam, but
will also show you how to be an effective student. One last point: Though
this seems like a long and complicated process, you soon begin to read
and listen differently, identifying those events and ideas likely to be on
the test as you read.
Step One Gather Essential Information. Ask the teacher what will be on the test
and whether it is permissible to use notes, books, or other tools (e.g.,
calculator, dictionaries, computers) on the test. Here are some ways you
might ask such questions if your teacher does not offer the information up
front:
· “Could you please tell us what to expect on the test so we will
know how to prepare?”
· “Will this test cover all that we have studied this whole semester,
or just the units from this quarter?”
· “Would you be willing to allow us to prepare a page of notes or
perhaps use our book when we take the exam?”
· “Could you tell us how the test breaks down: Are there multiple
choice questions? If so, how many? Short answer? An essay
question? Any matching?”
· “Will you be offering any study sessions or additional materials
(e.g., study guides, old tests, outlines, suggestions) prior to the
exam in order to help us prepare?”
· “When preparing for the exam, should we focus on anything in
particular?”
Step Two Assemble Available Resources. Prepare to create your own exam. To do
this you will need the following materials:
· all your notes, chapter study guides, and old tests and quizzes
· the textbook or other primary documents/texts on which the exam
will be based
· study guides, word lists, or other preparation materials your
teacher has given you to help you prepare for this specific exam
· your answers to the questions in step one: i.e., will you be able to
use notes in class? If so, that might determine what you should
study and the format of your notes
Probability Continuum
When evaluating the likelihood of a question or information appearing on the exam, consider
the following probability chart to help you decide:
0% 25% 50% 75% 100%
Impossible ‡ Unlikely ‡ Possible ‡ Probable ‡ Certain
Why is this important?
Response
He was being rude to the “shit men” and they made him get in
a bucket of night soil. Also they had to move out of their shack and
into another one and Alexandra will soon be torn down. He
almost died from the braziere being inside.
It taught him not to make fun of people, especially for their
jobs because they don’t want to do what they are doing. Moving
into another shack is important because it shows how poor they are
and how they do whatever the whites say, including picking up
their lives and leaving. They do what they say because they fear
being arrested. (Jen Lescher about Kaffir Boy)
Discussion Director
Did they depend on witchcraft and
vodoo so they don’t have to take
ownership of bad things that happened?
Response
Yes, they depended very much on vodoo and witchcraft. They seemed
to blame everything bad on the witches and evil ancestral spirits.
They blamed no money, not being able to find a job, the police. They
were all some sort of evil spirit. It was never the fault of the living
person, but always the doing of a nonliving spirit. [They believed
this because... I also noticed that when x would happen, they
believed...] (Jennifer Edl, about Kaffir Boy)
Johannes goes to the tribal land at this point in the book. He goes with his father and finds his witchdoctor.
His family leaves to another part of the city because Alexandra got bulldozed. They move to another place
where they are in poverty. Johannes turns to begging. Mother gets upset and talks with Johannes. He is now
paranoid about police raids and witches. (Jessica Perez, about Kaffir Boy)

Lit Circle Notes: Examplars and Reminders
Down here you should review, retell, or reflect on what you read so far. (Use the back if necessary).
Illuminator
“I was told by my father that I had no
free will, no control whatsoever over
my destiny, that each minute detail
about my life, my existence---before
now and to come---were all contained
in a big scroll made of my life, over
which my ancestors pondered day and
night as they alternately tossed random
situations into my life...” (p. 126, ¶4,
from Kaffir Boy)
Response
This quote is important because it makes you think about your future.
When I was reading this, I stopped for a second and thought about
my destiny. There is no way you can avoid the future. Every second
counts. In a few seconds you can make a wrong decision. Sooner or
later those seconds turn into minutes, which turn into hours that turn
into days... Your destiny is something you come up with by making
those decisions. What if someone just scrambled a few obstacles
together and then put them in our destiny book? We must learn to
make correct choices. They might just change some obstacles in the
destiny book. We might be able to overcome those challanges that were
put in the future. (Jessica Perez about Kaffir Boy)
Connector
What other places can you compare
this to?
Response
This passage reminds me of Germany during the Holocaust. The
police in South Africa are just like the Nazis banging on the
Jewish doors and looking for the Jewish star or other required
identification papers; this is how they use the blacks’ passbooks in
South Africa. (Jen Lescher about Kaffir Boy)
Summarizer
What are the most important events?
Why is this important?
Response
He was being rude to the “shit men” and they made him get in
a bucket of night soil. Also they had to move out of their shack and
into another one and Alexandra will soon be torn down. He
almost died from the braziere being inside.
It taught him not to make fun of people, especially for their
jobs because they don’t want to do what they are doing. Moving
into another shack is important because it shows how poor they are
and how they do whatever the whites say, including picking up
their lives and leaving. They do what they say because they fear
being arrested. (Jen Lescher about Kaffir Boy)
Discussion Director
Did they depend on witchcraft and
vodoo so they don’t have to take
ownership of bad things that happened?
Response
Yes, they depended very much on vodoo and witchcraft. They seemed
to blame everything bad on the witches and evil ancestral spirits.
They blamed no money, not being able to find a job, the police. They
were all some sort of evil spirit. It was never the fault of the living
person, but always the doing of a nonliving spirit. [They believed
this because... I also noticed that when x would happen, they
believed...] (Jennifer Edl, about Kaffir Boy)
Johannes goes to the tribal land at this point in the book. He goes with his father and finds his witchdoctor.
His family leaves to another part of the city because Alexandra got bulldozed. They move to another place
where they are in poverty. Johannes turns to begging. Mother gets upset and talks with Johannes. He is now
paranoid about police raids and witches. (Jessica Perez, about Kaffir Boy)
Overview: Few people are developing their ideas; few are following the Cornell format; few are doing what
I would call complete work. Nearly all are running great discussions. Use these exemplars to help you
improve your notes this week. It’s the end of the year: I expect daily evidence of all you’ve learned to do.

.
Word Watcher: While reading the
assigned section, you watch out for words
worth knowing. These words might be
interesting, new, important, or used in
unusual ways. It is important to indicate the
specific location of the words so the group
can discuss these words in context.
Sample Questions
 Which words are used frequently?
Which words are used in unusual ways?
What words seem to have special meaning to the characters or author?
What new words do you find in this section?
What part of speech is this word?
What is the connotative meaning of this word?
What is the denotative meaning of this word?
Assignment for Tomorrow: page _______ – page_______
Assignment for Today: page _______ – page_______
Topic to be carried over to tomorrow:
In this column, write the word, and the
page and paragraph numbers. Write the
definition and any explanation about
why you chose the words in the notes
section to the right. >>>)

http://www.ocn.ne.jp/translation/

OCN翻訳サイト

文学用語２

M

metaphor (met-AH-for) [from the Gk. carrying one place to another]: a type of figurative language in which a statement is made that says that one thing is something else but, literally, it is not. In connecting one object, event, or place, to another, a metaphor can uncover new and intriguing qualities of the original thing that we may not normally notice or even consider important. Metaphoric language is used in order to realize a new and different meaning. As an effect, a metaphor functions primarily to increase stylistic colorfulness and variety. Metaphor is a great contributor to poetry when the reader understands a likeness between two essentially different things. In his Poetics, Aristotle claims that for one to master the use of metaphor is “…a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars” (The Poet's Dictionary). A metaphor may be found in a simple comparison or largely as the image of an entire poem. For example, Emily Dickinson’s poem “My Life had stood – a Loaded Gun” makes use of a series of comparisons between the speaker and a gun. Dickinson opens the work with the following: “My Life had stood – a Loaded Gun - / In corners – till a Day / The Owner passed – identified - / And carried me away”. Of course, the narrator is not really a gun. The metaphor carries with it all the qualities of a “Loaded Gun”. The speaker in the poem is making a series of comparisons between themselves and the qualities of a gun. The narrator had been waiting a long time before their love found them. The narrator loves her fellow so desperately that she feels as a protective gun that would kill anyone wishing to harm him. To this effect, Dickinson writes, "To foe of His – I’m deadly foe –." Dickinson’s poem ends up being one extended comparison through the use of metaphor between herself and a gun with “…but the power to kill.” See A Handbook to Literature, The Poet’s Dictionary, or A Glossary of Literary Terms (7th edition). Andy Stamper, Student, University of North Carolina at Pembroke
metonymy (me-TAH-nah-me): a figure of speech which substitutes one term with another that is being associated with the that term. A name transfer takes place to demonstrate an association of a whole to a part or how two things are associated in some way. This allows a reader to recognize similarities or common features among terms. It may provide a more common meaning to a word. However, it may be a parallel shift that provides basically the same meaning; it is just said another way. For example, in the book of Genesis 3:19, it refers to Adam by saying that “by the sweat of your brow, you will eat your food.” Sweat represents the hard labor that Adam will have to endure to produce the food that will sustain his life. The sweat on his brow is a vivid picture of how hard he is working to attain a goal. Another example is in Genesis 27:28 when Isaac tells Jacob that “God will give you...an abundance of grain and new wine.” This grain and wine represents the wealth that Jacob will attain by stealing the birth right. These riches are like money that is for consumption or material possessions to trade for other goods needed for survival. Furthermore, in the play Othello, Act I Scene I features metonymy when Iago refers to Othello as “ the devil” that “will make a grandsire of you.” This phrase represents a person that is seen as deceitful or evil. An understanding of metonymy aids a reader to see how an author interchanges words to further describe a term’s meaning. See A Handbook to Literature; Literature: An Introduction to Fiction, Poetry, and Drama; Literature: An Introduction to Fiction, Poetry, and Drama; or Merriam Webster Collegiate Dictionary. Melanie Stephens, Student, University of North Carolina at Pembroke

motif (moh-TEEF): a recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil. In the Book of Genesis, we see the motif of separation again and again throughout the story. In the very first chapter, God separates the light from the darkness. Abraham and his descendants are separated from the rest of the nation as God's chosen people. Joseph is separated from his brothers in order that life might be preserved. Another motif is water, seen in Genesis as a means of destroying the wicked and in Matthew as a means of remitting sins by the employment of baptism. Other motifs in Genesis and Matthew include blood sacrifices, fire, lambs, and goats. A motif is important because it allows one to see main points and themes that the author is trying to express, in order that one might be able to interpret the work more accurately. See A Handbook to Literature, The Concise Oxford Dictionary of Literary Terms. Robert Bean, Student, University of North Carolina at Pembroke

myth (mith): any story that attempts to explain how the world was created or why the world is the way that it is. Myths are stories that are passed on from generation to generation and normally involve religion. M.H. Abram refers to myths as a “religion in which we no longer believe.” Most myths were first spread by oral tradition and then were written down in some literary form. Many ancient literary works are, in fact, myths as myths appear in every ancient culture of the planet. For example you can find them in ethnological tales, fairy tales as well as epics. A good example of a myth is The Book of Genesis, which recounts tales of the creation of the universe, the Earth and mankind. See A Glossary to Literary Terms, Webster’s Encylopedia of Literature. Becky Davis, Student, University of North Carolina at Pembroke


N

narrative (na-RAH-tiv): a collection of events that tells a story, which may be true or not, placed in a particular order and recounted through either telling or writing. One example is Edgar Allen Poe's "The Tell-Tale Heart." In this story a madman resolves to kill his landlord because he fears the man's horrible eye. One night he suffocates the landlord and hides the body beneath the floorboards of the bedroom. While fielding questions from the police in the bedroom where the body is hidden, the madman thinks he hears the heart of the victim beating beneath the floorboards. Scared that the police hear the heartbeat too, the madman confesses. This is a narrative because of two things, it has a sequence in which the events are told, beginning with murder and ending with the confession, and it has a narrator, who is the madman, telling the story. By understanding the term "narrative,” one begins to understand that most literary works have a simple outline: the story, the plot, and the storyteller. By studying more closely, most novels and short stories are placed into the categories of first-person and third-person narratives, which are based on who is telling the story and from what perspective. Other important terms that relate to the term "narrative,” are "narrative poetry," poetry that tells a story, and "narrative technique" which means how one tells a story.

narrative poem (nar-RAH-tiv po-EM): a poem that tells a story. A narrative poem can come in many forms and styles, both complex and simple, short or long, as long as it tells a story. A few examples of a narrative poem are epics, ballads, and metrical romances. In western literature, narrative poetry dates back to the Babylonian epic of Gilgamesh and Homer's epics the Iliad and the Odyssey. In England and Scotland, storytelling poems have long been popular; in the late Middle Ages, ballads-or storytelling songs-circulated widely. The art of narrative poetry is difficult in that it requires the author to possess the skills of a writer of fiction, the ability to draw characters and settings briefly, to engage attention, and to shape a plot, while calling for all the skills of a poet besides. See A Handbook of Literature and Literature: An Introduction to Fiction, Poetry, and Drama. Melissa Houghton, Student, University of North Carolina at Pembroke

narrator (nar-RAY-ter): one who tells a story, the speaker or the “voice” of an oral or written work. Although it can be, the narrator is not usually the same person as the author. The narrator is one of three types of characters in a given work, (1) participant (protagonist or participant in any action that may take place in the story), (2) observer (someone who is indirectly involved in the action of a story), or (3) non participant (one who is not at all involved in any action of the story). The narrator is the direct window into a piece of work. Depending on the part of the character of the narrator plays in the story, the narrator may demonstrate bias when presenting a piece of work. In the Book of Matthew, the narrator Matthew, probably presented some bias when giving his accounts of the events that took place during that time. See Introduction to Literature, A Handbook to Literature. Heather Cameron, Student, University of North Carolina at Pembroke


O


P

parable (PAIR-uh-buhl): a brief and often simple narrative that illustrates a moral or religious lesson. Some of the best-known parables are in the Bible, where Jesus uses them to teach his disciples. For example, in "The Parable of the Good Seed," a farmer plants a garden. As the farmer sleeps, someone sows weeds in his field to destroy the farmer's crops. However, when he learns of his misfortune, he does not demolish his entire garden just to remove the weeds. The farmer waits patiently until harvest time and gathers his wheat after the weeds have first been collected and destroyed. The lesson to be learned in this parable is to not be quick to annihilate evil; it will in deserving time receive its punishment. Some other parables in the Bible are "The Parable of the Prodigal Son" and "The Parable of the Mustard Seed." See The Encyclopedia of Literature, A Handbook to Literature. Starlet Chavis, Student, University of North Carolina at Pembroke
persona (per-SO-na): In literature, the persona is the narrator, or the storyteller, of a literary work created by the author. As Literature: An Introduction to Fiction, Poetry, and Drama puts it, the persona is not the author, but the author’s creation--the voice “through which the author speaks.” It could be a character in the work, or a fabricated onlooker, relaying the sequence of events in a narrative. Such an example of persona exists in the poem “Robin Hood and Allin a Dale,” in which an anonymous character, perhaps one of Robin’s “merry men,” recounts the events of the meeting and adventures of Robin Hood and Allin a Dale. After telling of their initial introduction in the forest, the persona continues to elaborate on their quest to recover Allin’s true love from the man she is about to marry. Robin and his entourage succeed and then proceed to marry her and Allin a Dale. The persona’s importance is recognized due to the more genuine manner in which the events of a story are illustrated to the reader―with a sense of knowledge and emotion only one with a firsthand view of the action could depict. See A Handbook to Literature, Merriam-Webster’s Encyclopedia of Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Stephanie White, Student, University of North Carolina at Pembroke

personification {PER-son-E-fih-ka-shEn): A figure of speech where animals, ideas or inorganic objects are given human characteristics. One example of this is James Stephens’s poem "The Wind" in which wind preforms several actions. In the poem Stephens writes, “The wind stood up and gave a shout. He whistled on his two fingers.” Of course the wind did not actually "stand up," but this image of the wind creates a vivid picture of the wind's wild actions. Another example of personification in this poem is “Kicked the withered leaves about….And thumped the branches with his hand.” Here, the wind is kicking leaves about, just like a person would and using hands to thump branches like a person would also. By giving human characteristics to things that do not have them, it makes these objects and their actions easier to visualize for a reader. By giving the wind human characteristics, Stephens makes this poem more interesting and achieves a much more vivid image of the way wind whips around a room. Personification is most often used in poetry, coming to popularity during the 18th century. Jennifer Winborne, Student, University of North Carolina at Pembroke

point of view (point ov veww): a way the events of a story are conveyed to the reader, it is the “vantage point” from which the narrative is passed from author to the reader. The point of view can vary from work to work. For example, in the Book of Genesis the objective third person point of view is presented, where a “nonparticipant” serves as the narrator and has no insight into the characters' minds. The narrator presents the events using the pronouns he, it, they, and reveals no inner thoughts of the characters. In Edgar Allan Poe’s short story “The Cask of Amontillado” the first person point of view is exhibited. In this instance the main character conveys the incidents he encounters, as well as giving the reader insight into himself as he reveals his thoughts, feelings, and intentions. Many other points of view exist, such as omniscient (or “all knowing”) in which the narrator “moves from one character to another as necessary” to provide those character’s respective motivations and emotions. Understanding the point of view used in a work is critical to understanding literature; it serves as the instrument to relay the events of a story, and in some instances the feelings and motives of the character(s). See A Handbook to Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Stephanie White, Student, University of North Carolina at Pembroke

protagonist (pro-TAG-eh-nist) A protagonist is considered to be the main character or lead figure in a novel, play, story, or poem. It may also be referred to as the "hero" of a work. Over a period of time the meaning of the term protagonist has changed. The word protagonist originated in ancient Greek drama and referred to the leader of a chorus. Soon the definition was changed to represent the first actor onstage. In some literature today it may be difficult to decide who is playing the role of the protagonist. For instance, in Othello,we could say that Iago is the protagonist because he was at the center of all of the play's controversy. But even if he was a main character, was he the lead character? This ambiguity can lead to multiple interpretations of the same work and different ways of appreciating a single piece of literature. See Merrian Webster Encyclopedia of Literature, Benet’s Readers Encyclopedia of Literature. Khalil Shakeel, Student, University of North Carolina at Pembroke


Q


R

rhyme (rime): repetition of an identical or similarly accented sound or sounds in a work. Lyricists may find multiple ways to rhyme within a verse. End rhymes have words that rhyme at the end of a verse-line. Internal rhymes have words that rhyme within it. Algernon C. Swinburne (1837-1909), a rebel and English poet, used internal rhymes in many of his Victorian poems such as “sister, my sister, O fleet sweet swallow.” There are cross rhymes in which the rhyme occurs at the end of one line and in the middle of the next; and random rhymes, in which the rhymes seem to occur accidentally in no specific combination, often mixed with unrhymed lines. These sort of rhymes try to bring a creative edge to verses that usually have perfect rhymes in a sequential order. Historically, rhyme came into poetry late, showing in the Western world around AD 200 in the Church Latin of North Africa. Its popularity grew in Medieval Latin poetry. The frequently used spelling in English, r*h*y*m*e , comes from a false identification of the Greek word “rhythmos.” Its true origin comes from Provencal, which is a relation to Provence, a region of France. The traditional Scottish ballad, “Edward,” uses end rhymes to describe what he has done with his sword and property:
And what wul ye doe wi’ your towirs and your ha’
That were sae fair to see, O?
Ile let thame stand tul they doun fa’
Rhyme gives poems flow and rhythm, helping the lyricist tell a story and convey a mood. See A Handbook to Literature, Benet’s Reader’s Encyclopedia, Webster’s Third New International Dictionary (unabridged), A Glossary of Literary Terms. Nancy Bullard, Student, University of North Carolina at Pembroke

rhyme scheme (rime skeem): the pattern of rhyme used in a poem, generally indicated by matching lowercase letters to show which lines rhyme. The letter "a" notes the first line, and all other lines rhyming with the first line. The first line that does not rhyme with the first, or "a" line, and all others that rhyme with this line, is noted by the letter "b", and so on. The rhyme scheme may follow a fixed pattern (as in a sonnet) or may be arranged freely according to the poet's requirements. The use of a scheme, or pattern, came about before poems were written down; when they were passed along in song or oral poetry. Since many of these poems were long, telling of great heroes, battles, and other important cultural events, the rhyme scheme helped with memorization. A rhyme scheme also helps give a verse movement, providing a break before changing thoughts. The four-line stanza, or quatrain, is usually written with the first line rhyming with the third line, and the second line rhyming with the fourth line, abab. The English sonnet generally has three quatrains and a couplet, such as abab, cdcd, efef, gg. The Italian sonnet has two quatrains and a sestet, or six-line stanza, such as abba, abba, cde, cde. Rhyme schemes were adapted to meet the artistic and expressive needs of the poet. Henry Howard Surrey is credited with introducing the sonnet form to England. This form differed from the Italian form because he found that there were fewer rhyming words in English than there were in Italian.

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May.
And summer's lease hath all too short a date.
Excerpt from Shakespeare's "Sonnet XVIII", rhyme scheme: a b a b.
See Benet's Reader's Encyclopedia, Dictionary of Literary Terms, A Dictionary of Literary Terms and Literary Theory, Microsoft Encarta Encyclopedia 2000. Nancy Bullard, Student, University of North Carolina at Pembroke.

S

setting (set-ting): the time, place, physical details, and circumstances in which a situation occurs. Settings include the background, atmosphere or environment in which characters live and move, and usually include physical characteristics of the surroundings. Settings enables the reader to better envision how a story unfolds by relating necessary physical details of a piece of literature. A setting may be simple or elaborate, used to create ambiance, lend credibility or realism, emphasize or accentuate, organize, or even distract the reader. Settings in the Bible are simplistic. In the book of Genesis, we read about the creation of the universe and the lives of the descendants of Adam. Great detail is taken in documenting the lineage, actions, and ages of the characters at milestones in their lives, yet remarkably little detail is given about physical characteristics of the landscape and surroundings in which events occurred. In Genesis 20, we learn that because of her beauty, Sarah’s identity is concealed to prevent the death of her husband, Abraham. Yet, we have no description of Sarah or Abraham’s hair, eye or skin color, height, weight, physical appearance, or surroundings. Detailed settings that were infrequent in some ancient writings like the Bible are common in today’s literature. In recent literature, settings are often described in elaborate detail, enabling the reader to vividly envision even imaginary characters and actions like the travels of Bilbo Baggins in The Hobbit by J.R.R. Tolkien. Settings have a way of drawing the reader into a piece of literature while facilitating understanding of the characters and their actions. Understanding the setting is useful because it enables us to see how an author captures the attention of the reader by painting a mental picture using words. See Literature, An Introduction to Reading and Writing. Kate Endriga, Student, University of North Carolina at Pembroke
simile (sim-EH-lee): a simile is a type of figurative language, language that does not mean exactly what it says, that makes a comparison between two otherwise unalike objects or ideas by connecting them with the words "like" or "as." The reader can see a similar connection with the verbs resemble, compare and liken. Similes allow an author to emphasize a certain characteristic of an object by comparing that object to an unrelated object that is an example of that characteristic. An example of a simile can be seen in the poem “Robin Hood and Allin a Dale”:

With that came in a wealthy knight,
Which was both grave and old,
And after him a finikin lass,
Did shine like glistening gold.
In this poem, the lass did not literally glisten like gold, but by comparing the lass to the gold the author emphasizes her beauty, radiance and purity, all things associated with gold. Similarly, in N. Scott Momaday’s simple poem, “Simile.” he says that the two characters in the poem are like deer who walk in a single line with their heads high with their ears forward and their eyes watchful. By comparing the walkers to the nervous deer, Momaday emphasizes their care and caution. See A Handbook to Literature or Literature: An Introduction to Fiction, Poetry, and Drama. Crystal Burnette, Student, University of North Carolina at Pembroke
short story (short store-ey): a prose narrative that is brief in nature. The short story also has many of the same characteristics of a novel including characters, setting and plot. However, due to length constraints, these characteristics and devices generally may not be as fully developed or as complex as those developed for a full-length novel. There are many authors well known for the short story including Edgar Allan Poe, Sherwood Anderson and Ernest Hemingway. According to the book Literary Terms by Karl Becksonand Arthur Ganz, “American writers since Poe, who first theorized on the structure and purpose of the short story, have paid considerable attention to the form” (257). The written “protocol” regarding what comprises a short versus a long story is vague. However, a general standard might be that the short story could be read in one sitting. NTC’s Dictionary of Literary Terms quotes Edgar Allan Poe’s description as being ‘a short prose narrative, requiring from a half-hour to one or two hours in its perusal’ (201). Please refer to Literary Terms by Karl Beckson and Arthur Ganz and NTC’s Dictionary of Literary Terms by Kathleen Morner and Ralph Rausch for further information. Susan Severson, Student, University of North Carolina at Pembroke

slant rhyme (slänt rime) is also known as near rhyme, half rhyme, off rhyme, imperfect rhyme, oblique rhyme, or pararhyme. A distinctive system or pattern of metrical structure and verse composition in which two words have only their final consonant sounds and no preceding vowel or consonant sounds in common. Instead of perfect or identical sounds or rhyme, it is the repetition of near or similar sounds or the pairing of accented and unaccented sounds that if both were accented would be perfect rhymes (stopped and wept, parable and shell). Alliteration, assonance, and consonance are accepted as slant rhyme due to their usage of sound combinations (spilled and spoiled, chitter and chatter). By not allowing the reader to predict or expect what is coming slant rhyme allows the poet to express things in different or certain ways. Slant rhyme was most common in the Irish, Welsh and Icelandic verse and prose long before Henry Vaughn used it in English. Not until William Butler Yeats and Gerald Manley Hopkins began to use slant rhyme did it become regularly used in English.Wilfred Owen was one of the first poets to realize the impact of rhyming consonants in a consistent pattern. A World War I soldier he sought a powerful means to convey the harshness of war. Killed in action, his most famous work was written in the year prior to his death.

Now men will go content with what we spoiled
Or, discontent, boil bloody, and be spilled,
They will be swift with the swiftness of the tigress.
None will break ranks, though nations trek from progress.
Courage was mine, and I had mystery,
Wisdom was mine, and I had mastery:
To miss the march of this retreating world
Into vain citadels that are not walled.
See Benet's Reader Encyclopedia, Handbook to Literature,Literature: An Introduction to Fiction, Poetry, and Drama. Michael Prevatte, Student, University of North Carolina at Pembroke
sonnet (sonn-IT): a sonnet is a distinctive poetic style that uses system or pattern of metrical structure and verse composition usually consisting of fourteen lines, arranged in a set rhyme scheme or pattern. There are two main styles of sonnet, the Italian sonnet and the English sonnet. The Italian or Petrarchan sonnet, named after Petrarch (1304-1374) a fourteenth century writer and the best known poet to use this form, was developed by the Italian poet Guittone of Arezzo (1230-1294) in the thirteenth century. Usually written in iambic pentameter, it consists first of an octave, or eight lines, which asks a question or states a problem or proposition and follows the rhyme scheme a-b-b-a, a-b-b-a. The sestet, or last six lines, offers an answer, or a resolution to the proposed problem, and follows the rhyme scheme c-d-e-c-d-e.

When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent which is death to hide
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide;
"Doth God exact day-labor, light denied?"
I fondly ask; but Patience to prevent
That murmur, soon replies, "God doth not need
Either man's work or his own gifts; who best
Bear his mild yoke, they serve him best. His state
Is kingly. Thousands at his bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait."
John Milton, "When I Consider How My Light Is Spent"
The sonnet was first brought to England by Thomas Wyatt and Henry Howard, Earl of Surrey, in the sixteenth century, where the second sonnet form arose. The English or Shakespearean sonnet was named after William Shakespeare (1564-1616) who most believed to the best writer to use the form. Adapting the Italian form to the English, the octave and sestet were replaced by three quatrains, each having its own independent rhyme scheme typically rhyming every other line, and ending with a rhyme couplet. Instead of the Italianic break between the octave and the sestet, the break comes between the twelfth and thirteenth lines. The ending couplet is often the main thought change of the poem, and has an epigrammatic ending. It follows the rhyme scheme a-b-a-b, c-d-c-d, e-f-e-f, g-g.
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all to short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm’d:
And every fair from fair sometime declines,
By chance, or nature’s changing course, untrimm’d.
By thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wandered in his shade,
When in eternal lines to time thou growest:
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Shakespeare, Sonnet XVIII. See Benet’s Readers Encyclopedia, Handbook to Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Michael Prevatte, Student, University of North Carolina at Pembroke
symbol (sim-bol): a symbol is a word or object that stands for another word or object. The object or word can be seen with the eye or not visible. For example a dove stands for Peace. The dove can be seen and peace cannot. The word is from the Greek word symbolom. All language is symbolizing one thing or another. However when we read the book of Genesis it talked about a few symbols. In the story of Adam and Eve when Eve ate the apple, the apple stood for sin. Another reading Cain and Able. The two brothers stood for good and evil, humility and pride. Cain pulled Able to the fields and killed him. In this it is a hidden symbol. It is showing that Cain stands for the bad and Able stands for the good. See The Encyclopedia of Literature and A Handbook to Literature. Misty Tarlton, Student, University of North Carolina at Pembroke


T

theme (theem): a common thread or repeated idea that is incorporated throughout a literary work. A theme is a thought or idea the author presents to the reader that may be deep, difficult to understand, or even moralistic. Generally, a theme has to be extracted as the reader explores the passages of a work. The author utilizes the characters, plot, and other literary devices to assist the reader in this endeavor. One theme that may be extracted by the reader of Mark Musa’s interpretation of Dante’s The Divine Comedy Volume I: Inferno is the need to take account of one’s own behavior now, for it affects one's condition in the afterlife. One example of this theme can be found in Canto V - “...when the evil soul appears before him, it confesses all, and he [Minos], who is the expert judge of sins, knows to what place in Hell the soul belongs: the times he wraps his tail around himself tells just how far the sinner must go down” (7-12). In addition, Dante’s use of literary techniques, such as imagery, further accentuates the theme for the consequences of not living right, for he describes “the cries and shrieks of lamentation” (III:22), “…the banks were coated with a slimy mold that stuck to them like glue, disgusting to behold and worse to smell” (XVIII:106-108) and many other terrifying examples of Hell. In truly great works of literature, the author intertwines the theme throughout the work and the full impact is slowly realized as the reader processes the text. The ability to recognize a theme is important because it allows the reader to understand part of the author’s purpose in writing the book. See Literature: An Introduction to Fiction, Poetry and Drama, NTC’s Dictionary of Literary Terms, and Literary Terms: A Dictionary. Susan Severson, Student, University of North Carolina at Pembroke

U

unreliable narrator (un-re-LIE-ah-bel nar-ra-AY-tor): one who gives his or her own understanding of a story, instead of the explanation and interpretation the author wishes the audience to obtain. This type of action tends to alter the audience’s opinion of the conclusion. An author quite famous for using unreliable narrators is Henry James. James is said to make himself an inconsistent and distorting “center of consciousness” in his work, because of his frequent usage of deluding or deranged narrators. They are very noticeable in his novella The Turn of the Screw, and also in his short story, “The Aspern Papers.” The Turn of the Screw is a story based solely on the consistency of the Governess’s description of the events that happen. Being aware of unreliable narrators are essential, especially when you have to describe the characters and their actions to others, since the narrator, unreliable as they are, abandons you without the important guidance to make trustworthy judgments. See The Turn of the Screw and A Dictionary of Literary Terms and Literary Theory. Starlet Chavis, Student, University of North Carolina at Pembroke

Character Card

http://www.englishcompanion.com/

http://www.englishcompanion.com/pdfDocs/toolcharcardbmark.pdf

Character Card Bookmark
The following two pages contain a set of four bookmarks. The pages are intended to be photocopied back to back (they SHOULD line up)
and when cut should make four bookmarks. This bookmark is designed specifically to be used with narratives, especially those that contain
many names and places. One side of the bookmark contains spaces in which students should write the character’s (or place’s) name and,
below that, a brief description. The back side of the bookmark includes “Core Skills” and the questions or prompts students can use to
develop those skills.
The Character Card Bookmark is free and should be shared with other teachers, though I do ask that you let them know where you found it.
This and ot her helpful resources can be found at: www.englishcompanion.com.
The Character Card Bookmark was created by Jim Burke. For more information about this and other resources, please go to
www.englishcompanion.com or write to me at jburke@englishcompanion.com

Useful Literary Terms　　
便利な文学用語
• allusion　　　　　　　引喩
• analogy　　　　　　　　類似（点）, 相似, 近似；共通性
• antagonist　　　　　　反対語
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice
Character Card
Useful Literary Terms
• allusion
• analogy
• antagonist
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice
Character Card
Useful Literary Terms
• allusion
• analogy
• antagonist
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice
Character Card
Useful Literary Terms
• allusion
• analogy
• antagonist
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice

http://www.uncp.edu/home/canada/work/allam/general/glossary.htm
文学用語


Core Skills

ASK QUESTIONS
• Who is involved?　　　　　　　　　　　　　　関与しているのは誰ですか？
• What are they doing? (Why?)　　　　　　　　何やっているの？（なぜ？）
• What do they want very badly? (Why?)　　　　彼らは非常に不器用に何をしたいですか？（なぜ？）
• What is the situation or problem? 　　　　　状況や問題とは何ですか？
• Who is telling the story? (Why?)　　　　　　 誰が話をしますか？ （なぜ？）
• How is the story designed? (Why?)　　　　　物語はどのように設計されています？ （なぜ？
• What is the source of tension?　　　　　　　緊張の源は何ですか？
• Can you trust the narrator?　　　　　　　　あなたは、語り手を信頼できますか？
• I wonder why....
1.I wonder why it's so crowded here today.
どうして今日はこんなに混んでいるのかしら。 [F]

ソース www.kingsoft.jp
2.I wonder why he was absent.
彼はなぜ休んだのかしら。 [F]


3.I wonder why tennis is played in mini-skirts?
テニスウェアってなんでミニスカートなのかしら？ [F]


4.I wonder why it is that some plants become annuals and others perennials?
なぜ一種の植物が一年生の草本になったり、多年生の木本になったりするのでしょうか。


5.I wonder why she didn't tell him about it.
彼女はどうしてそのことを彼に話さなかったのだろう。


6.I wonder why he did not come to the party.
彼はなぜパーティーにこなかったのだろう。


7.I wonder why they took my name off the list.
どうしてリストから私の名前を外したのかしら。 [F]

ソース www.kingsoft.jp
8.I wonder why karaoke is so popular.
どうしてカラオケがこんなに人気があるのかしら。 [F]


9.I wonder why she is so worried.
彼女がなぜそんなに心配しているのかしら。 [F]


10.I wonder why he is late.
彼の帰りの遅いのが気になる。

• What caused...
What caused it

4.What do you think caused him to lose his job?
何故彼は失業したと思いますか。

ソース www.kingsoft.jp
5.What was it that caused you to change your mind?
君が心を変えたのは何故ですか。 [M]

ソース www.kingsoft.jp
6.What do you think has caused the present trade friction between Japan and the U.S?
現在の日米貿易摩擦の原因は何であると思いますか。

http://search.babylon.com/?q=What+caused&babsrc=SP_def&affID=101183


What caused World War 1

• I think...
I Think | If knowledge is power, should truth be useful?
I think I love you
I think that as long as I don't overeat I will certainly lose weight.
食べすぎさえしなければ、必ず痩せると思います。

4.Summer vacation is near. Can you think of a good place for the holidays?
夏休みも近いけど、どこかいいところ思い当たりますか。

ソース www.kingsoft.jp
5.I think you'd better take an umbrella in case it rains.
雨が降るといけないから傘を持っていったほうがいい。


6.I think it is my business to study hard.
一生懸命に勉強するのが私の仕事だと思う。


7.I think a movie is more entertaining than any book.
映画の方がどんな本より面白いと思う。


• This is similar to...

1.This watch is similar to mine I lost yesterday.
この時計は昨日なくした私のものと似ている。

ソース www.kingsoft.jp
2.This one is similar to that one.
これはあれに似ている。


3.This game is similar in some ways to today's American football.
この競技はいくつかの点で現在のアメリカン・フットボールと似ています。


4.The important point to note is both parties offered similar solutions to this problem.
注目すべき重要な点は、両方の政党がこの問題に対しては似たような解決策を提示したことである。


• This is important because...
The Weiner Story Is Important Because...
Why Is Teacher Development Important?: Because Students ...

.This is because their jobs are secure.
これは彼らの仕事がしっかりしているからです。

ソース www.kingsoft.jp
2.This is because they are trying to prove they are somewhat independent.
このような（子供の）態度は、自分たちがある程度独立していることを示そうとしての結果なのである。

ソース www.kingsoft.jp
3.This is because of the difference between Japanese politeness and American politeness.
これは日本の礼儀正しさとアメリカの礼儀正しさとの間の違いによるものです。

ソース www.kingsoft.jp
4.This is true partly because non-Westerners have begun to take pride in their own cultures and partly because those areas of the world where forks are not used have some of the highest birth rates.
一つには、西洋人ではない人々が自分たち独自の文化に誇りを持ち始めてきたためと、また一つには、フォークを使わないそれらの地域は最も高い出生率の地域を抱えているという理由から、このことは当たっている。

ソース www.kingsoft.jp
5.This puppy is crying, because it is homesick for its mother.
この子犬は里心がついて泣いているんだ。


6.I want to buy this book not because it is cheap, but because it is useful.
安いからではなく、役に立つから私はこの本を買いたい。


7.I like this picture, not just because it is famous, but because it really is a masterpiece.
私がこの絵が好きなのは、単に有名だからではなくて本当に傑作だからだ。


8.I like this picture, not because it is a masterpiece, but because it has charm.
私がこの絵が好きなのは、名画だからではなくて人をひきつけるからだ。


9.This is definitely, 'The good you do for others is good you do yourself'! It's a reward because I was helpful!
これは絶対、情けは人のためならず！いいことしたからご褒美なんだよ！

ソース www.kingsoft.jp
10.Because this is such a highly technical subject, I would like to point out in advance the likelihood that some of what I'm about to say may include information that is incorrect.
高度に専門的な話題で、多分に誤った情報が含まれる可能性があることはあらかじめお断りしておきます。

ソース www.kingsoft.jp

• What do they mean by...
What does that mean?―What do you mean by that?―What is meant by that?
それはどういうことか - 斎藤和英大辞典

What do you mean by that?
あれって何のこと - 斎藤和英大辞典

What do you mean by that?―Say that again.
なんだと - 斎藤和英大辞典

• What I find confusing is...



• What will happen next is...

次に何が起こるか

• I can relate to this because...

PREDICT
• What will happen next?

• Why do you think that?

• What effect will that have on the story
or the characters?

SUMMARIZE
• What happened?

• What is essential to tell?

• What was the outcome?

• Who was involved?

• Why did this happen?

• Is that a detail or essential information?

CLARIFY
• Read ahead if you have a basic
understanding of the text

• Ask questions

• Re-read what you don’t understand

• Identify what you don’t understand so
you know what to ask help on

SYNTHESIZE
• Three important points/ideas are...

• These are important because...

• What comes next...

• The author wants us to think...

• At this point the article/story is about...

• I still don’t understand...

• What interested me most was...

• This means that...

post.thing.net
headlines | about |
Occupy Wall Street, What Do They Want?
categories: anti-capitalism | demands | marxism | new york | occupy | protest | wall street
For the past week, Occupy Wall Street has been the focus of much media coverage, and community concern in New York City. Many people, myself included, have asked "Just what is it they want?" I received this unattributed missive, from a friend who knew I was looking for more specific information on OWS's goals, and post it here as a subject for consideration. This is not an "Official Document". To this point, as far as I know, there have been no "official documents" released from OWS, but this communiqué does present general concerns and demands.
What Do They Want?
You’re going to pretend you don’t know what they want? Okay. I’ll humor you.
They want jobs. There aren’t enough, because small businesses can’t afford to stay in business, or hire them, or pay for healthcare or retirement plans or the other typical parts of a compensation package that it takes to maintain a standard of living suitable for living in a first-world country. They’ve done everything they were supposed to do to earn a decent living and now they want the rewards that make the work worthwhile.
Let’s break that down.
Because of the cost of healthcare and credit, small businesses can’t compete with corporate giants. Corporate giants can outsource labor overseas at a fraction of the price. And are happy to do so.
Because of the greed of Wall Street, because of outright fraud from trusted financial institutions, because of the insane avarice of the five hundred family dynasties that have captured half the wealth from the sweat of an entire nation by decades and decades of constant niggling and lobbying and legislation from pet powermad senators and representatives and justices and key committee members for whom they’ve bought positions of influence…. Because of this, the system we should count on for justice, for providing equal footing among children no matter who their parents are, is warped beyond repair, draining every last penny from the pockets of those who are the most defenseless into the bulging wallets of those that have thousands of times more than they need. Because of this, there is, finally, just not enough money to go around, and the people ― the flesh-and-blood human beings whose sweat is the lubrication for all of this mighty machinery ― are starting to falter, and starve, and lose all hope for any reward worth their work.
Because of this, it’s finally starting to hit the children of those who were rewarded for integrity and hard work. And retirees. And veterans.
Parents can’t afford to pay for worthwhile education for their children.
People can’t afford medical care or nursing care for their elderly parents.
Students can’t afford to pay back the loans they have to take out to get even a basic degree.
Students with degrees ― and advanced degrees, which we’ve been preaching for ages is the key to success and a reasonable standard of living ― can’t get jobs that would allow them to have a place to live AND food AND pay back their loans, and now there is no way to defer those payments or even seek the crippling relief of bankruptcy. Because you THOUGHT you were voting for “personal fiscal responsibility”, and what you ACTUALLY voted for was for the vampire banks to be able to suck the last drop of life out of your children.
The 40-hour work week ― not a luxury, but a target for a good balance of work life and private life and social life and mental and physical health ― is a joke. Some people can’t find one job, while others work themselves to death with one and a half, or two, or three ― and still can’t afford healthcare or daycare or sick days, vacation days, or dropping spare coins into a savings plan. Or whatever joke a retirement plan would be. Everybody has something on the side to try to fill in the gaps and it’s not paying off. It just makes people literally sicker.
Look up the figures. Worker productivity: all-time high. Worker salaries: decreasing. Unemployment: sky-high. And STILL there is actual growth, but none of the proceeds make it to any American who isn’t a company officer. And if your share does increase, it’s at the expense of someone below you on the food chain.
“Work hard and you can get ahead,” is what we’ve been telling our kids since we pulled out of The Great Depression. But working hard doesn’t get you ahead anymore. It’s treading water at best. And maybe the reason you don’t hear the voices of all of those people behind you who have already fallen down the slope is because you’re concentrating so hard on not losing your footing while you watch your own feet slide backwards.
Trust me, though. You’re next. All it takes is an expensive, lingering death in the family. An illness that your own private death panel of an insurance company won’t cover. A car wreck. A fire. An altercation at work. A spurious lawsuit. A branch office closing. A corporate merger that eliminates YOUR job. Even bad weather. These are inevitabilities. You have already taken a number. You’re just waiting for your number to be called.
If you’re wondering why the media hasn’t been covering it, first, think of who owns them. The Free Press has all been bought up by corporations that are either owned by banks or owe money to them. Second, you really don’t want to hear about poverty, sickness, and starvation. You’ve been telling the press that for years. The media only reports on blood, sports, and celebrities because you have zero interest in anyone else’s pain or troubles. You have enough troubles of your own. You don’t want to hear it. You’ve ignored it. And now it’s in your own goddamn house and you still ignore it.
“How do we get out of this mess?” you ask. “Does anyone have a plan other than whining and chanting slogans and making broke-ass cities pay their cops overtime?”
Well, yes. There is a plan. And it’s a simple one.
1) Reinstate all the restrictions on banking and securities that have been removed since The Great Depression, seeing as those restrictions were put in place to prevent another one. You can see what’s happened with them gone.
2) Figure out why healthcare has gotten so damn expensive ― in the USA alone of all the countries in the world ― and fix that. I guarantee you that the insurance companies and drug manufacturers are at the bottom of it, so I suggest you start looking there.
3) Revoke any idea of the “personhood” and “rights” of a corporation. They don’t need freedom of speech ― all of their constituent members already have that. They don’t need ANY rights ― until they can also be held as responsible and accountable as an actual human being, who can be imprisoned and stripped of possessions and, in some cases, executed for the levels of villainy we’ve been seeing.
4) If a corporation makes money from US labor, resides on US land, uses US agricultural resources, manufactures products or improves materials to be later used in production in the US, provides services to US residents using US infrastructures of road and pipes and wires and satellites, excretes wastes into US environmental resources of land or air and water, then it should pay taxes to the US people for the use, upkeep, and repair of the commonwealth and its valuable infrastructure. NO EXCEPTIONS. Practices allowing shuffling of assets overseas to prevent paying owed taxes should be banned as fraudulent.
5) The tax burden on individuals should be rebalanced. People need a certain amount of spare cash to live and eat and have a roof. Above that, the more you make, the more you should be taxed. Let’s be serious: If you can afford a car, you can afford to buy a bike for someone less fortunate so he can get to work and back. If you can afford a yacht, then you can afford to buy a couple of buses for your city municipal transit system so a hundred people can get to work and back. Everyone should pay their taxes. NO EXCEPTIONS.
6) The government is NOT FOR SALE. Huge campaign donations from individuals and corporations are nothing but bribes. EVERYONE KNOWS THIS, yet the Supreme Court says this kind of bribery is a right of free speech for corporations. MY ENTIRE ASS. Everyone knows this is a crock. Every two years, every four years, every six years, our elected officials go trick-or-treating for enough dribblings from the corporations and the wealthy ― basically begging for their bribes ― to buy television spots and talk shit about one another. They do this campaigning INSTEAD OF DOING THEIR JOBS. Every two years, every four years, every six years, people are elected based on the shininess of their ads and the cleverness of their sound bites and the number of newspapers they could get pictures of their faces in and, amazingly enough, nobody knows what anyone stands for. Except they’d really like you to buy a $1000 plate of spaghetti to help fund it all. Seriously, figure out where to draw the line and arrest anyone who crosses it. Dissolve any corporation that crosses it.
7) Who are we at war with again and why? Playing supercop policeman to the world is an expensive hobby. If our friends out there want us to do this, then they can help finance it. If we’re going to do it, we should do it for good reasons ― not so we can sloppily slide tax revenues into the back pockets of our friends who make weapons and bunkers and tanks and jet fighters and armored transports or sell us oil on the cheap. As a non-economic aside, anyone who takes part in these things, as soldiers or US contractors or foreigners in US employ, should be held to our criminal codes, our Constitution and Bill of Rights, and our rules of civilized society no matter whose soil they’re standing on, or whether they’re in international waters ― or any other lame excuse for weaseling out of being a human being and acting like animals.
8) Stop encouraging people to profit from someone else’s misery. This is just a guideline to measure things by. This means looking at the effects of rulings and legislation and corporate practices to make sure the people who are hit hardest aren’t the ones already at the bottom end of the economic spectrum, the sick, the young, the elderly, the disabled, cultural minorities, etc. Every time something slips past this test, our humanity takes another knife to the neck. People die from being poor, disadvantaged, depressed. Unchecked greed literally kills people.
So this is what those people out there chanting want. Maybe they’re not eloquent enough to say it ― or maybe they’re just too angry to be coherent. Or maybe this stuff is too complex for a kid with nothing under his or her belt but a watered-down public high school education to even understand without a good run-up. But they have no hope of ever being paid what they’re worth, of being rewarded on scale with their work, of ever getting out from under the crushing debt you encouraged them to take on, and they’re unhappy.
And they’re doing all this for you, because you’re next.
Join them from your chair ― or keep waiting until you have no choice but to join them on the street. Your choice.
PS:
If you think these words speak for you, use them. I don’t care about credit or attribution or any of that stuff. Just say what needs saying. Put it out there. Link, rephrase, cut-and-paste ― whatever you need, whatever works. And good luck.

» James Kalm's blog | login or register to post comments
THE THING, INC is a 501 (c) (3) non-profit organization. Donations are tax deductible to the extent of the law.

http://thesaurus.com/browse/antagonist

辞書


1.I finally found my way out of the confusing maze.
やっとややこしい迷路の外に出られた。

ソース www.kingsoft.jp
2.We tried to figure out the problem our professor had given us, but it seemed confusing.
私たちは教授の示した問題を解こうと試みたが、とても面倒な問いに思えた。

ソース www.kingsoft.jp
3.The debate has been interesting, confusing, and sometimes horrifying.
ここでの討論はおもしろいものでしたし、困惑させるもの、ときにはぞっとする内容のものもありました。

ソース www.kingsoft.jp
4.She is always confusing salt with sugar.
彼女はいつも塩と砂糖を混同している。

ソース www.kingsoft.jp
5.I'm always confusing John with Paul.
私はいつもジョンとポールを混同してしまう。

ソース www.kingsoft.jp
6.I was mixed up by the confusing explanation.
そのややこしい説明では私は訳がわからなくなってしまった。

1.We shouldn't confuse solitude with isolation. They are two separate things.
孤独と孤立を混同してはいけない。それぞれ異なったものである。

ソース www.kingsoft.jp
2.I gave no answer for fear I should confuse him.
彼を当惑させてはと思い私は答えなかった。

ソース www.kingsoft.jp
3.Don't confuse desire with love.
欲望を愛と混同するな。

ソース www.kingsoft.jp
4.You should not confuse business with personal affairs.
公私を混同してはいけない。

ソース www.kingsoft.jp
5.At times I confuse curve with carve.
私は時々CurveとCarveを混同してしまう。

ソース www.kingsoft.jp
6.Never confuse pity with love.
同情と愛情を決して混同しないように。

ソース www.kingsoft.jp
7.Never confuse art with life.
絵に書いた餅は食べられない。

ソース www.kingsoft.jp
8.I always confuse John and his twin brother.
私はいつもジョンを双子の弟と混同する。

ソース www.kingsoft.jp
9.Don't confuse sugar with salt.
砂糖と塩を間違えるな。

ソース www.kingsoft.jp
10.Don't confuse "dare" and "dear"
dare（デアー）とdear（ディアー）とを混同するな。

ソース www.kingsoft.jp

デイリーコンサイス英和辞書



confuse
[kənfjúːz]
他動詞
混乱させる
混同する ()
当惑させる, まごつかせる.
派生
confused
形容詞
うろたえた.；
confusedly
副詞
[-idli]

ポケコン英和辞典（旺文社）



confuse
[kənfjúːz]
［動］(他)
１…を混乱させる, 乱す
２…を困惑させる, まごつかせる
３…を混同する, …の区別を誤る〈 with〉
４…をぼやかす, 不明確にする
派生
confusable
［形］［名］

http://endic.naver.jp/srch/ex/10/confusing
辞書


http://www.eibunpou.net/12/chapter28/28_7.html
whatの用法



whatもthatと同じく主格と目的格は同形で所有格はありません。先行詞を兼ねた、あるいはそれ自身に先行詞を含んだ関係代名詞で、「・・・のこと（もの）」（＝the thing(s) which）、「・・・はすべて〔どんなものでも〕」（＝all〔anything〕that）の意味を表します。
whatが導く節は名詞節で、主語・補語・目的語の働きをします。
なお、whatには限定用法のみで、継続用法はありません。
What you can see here is only a part of the property.
　（ここにあるものは資産のごく一部にすぎない）
This is just what I wanted to know.
　（これこそ私が知りたいと思っていたことだ）
I will do what I can (do) for you.
　（きみにしてやれることはなんでもやろう） 〔主　 語〕

〔補　 語〕

〔目的語〕


1.For that reason the outcome of the primary nursing care requirement authorization has to relate to the amount of nursing care required.
そのため、要介護認定の結果は介護サービスの量と関係している必要があります。

ソース www.kingsoft.jp
2.It is difficult to relate to someone who has different values from you.
価値観の違う人とうまくやっていくのは難しい。

ソース www.kingsoft.jp
3.Being active at night may relate to the behavior of seals, which feed at night on various fish that come up closer to the surface.
アザラシは、海面近くまで上がってくるさまざまな魚を夜食べるのである。

ソース www.kingsoft.jp
4.I see no reason why he doesn't relate to the firm.
彼が会社になじめないとは理由が分からない。

ソース www.kingsoft.jp
デイリーコンサイス英和辞書



relate
[riléit]
他動詞
話す, 述べる
関係[関連]させる.
品詞の変化
自動詞
関係がある；.；
熟語
relating to
に関して(の), かかわる.

ポケコン英和辞典（旺文社）



relate
[riléit]
［動］(他)
１…を関係［関連］づける
２…を話す, 物語る
３…と血族的に結びつける〈 to〉
━(自)
１関連がある
２指す, 関係する
３（口）理解［共感］できる；協調できる〈 to〉
熟語
relating to ...
…に関して
strange to relate
驚いたことには, 奇妙な話だが
派生
relater
［名］物語る人
relator
［名］話し手；〔法〕告発者


http://www.englishcompanion.com/Tools/notemaking.html

http://www.englishcompanion.com/pdfDocs/bookmark2.pdf

http://www.uncp.edu/home/canada/work/allam/general/glossary.htm

TAKING LECTURE NOTES

TAKING LECTURE NOTES

I. There are many reasons for taking lecture notes.

A. Making yourself take notes forces you to listen carefully and test your understanding of the material.
B. When you are reviewing, notes provide a gauge to what is important in the text.
C. Personal notes are usually easier to remember than the text.
D. The writing down of important points helps you to remember then even before you have studied the material formally.


II. Instructors usually give clues to what is important to take down. Some of the more common clues are:

A. Material written on the blackboard.
B. Repetition
C. Emphasis
1. Emphasis can be judged by tone of voice and gesture.
2. Emphasis can be judged by the amount of time the instructor spends on points and the number of examples he or she uses.
D. Word signals (e.g. "There are two points of view on . . . " "The third reason is . . . " " In conclusion . . . ")
E. Summaries given at the end of class.
F. Reviews given at the beginning of class.


III. Each student should develop his or her own method of taking notes, but most students find the following suggestions helpful:

A. Make your notes brief.
1. Never use a sentence where you can use a phrase. Never use a phrase where you can use a word.
2. Use abbreviations and symbols, but be consistent.
B. Put most notes in your own words. However, the following should be noted exactly:
1. Formulas
2. Definitions
3. Specific facts
C. Use outline form and/or a numbering system. Indention helps you distinguish major from minor points.
D. If you miss a statement, write key words, skip a few spaces, and get the information later.
E. Don't try to use every space on the page. Leave room for coordinating your notes with the text after the lecture. (You may want to list key terms in the margin or make a summary of the contents of the page.)
F. Date your notes. Perhaps number the pages.


SAVING TIME ON NOTETAKING

Here are some hints regarding taking notes on classroom lectures that can save time for almost any student. Some students say that they plan to rewrite or type their notes later. To do so is to use a double amount of time; once to take the original notes and a second to rewrite them. The advice is simple: DO IT RIGHT THE FIRST TIME!

Second, there are some students who attempt to take notes in shorthand. Though shorthand is a valuable tool for a secretary, it is almost worthless for a student doing academic work. Here's why. Notes in shorthand cannot be studied in that form. They must first be transcribed. The act of transcribing notes takes an inordinate amount of time and energy but does not significantly contribute to their mastery. It is far better to have taken the notes originally in regular writing and then spend the time after that in direct study and recitation of the notes.

Third, do not record the lesson on a cassette tape or any other tape. The lecture on tape precludes flexibility. This statement can be better understood when seen in the light of a person who has taken his/her notes in regular writing. Immediately after taking the notes this person can study them in five minutes before the next class as s/he walks toward the next building, as s/he drinks his/her coffee, or whatever. Furthermore, this student, in looking over his/her notes, may decide that the notes contain only four worthwhile ideas which s/he can highlight, relegating the rest of the lecture to obscurity. Whereas the lecture on tape has to be listened to in its entirety including the worthwhile points as well as the "garbage," handwritten notes may be studied selectively. A student who takes the easy way out - recording the lecture on tape as he or she sits back doing nothing - will box him or herself into inflexibility.


NOTE MAKING

Learning to make notes effectively will help you to improve your study and work habits and to remember important information. Often, students are deceived into thinking that because they understand everything that is said in class they will therefore remember it. This is dead wrong! Write it down.

As you make notes, you will develop skill in selecting important material and in discarding unimportant material. The secret to developing this skill is practice. Check your results constantly. Strive to improve. Notes enable you to retain important facts and data and to develop an accurate means of arranging necessary information.

Here are some hints on note making.

1. Don't write down everything that you read or hear. Be alert and attentive to the main points. Concentrate on the "meat" of the subject and forget the trimmings.

2. Notes should consist of key words or very short sentences. If a speaker gets sidetracked it is often possible to go back and add further information.

3. Take accurate notes. You should usually use your own words, but try not to change the meaning. If you quote directly from an author, quote correctly.

4. Think a minute about your material before you start making notes. Don't take notes just to be taking notes! Take notes that will be of real value to you when you look over them at a later date.

5. Have a uniform system of punctuation and abbreviation that will make sense to you. Use a skeleton outline and show importance by indenting. Leave lots of white space for later additions.

6. Omit descriptions and full explanations. Keep your notes short and to the point. Condense your material so you can grasp it rapidly.

7. Don't worry about missing a point.

8. Don't keep notes on oddly shaped pieces of paper. Keep notes in order and in one place.

9. Shortly after making your notes, go back and rework (not redo) your notes by adding extra points and spelling out unclear items. Remember, we forget rapidly. Budget time for this vital step just as you do for the class itself.

10. Review your notes regularly. This is the only way to achieve lasting memory.


©Academic Skills Center, Dartmouth College 2001

The earthquake and tsunami in Japan on 11 March 2011 led to releases of radioactive
material into the environment from the Tokyo Electric Power Company’s Fukushima Daiichi nuclear power station. This report describes an initial estimate of radiation doses resulting from this accident to characteristic members of the public in populations around
the world.

http://www.englishcompanion.com/Tools/notemaking.html
ノート　例

proceed

http://wordnetweb.princeton.edu/perl/webwn
WordNet Search - 3.1
Word to search for:

Display Options:
Key: "S:" = Show Synset (semantic) relations, "W:" = Show Word (lexical) relations
Display options for sense: (gloss) "an example sentence"
Noun

S: (n) tango (a ballroom dance of Latin-American origin)
S: (n) tango (music written in duple time for dancing the tango)
Verb

S: (v) tango (dance a tango)

http://ja.wikipedia.org/wiki/WordNet

WordNet（わーどねっと）は英語の概念辞書（意味辞書）である。WordNetでは英単語がsynsetと呼ばれる同義語のグループに分類され、簡単な定義や、他の同義語のグループとの関係が記述されている。 WordNetの目的は直感的に使うことのできる辞書とシソーラスが組み合わされた成果物を作ること、および自動的文書解析や人工知能のアプリケーションの実現を支援することにある。WordNetのデータベースやソフトウェアはBSDライセンスによって公開され、自由にダウンロードして用いることができる。データベースはオンラインで参照することもできる。
WordNetはプリンストン大学の認知科学研究所によって心理学者である同大学教授のジョージ・ミラー(George A. Miller)の主導のもとで運営されている。開発は1985年に始められ、この間、主に機械翻訳に取り組む米国の政府機関から3百万ドルの支援を受けた。
デイリーコンサイス英和辞書

proceed
[prəsíːd]
自動詞
進む ()
始める
着手する ()
続ける, 推進する
発する, 生じる
処分する, (を相手どって)訴訟手続きをする ()
[英大学]学位を取る ().
品詞の変化
名詞
(通例；) 収入, 売上げ高.；

ポケコン英和辞典（旺文社）

proceed
［動］ /prousíːd/(自)
１（一時休止ののち）進む；進行する；（…に）及ぶ〈 to〉
２続けて行う；話を続ける〈 with, to〉
３取りかかる, 着手する
４〔法〕訴訟を起こす〈 against〉
５（英）（大学で上の）学位を得る〈 to〉
━［名］ /próusiːd/（the proceeds）（取引きなどによる）収入, 収益


Babylon English-Japanese

proceed(動) 進む, 進行する; 取りかかる; 続ける, 継続する

ジーニアス英和大辞典 / Genius Unabridged English-Japanese


1.I would like to know how you will proceed in this matter.
この件をどのように対処していただけるのか、お知らせください。

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2.He has no distinct idea of how to proceed.
彼は仕事の進め方について明確な考えを持っていない。


3.You stand the axis on the base and then proceed to stack up each part, staggering their position.
台座に心棒を立てて、各パーツをずらしながら重ねていきます。


4.Let's proceed with the items on the agenda.
議題に上っている項目（の議論）を続けましょう。


5.Tea is like the lubricating oil of work to allow it to proceed smoothly.
お茶は仕事をスムーズに運ばせるための潤滑油のようなもの。


6.With his mother out of the way, Duke was able to proceed with his plan to embezzle the money from the company.
母親がいなくなったので、ヂュークは会社からお金を横領する計画をすすめた。


7.It may be advantageous to me to proceed in this way.
このようなやり方で進むことは私にとって都合がよいかもしれない。


8.I know how busy you must be, but I need your answer to my last mail before I can proceed with the project. Can you take a moment and write me back?
あなたが忙しいことはわかっていますが、プロジェクトを進めるために、私の最新のメールに対するあなたの返事が必要なのです。返事を書いていただけませんか。


9.To proceed slowly but steadily will win in the long run.
地道な者はいつか勝つ。

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**pro・ceed /【動】 prəsíːd；【名】 próʊsiːd/ 〔初14c；ラテン語 procedere (前進する). pro- (前)＋-ceed(進む). cf. concede, exceed, precede, succeed〕
━【動】|自|((正式))
1【D】 [SVM]〈人などが〉(通例一時停止してからさらに)〔…へ〕進む, 向かう, おもむく(advance, go (on))〔to, in〕∥ Please ~ to Gate 3.((空港アナウンス))3番ゲートへお進みください.
2【D】 [SV(M)]〈人が〉〔…を〕続ける(continue)〔with〕；続けて言う；次に〔…し〕始める, 続いて〔…〕する〔to do〕；〔…に〕取りかかる(begin)〔to〕∥ We then ~ed to discuss the problem.我々はそれからその問題を検討し始めた /Let's ~ with our argument.議論を続けましょう.
3〈裁判・実験などが〉行なわれる, 実施される, 進行する.
4〔法律〕手続きをする, 処分 [処置]する；〔…に対して〕訴訟を起す〔against〕∥ The actress ~ed against the magazine for libel.その女優は雑誌を名誉毀損き／そんで訴えた.
5〔…から〕発生する, 起る, 〔…に〕由来する, 起因する(result)〔from〕∥ Heat ~s from fire.火から熱が生じる.
6((英))
a〔…の〕学位を取る〔to〕∥ ~ to (the degree of) PhD博士号を取る.
b((やや古))〔上の地位 [教育課程]などへ〕進む〔to〕.
━【名】 [the ~s] 〔販売・取引などの〕売上げ高, 収入；利益, 純益〔of, from〕；〔法律〕 [~s](競売などによる)売上金∥ ~s of business営業収益 /She used the ~s from the sale of her old house to buy a new one.彼女は古い家を売った収入で新しい家を買った.

proceedv. continue, carry on; advance, progress, move forward


WordNet 2.0

proceed
--------------------------------------------------------------------------------
Verb
1. continue with one's activities; "I know it's hard," he continued, "but there is no choice"; "carry on--pretend we are not in the room"
(synonym) continue, go on, carry on
(hypernym) talk, speak
(hyponym) segue


2. move ahead前進する; travel onward in time or space時間や空間の旅行［副］前方へ［に］;

"We proceeded towards Washington";

"She continued in the direction of the hills";

"We are moving ahead in time now"


(synonym 同意語, 類語) go forward, continue
(hypernymhypernym
【名詞】
1
ある単語よりもより一般的な単語
(a word that is more generic than a given word)

>>「hypernym」に関する類語一覧

索引トップ用語の索引ランキング

Weblio英和対訳辞書


hypernym
上位概念語) travel, go, move, locomote


(hyponym
[háipounim]
［名］〔言〕下位語) head


(verb-group) continue, uphold, carry on, bear on, preserve



(derivation) progress, progression, procession, advance, advancement, forward motion, onward motion
derivation
[dèrivéiʃən]
名詞
誘導
由来, 起原
[言語学]派生.

ポケコン英和辞典（旺文社）



derivation
[dèrəvéiʃen]
［名］
１（語などの）派生；派生物；〔文法〕（語の）派生
２由来, 起源；語源
３誘導, 伝導
４〔数〕（定理の）展開, 誘導
派生
derivational
［形］派生の；誘導の


3. follow a procedure or take a course; "We should go farther in this matter"; "She went through a lot of trouble"; "go about the world in a certain manner"; "Messages must go through diplomatic channels"

(synonym) go, move

(hypernym) act, move

(hyponym) work

(derivation) procedure, process


4. follow a certain course; "The inauguration went well"; "how did your interview go?"

(synonym) go

(hypernym) happen, hap, go on, pass off, occur, pass, fall out, come about, take place

(hyponym) drag, drag on, drag out

5. continue a certain state, condition, or activity; "Keep on working!"; "We continued to work into the night"; "Keep smiling"; "We went on working until well past midnight"

(synonym) continue, go on, go along, keep

(hypernym) act, move

(hyponym) hold

(verb-group) continue, uphold, carry on, bear on, preserve



コミュニティ作成コンテンツ



Webster's Revised Unabridged Dictionary (1913)

Proceed(v. i.)
To pass from one point, topic, or stage, to another; as, to proceed with a story or argument.


x
(v. i.)
To move, pass, or go forward or onward; to advance; to continue or renew motion begun; as, to proceed on a journey.


x
(v. i.)
To issue or come forth as from a source or origin; to come from; as, light proceeds from the sun.


x
(v. i.)
To have application or effect; to operate.


x
(v. i.)
To go on in an orderly or regulated manner; to begin and carry on a series of acts or measures; to act by method; to prosecute a design.


x
(v. i.)
To begin and carry on a legal process.


x
(v. i.)
To be transacted; to take place; to occur.


x
(n.)
See Proceeds.




Webster's Revised Unabridged Dictionary (1913), edited by Noah Porter. About
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Moby Thesaurus
モービーシソーラス

proceed Synonyms and related words:

類義語や関連語を続行

accept,



accrue from,

Many advantages accrue to society from the freedom of speech.
言論の自由は社会に多くの利益を受ける。

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2.Benefits accrue to the community from reconstruction.
再開発によって地域に便益が生ずる。



act, act on, act upon,




advance,




assume,


attack,


attempt,


be contingent on,


be due to,


bear a hand,


behave,


box office,


buckle to,

bud from,


carry on,


come along,

come from,


come on,


come out of,


continue, cover ground, depend on, derive from, descend from, do, do something, do something about, elapse, emanate, emanate from, embark in, embark upon, emerge from, endeavor, endure, engage in, ensue from, enter on, enter upon, expire, fall into, fall to, fare, flit, flow, flow from, flow on, fly, follow from, forge ahead, function, gain, gain ground, gate, gather head, gather way, germinate from, get ahead, get along, get on, get under way, get with it, glide, go, go about, go ahead, go along, go at, go by, go fast, go forward, go in for, go into, go on, go on with, go upon, grow from, grow out of, hang on, have at, head, hie, hinge on, income, issue, issue forth, issue from, journey, lapse, last, launch forth, launch into, lay about, lift a finger, make, make good time, make head against, make headway, make progress, make progress against, make strides, make up leeway, maneuver, march, misbehave, move, move along, move forward, move into, operate, originate, originate in, pass, pass along, pass by, pass on, pitch into, play, plunge into, practice, press on, proceed from, proceed to, proceed with, proceeds, process, profits, progress, push on, receipts, renew, repair, resume, returns, rise, roll, roll on, run, run its course, run on, run out, serve, set about, set at, set forward, set going, set to, slide, slip, spring from, sprout from, start, stem, stem from, step forward, strike a blow, tackle, take, take a hand, take action, take measures, take on, take steps, take up, travel, turn on, turn to, undertake, venture upon, wend, work, yield




Source: Moby Thesaurus, which is part of the Moby Project created by Grady Ward. In 1996 Grady Ward placed this thesaurus in the public domain.
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English-Vietnamese

proceednội động từ

tiến lên; theo đuổi; đi đến
to proceed to London: đi Luân-đôn
tiếp tục, tiếp diễn; tiếp tục nói
the story proceeds as follows: câu chuyện tiếp diễn như sau
proceed with your work!: cứ làm tiếp việc của anh đi!
lets's proceed to the next subject: chúng ta hãy chuyển sang vấn đề tiếp theo
làm, hành động
how shall we proceed?: chúng ta sẽ phải làm thế nào?
xuất phát, phát ra từ
our plan proceeded from the new development of the situation: kế hoạch của chúng ta xuất phát từ sự phát triển mới của tình hình
sobs heard to proceed from the next room: tiếng khóc nghe từ phòng bên đưa lại
idiom

to proceed against
(pháp lý) khởi tố, kiện


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Concise Oxford English Dictionary

proceed■ verb
begin a course of action. ▶go on to do something. ▶(of an action) carry on or continue.
move forward.
Law start a lawsuit against someone.
(proceed from) originate from.


ME: from OFr. proceder, from L. procedere, from pro- 'forward' + cedere 'go'.


1.This sentence is in the present perfect. 'have' is not a verb, but an auxiliary verb.
この文は現在完了形です。haveは動詞ではなく、助動詞。

ソース www.kingsoft.jp
2.'Verb' refers to the predicate verb. Predicate verbs change their form depending on the subject and the time expressed.
動詞は述語動詞のことです。述語動詞は、主語や表す時によって形を変えます。


3.In English, a sentence structure is usually Subject Verb Object/Complement.
英語の文構造は大抵、主語、動詞、目的語／補語だ。


4.Sometimes a verb is derived from a noun and sometimes it is the other way around.
名詞から動詞が派生していることもあれば、その逆のこともある。

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5.Actually there are many cases where it isn't 'have=object, done=causative verb'
実は、have 目的語 doneは使役じゃない場合が多い。

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6.'can' is an auxiliary verb, so in question sentences it is brought to the start of the phrase.
canは助動詞ですので、疑問文では文頭に持ってきます。


7.Accordingly, besides noun declension patterns, there also existed a greater variety of verb conjugation patterns than in Modern English.
このように、名詞の変化のパターンがある他に、動詞の語形変化も現代英語よりもいろいろな種類がありました。


8.In English the verb precedes the object.
英語では動詞が目的語の前に来る。


9.A complete intransitive verb takes neither complement or object.
完全自動詞は補語も目的語もとらない。


10.The verb 'help' takes to-infinitives and bare infinitives but bare infinitives are said to be the most common in casual text; as also used in this example sentence.
動詞helpはto不定詞・原形不定詞の両方をとりますが、くだけた文体では原形不定詞が多いとされており、この例文でもそれが使われています。

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http://www.scribd.com/doc/8848109/Three-Strange-Tangos

楽譜

All the world's a stage,
And all the men and women merely players,
They have their exits and their entrances,
And one man in his time plays many parts,




私は第一次世界大戦の戦争詩人のリストを覚えておきたいことがあります。
I may want to remember a list of World War I war poets:
ルパートブルック、GKチェスタトン、ウォルター·デ·ラ·メア、​​ロバートの墓、ラドヤード·キップリング、ウィルフレッド·オーエン、ジークフリートサスーン、WBイェーツ

Rupert Brooke, G.K. Chesterton, Walter de la Mare, Robert Graves, Rudyard Kipling, Wilfred Owen, Siegfried Sassoon, W.B. Yates

WordNet Search - 3.1
- WordNet home page - Glossary - Help
Word to search for:

Display Options:
Key: "S:" = Show Synset (semantic) relations, "W:" = Show Word (lexical) relations
Display options for sense: (gloss) "an example sentence"
Noun

S: (n) being, beingness, existence, face of the earth (the state or fact of existing) "a point of view gradually coming into being"; "laws in existence for centuries"; "he appeared on the face of the earth one day"
S: (n) organism, being (a living thing that has (or can develop) the ability to act or function independently)
Verb

S: (v) be (have the quality of being; (copula, used with an adjective or a predicate noun)) "John is rich"; "This is not a good answer"
S: (v) be (be identical to; be someone or something) "The president of the company is John Smith"; "This is my house"
S: (v) be (occupy a certain position or area; be somewhere) "Where is my umbrella?"; "The toolshed is in the back"; "What is behind this behavior?"
S: (v) exist, be (have an existence, be extant) "Is there a God?"
S: (v) be (happen, occur, take place) "I lost my wallet; this was during the visit to my parents' house"; "There were two hundred people at his funeral"; "There was a lot of noise in the kitchen"
S: (v) equal, be (be identical or equivalent to) "One dollar equals 1,000 rubles these days!"
S: (v) constitute, represent, make up, comprise, be (form or compose) "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"
S: (v) be, follow (work in a specific place, with a specific subject, or in a specific function) "He is a herpetologist"; "She is our resident philosopher"
S: (v) embody, be, personify (represent, as of a character on stage) "Derek Jacobi was Hamlet"
S: (v) be (spend or use time) "I may be an hour"
S: (v) be, live (have life, be alive) "Our great leader is no more"; "My grandfather lived until the end of war"
S: (v) be (to remain unmolested, undisturbed, or uninterrupted -- used only in infinitive form) "let her be"
S: (v) cost, be (be priced at) "These shoes cost $100"