INOUE, Noriko |
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Faculty, Department/Institute
- Faculty of Foreign Language Studies Department of Foreign Language Studies
Academic status (qualification)
- Professor Apr. 1,2018
Undergraduate Degrees・University
- Kobe College School of LettersEnglish 1996 Graduated
- Rockford UniversityDepartment of English 1995 Graduated
Graduate Degrees・University
- Kyoto University Master's Degree Program 1999 Completed
- Other Master's Degree Program MA in Medieval Studies 1999 Completed
- Other Doctor's Degree Program English 2002 Completed
- Other Master's Degree Program MA Diploma in Interpreting and Translating 2005 Completed
- Kyoto University Doctor's Degree Program 2004 Withdrawal
Academic Degrees
- MA(Medieval Studies) Dec. 1998 University of Bristol
- MA in Literature Mar. 1999 Kyoto University
- Ph.D(Doctor of Philosophy) Dec. 2002 University of Bristol
- MA Diploma in Interpreting and Translating Nov. 2005 University of Bath
Academic Associations
所属学会・団体名 | 役職名 (役職在任期間) |
---|---|
THE JAPAN SOCIETY FOR MEDIEVAL ENGLISH STUDIES | |
THE ENGLISH LITERARY SOCIETY OF JAPAN | |
The International Piers Plowman Society |
Research Publications
No. | Type of publication | Date of publication (Date of presentation) | Title | Type of research result | Jointly authored or single authored | Publisher and journal name | Volume number |
---|---|---|---|---|---|---|---|
1 | Papers1 | 2023/12~2023,12,00,,, | Langland’s Rhythm and the Clock in the Brain | Academic Journal | International coauthorship | Yearbook of Langland Studies | 37,,- |
2 | Papers1 | 2023/10~2023,10,00,,, | Eurhythmic Dips in Middle English Alliterative Verse (「中英語頭韻詩における律動的リズムについて」記述言語:英語) | Academic Journal | Single-Author | Filologia Germanica (Germanic Philology) | 15, 95-119 |
3 | Academic presentation7 | 2023/7/6~2023,07,06,,, | The Caesura and the Dip Length at the End of the A-Verses in Piers Plowman(「Piers Plowmanの前半行末の中間休止とリズムについて」使用言語:英語) | International Piers Plowman Society Conference, London 2023 | |||
4 | Papers1 | 2023/4~2023,04,00,,, | The 'Extra-Long' Dip in the Poems of the Gawain Poet | Academic Journal | Single-Author | Chaucer Review | 58 (2), 232-258 |
5 | Academic presentation7 | 2022/12/6~2022,12,06,,, | Current Progress and Prospects for the Studies of the 14th Century Alliterative Verse Metre—With a Focus on the Gawain-Poet’s Works | ||||
6 | Papers1 | 2018/1~2018,01,00,,, | Latest Findings and Prospects of the 14th Century Alliterative Verse Metre Studies: the A-Verses in the Works of the Gawain Poet | In-house publication | Single-Author | Language Studies: Center for Language Studies, Otaru University of Commerce | ,26,3-14 |
7 | Academic presentation7 | 2017/12~2017,12,00,,, | Latest Findings and Prospects of the 14th Century Alliterative Verse Metre Studies: the Unrhymed Alliterative Long Lines in the Works of the Gawain-Poet | ||||
8 | Papers1 | 2017/12~2017,12,00,,, | Poetic Form, Metre, and Meaning in the Poems of the Alliterative Revival | In-house publication | Single-Author | The Review of Liberal Arts, Otaru University of Commerce | ,134,57-76 |
9 | Papers1 | 2017/5~2017,05,00,,, | The Metrical Role of -ly and -liche Adverbs and Adjectives in Middle English Alliterative Verse: The A-Verse | Academic Journal | Single-Author | MODERN PHILOLOGY | 114,4,773-792 |
10 | Papers1 | 2016/12~2016,12,00,,, | Hiatus and Elision in the Poems of the Alliterative Revival: -ly and -liche Suffixes | Academic Journal | Single-Author | Yearbook of Langland Studies | 30,,75-106 |
11 | Lecture19 | 2015/1~2015,01,00,,, | Work and Life in the UK - As an Interpreter and Translator for Japanese Companies | The Otaru University of Commerce English Lecture Series | |||
12 | Papers1 | 2012~2012,00,00,,, | Restrictions on Dip Length in the Alliterative Line: the A-Verse and the B-Verse | Academic Journal | International coauthorship | Yearbook of Langland Studies | 26,,230-60 |
13 | Academic presentation7 | 2011~2011,00,00,,, | Middle English Alliterative Verse: The B-Verse and Its Metrical Structure | 第83回日本英文学会 全国大会 北九州大学 | |||
14 | Academic presentation7 | 2009~2009,00,00,,, | Caesura in Middle English Alliterative Verse | Leeds International Medieval Congress (UK) リーズ大学 | |||
15 | Book2 | 2009~2009,00,00,,, | Approaches to the Metres of Alliterative Verse | Monograph | Co-authored chapter | University of Leeds | 311 |
16 | Papers1 | 2009~2009,00,00,,, | The Caesura and the Rhythmic Shape of the A-Verse in the Poems of the Alliterative Revival | Academic Journal | International coauthorship | Leeds Studies in English | 17,,1-26 |
17 | Book2 | 2008~2008,00,00,,, | An Introduction to Medieval English Literature | Monograph | Co-authored chapter | 454 | |
18 | Academic presentation7 | 2007~2007,00,00,,, | The Avoidance of a Four-Syllable Dip in the B-Verse:Further Considerations | Kalamazoo 42nd International Congress on Medieval Studies (USA) イリノイ州 Western Michigan University | |||
19 | Academic presentation7 | 2007~2007,00,00,,, | -Ly and ーlych(e Adverbs in the Poems of the Alliterative Revival | 第79回日本英文学会 全国大会 慶應義塾大学 | |||
20 | Papers1 | 2007~2007,00,00,,, | -Ly and -lych(e Adverbs in the Poems of the Alliterative Revival | Other | Single-Author | ,,28-30- | |
21 | Seminar Guest Speaker99 | 2006/11/27~2006/11/272006,11,27,2006,11,27 | Middle English Alligterative Poetry | ||||
22 | Academic presentation7 | 2006~2006,00,00,,, | The Metrical Significance of Doublet Forms in Middle English Alliterative Poetry&0d0a; | Kalamazoo 41st International Congress on Medieval Studies (USA) Western Michigan University | |||
23 | Academic presentation7 | 2006~2006,00,00,,, | The Rhythmic Shape of the A-Verse in Middle English Alliterative Poetry | Leeds International Medieval Congress (UK) リーズ大学 | |||
24 | Academic presentation7 | 2005~2005,00,00,,, | Two-Stave A Verses:Further Consideration &0d0a; | Bristol Conference on the Metre of Alliterative Verse (UK)' ブリストル大学 | |||
25 | Papers1 | 2004~2004,00,00,,, | A New Theory of Alliterative A-Verses | Academic Journal | Single-Author | Yearbook of Langland Studies | 18,,107-32- |
26 | Theses26 | 2002/12~2002,12,00,,, | The A-Verse of the Alliterative Long Line and the Metre of Sir Gawain and the Green Knight | Other | Single-Author | University of Bristol | ,,- |
27 | Academic presentation7 | 2002~2002,00,00,,, | Reading Sir Gawain and the Green Knight: A Study of its Style and Metre | Leeds International Medieval Congress (UK) リーズ大学 | |||
28 | Papers1 | 2002~2002,00,00,,, | The Exploitation of Meter for Stylistic Purposes in the Three Alliterative Poems of the Cotton Nero Manuscript | Academic Journal | Single-Author | POETICA | 58,,77-96- |
29 | Academic presentation7 | 2001~2001,00,00,,, | The Style and Metre of Middle English Alliterative Poetry | JACET 京都セミナー 国立京都国際会館 |
PapersLangland’s Rhythm and the Clock in the BrainIn refereedAcademic JournalInternational coauthorshipThomas Cable, Noriko InoueYearbook of Langland Studies37,,-2023/12~
PapersEurhythmic Dips in Middle English Alliterative Verse (「中英語頭韻詩における律動的リズムについて」記述言語:英語)In refereedAcademic JournalSingle-AuthorINOUE,NorikoFilologia Germanica (Germanic Philology)15, 95-1192023/10~
Academic presentationThe Caesura and the Dip Length at the End of the A-Verses in Piers Plowman(「Piers Plowmanの前半行末の中間休止とリズムについて」使用言語:英語)In refereedINOUE,NorikoInternational Piers Plowman Society Conference, London 20232023/7/6~International Piers Plowman Society Conference, London 2023
PapersThe 'Extra-Long' Dip in the Poems of the Gawain PoetIn refereedAcademic JournalSingle-AuthorNoriko InoueChaucer Review58 (2), 232-2582023/4~The structure of the a-verse in Middle English alliterative meter remains unclear. One of the most controversial issues concerns the maximum length of a dip. Ad Putter and Judith Jefferson have argued that an a-verse can have an “extra-long” dip that consists of four or more unstressed syllables, while Noriko Inoue and Myra Stokes have advanced some evidence to suggest that a four-syllable limit on dip length may well normally be operative in the a-verse. In this article, therefore, I will examine a-verses in Sir Gawain and the Green Knight and show that all the possible instances of a five- or six-syllable dip can be reinterpreted as having two, three, or four syllables, and that in these instances the extra-long dip can be broken up by a beat in the middle. Thus, the dips that can be considered extra-long are in fact not numerous in the Gawain-poet’s poems.
Academic presentationCurrent Progress and Prospects for the Studies of the 14th Century Alliterative Verse Metre—With a Focus on the Gawain-Poet’s WorksIn refereedINOUE,Noriko2022/12/6~
Lecture2021/8/11~
PapersLatest Findings and Prospects of the 14th Century Alliterative Verse Metre Studies: the A-Verses in the Works of the Gawain PoetUnrefereedIn-house publicationSingle-AuthorNoriko InoueLanguage Studies: Center for Language Studies, Otaru University of Commerce,26,3-142018/1~
Academic presentationLatest Findings and Prospects of the 14th Century Alliterative Verse Metre Studies: the Unrhymed Alliterative Long Lines in the Works of the Gawain-PoetNoriko Inoue2017/12~
PapersPoetic Form, Metre, and Meaning in the Poems of the Alliterative RevivalUnrefereedIn-house publicationSingle-AuthorNoriko InoueThe Review of Liberal Arts, Otaru University of Commerce,134,57-762017/12~
PapersThe Metrical Role of -ly and -liche Adverbs and Adjectives in Middle English Alliterative Verse: The A-VerseIn refereedAcademic JournalSingle-AuthorNoriko InoueMODERN PHILOLOGY114,4,773-7922017/5~0026-8232The author’s recent article, ‘Hiatus and Elision in the Poems of the Alliterative Revival: -ly and -liche Suffixes (forthcoming)’, has investigated the possibility of elision between –ly and a following vowel in Middle English alliterative poetry. It has also examined the ways in which some of the revival poets and their scribes responded to the problem of hiatus and elision of –ly/-liche. However, no one has yet fully examined how the –liche suffix behaves in the a-verses when it does not occur in hiatus context, and whether the –liche form has any metrical function other than being a disyllabic suffix or an anti-hiatus device in the alliterative long line. Accordingly, this article re-examines –ly and -lych adjectives and adverbs in Alexander B and the three alliterative poems by the Gawain poet, namely Sir Gawain and the Green Knight, Cleanness, and Patience (P). This article focuses on the behavior of the two suffixes in the a-verse and demonstrates: that 1) -liche, spelled with or without –e, can be either monosyllabic or disyllabic in clearly identifiable contexts; that 2) the usage of disyllabic –liche that has been observed in the b-verse is also mirrored in the a-verse; and that 3) when –liche is monosyllabic and occurs in a non-eliding context (i.e. before a consonant), –liche serves to slow down articulation and thereby give distinctive emphasis to the –liche adjective and the following noun.
PapersHiatus and Elision in the Poems of the Alliterative Revival: -ly and -liche SuffixesIn refereedAcademic JournalSingle-AuthorINOUE NorikoYearbook of Langland Studies30,,75-1062016/12~This article investigates the nature of hiatus and elision in fourteenth-century alliterative verse by using a series of case studies from within and beyond the alliterative tradition. In particular the article considers whether elision between the –ly suffix and a following word beginning with a vowel (or h + vowel) was a possibility in alliterative poetry.
The author examines nine alliterative poems (Alexander B, A Pistel of Susan, Wynnere and Wastoure, The Parlement of the Thre Ages, The Siege of Jerusalem, The Wars of Alexander, Sir Gawain and the Green Knight, Cleanness, and Patience) and one syllable-counted poem (Confessio Amantis). Based on the evidence from these poems the author demonstrates that the degree to which poets and their scribes exploited the –ly and –liche suffixes as doublets for metrical purposes to avoid hiatus was variable from poem to poem, and offers several explanations for the observable differences in usage.
The author’s conclusion is that the alliterative poets probably did not use elision between –ly and a following vowel because they had little need for it to produce good, metrical alliterative lines. But elision of this type may still have been an option available (and acceptable) to some poets, scribes and reciters/readers, and the different licit metrical options that present themselves to the reading or listening mind may have been appreciated and enjoyed by the reciters and readers in fourteenth-century England.
The author examines nine alliterative poems (Alexander B, A Pistel of Susan, Wynnere and Wastoure, The Parlement of the Thre Ages, The Siege of Jerusalem, The Wars of Alexander, Sir Gawain and the Green Knight, Cleanness, and Patience) and one syllable-counted poem (Confessio Amantis). Based on the evidence from these poems the author demonstrates that the degree to which poets and their scribes exploited the –ly and –liche suffixes as doublets for metrical purposes to avoid hiatus was variable from poem to poem, and offers several explanations for the observable differences in usage.
The author’s conclusion is that the alliterative poets probably did not use elision between –ly and a following vowel because they had little need for it to produce good, metrical alliterative lines. But elision of this type may still have been an option available (and acceptable) to some poets, scribes and reciters/readers, and the different licit metrical options that present themselves to the reading or listening mind may have been appreciated and enjoyed by the reciters and readers in fourteenth-century England.
Open class2015/12/18~
Lecture2015/11/14~
LectureWork and Life in the UK - As an Interpreter and Translator for Japanese CompaniesINOUE NorikoThe Otaru University of Commerce English Lecture Series2015/1~
Academic presentation2012/11~
Open class2012~
PapersRestrictions on Dip Length in the Alliterative Line: the A-Verse and the B-VerseIn refereedAcademic JournalInternational coauthorshipINOUE Noriko, Myra StokesYearbook of Langland Studies26,,230-602012~0890-2917This article examines long-dip length in the unrhymed alliterative long lines, and demonstrates the following two restrictions: (1) in the b-verse, the metrically required long dip must not exceed three syllables: a b-verse with a four-syllable dip is unmetrical; (2) in the a-verse, a dip of four or more syllables is permitted when this dip consists only of closed-class words that do not normally receive beat, but it seems regularly to be avoided in crowded a-verses when it would include a possibly beat-bearing word, such avoidance tending to confirm the theory that the a-verse never has more than two beats and that three-beat a-verses do not exist.
That a four-syllable dip was prohibited in the b-verse can be confirmed by the evidence available from The Parlement of the Thre Ages, Sir Gawain and the Green Knight, Cleanness, Patience, Alexander B and The Siege of Jerusalem. Our findings show that: (a) each poem presents only a very small number of b-verses with a potential four-syllable dip, almost all of which could be reduced to a three-syllable dip by referring, simply, to such standard phenomena as elision, loss of inflectional schwa or common alternative monosyllabic forms; (b) in The Siege, where a four-syllable dip appears to occur, the preponderance of manuscript evidence supports a metrically regular reading with a disyllabic or trisyllabic dip. The authors then argue that the length of long dip is also an important factor in determining the rhythmic shape of the a-verse. One of the major objections raised against the theory that all a-verses have only two beats is that demotion of one of the (normally three) possible beat positions will create a long dip that is extra long (i.e. a dip of four or more syllables) and heavy (because it contains a word that is a candidate for beat). But the authors argue that demotion was in fact rule-bound, and that the dip length was carefully controlled to ensure that such an extra long and heavy dip will never result. By this syllabic rule, three potential beat positions in crowded a-verses (which contain more than two words that could bear stress) can always be reduced to two, accompanied normally by two long dips of either two or three syllables occurring at the line-initial and the medial positions. The two-beat a-verses resulting from the absorption are thus naturally integrated into the same pattern as dominates non-crowded a-verses where, similarly, medial and initial long dips are the norm. This pattern, which the authors argue has emerged from their analysis, provides strong evidence that three beats were not intended. The authors conclude that the restriction on dip length in each verse played a fundamental part in the composition of unrhymed alliterative long lines.
That a four-syllable dip was prohibited in the b-verse can be confirmed by the evidence available from The Parlement of the Thre Ages, Sir Gawain and the Green Knight, Cleanness, Patience, Alexander B and The Siege of Jerusalem. Our findings show that: (a) each poem presents only a very small number of b-verses with a potential four-syllable dip, almost all of which could be reduced to a three-syllable dip by referring, simply, to such standard phenomena as elision, loss of inflectional schwa or common alternative monosyllabic forms; (b) in The Siege, where a four-syllable dip appears to occur, the preponderance of manuscript evidence supports a metrically regular reading with a disyllabic or trisyllabic dip. The authors then argue that the length of long dip is also an important factor in determining the rhythmic shape of the a-verse. One of the major objections raised against the theory that all a-verses have only two beats is that demotion of one of the (normally three) possible beat positions will create a long dip that is extra long (i.e. a dip of four or more syllables) and heavy (because it contains a word that is a candidate for beat). But the authors argue that demotion was in fact rule-bound, and that the dip length was carefully controlled to ensure that such an extra long and heavy dip will never result. By this syllabic rule, three potential beat positions in crowded a-verses (which contain more than two words that could bear stress) can always be reduced to two, accompanied normally by two long dips of either two or three syllables occurring at the line-initial and the medial positions. The two-beat a-verses resulting from the absorption are thus naturally integrated into the same pattern as dominates non-crowded a-verses where, similarly, medial and initial long dips are the norm. This pattern, which the authors argue has emerged from their analysis, provides strong evidence that three beats were not intended. The authors conclude that the restriction on dip length in each verse played a fundamental part in the composition of unrhymed alliterative long lines.
Academic presentationMiddle English Alliterative Verse: The B-Verse and Its Metrical StructureINOUE Noriko第83回日本英文学会 全国大会 北九州大学2011~
Academic presentationCaesura in Middle English Alliterative VerseINOUE NorikoLeeds International Medieval Congress (UK) リーズ大学2009~イギリス
BookApproaches to the Metres of Alliterative VerseIn refereedMonographCo-authored chapterINOUE NorikoUniversity of Leeds3112009~9780853162766
PapersThe Caesura and the Rhythmic Shape of the A-Verse in the Poems of the Alliterative RevivalIn refereedAcademic JournalInternational coauthorshipINOUE Noriko, Myra StokesLeeds Studies in English17,,1-262009~0075-8566In my dissertation and a series of essays (including this co-authored article with Myra Stokes), I argued that the caesura must be audibly signalled by a beat at the conclusion of the a-verse and proposed some rules that may be operating with regard to the caesura based on the close studies of the Gawain-poet’s works and other poems composed in the North or the North West Midlands. I also demonstrated that the final dip can contain more than one syllable if what follows the pre-caesural beat is a unit lexically (the remaining syllables of the same word) or syntactically.
Lecture2008~
BookUnrefereedMonographCo-authored chapter2008~9784875715825
BookAn Introduction to Medieval English LiteratureIn refereedMonographCo-authored chapterINOUE Noriko4542008~9784841904901
Academic presentationThe Avoidance of a Four-Syllable Dip in the B-Verse:Further ConsiderationsINOUE NorikoKalamazoo 42nd International Congress on Medieval Studies (USA) イリノイ州 Western Michigan University2007~
Academic presentation-Ly and ーlych(e Adverbs in the Poems of the Alliterative RevivalINOUE Noriko第79回日本英文学会 全国大会 慶應義塾大学2007~
Papers-Ly and -lych(e Adverbs in the Poems of the Alliterative RevivalIn refereedOtherSingle-AuthorINOUE Noriko,,28-30-2007~
Seminar Guest SpeakerMiddle English Alligterative Poetry2006/11/27~2006/11/27
Academic presentationThe Metrical Significance of Doublet Forms in Middle English Alliterative Poetry&0d0a;INOUE NorikoKalamazoo 41st International Congress on Medieval Studies (USA) Western Michigan University2006~Western Michigan University, USA
Academic presentationThe Rhythmic Shape of the A-Verse in Middle English Alliterative PoetryINOUE NorikoLeeds International Medieval Congress (UK) リーズ大学2006~イギリス
Academic presentationTwo-Stave A Verses:Further Consideration &0d0a;INOUE NorikoBristol Conference on the Metre of Alliterative Verse (UK)' ブリストル大学2005~University of Bristol, UK
PapersA New Theory of Alliterative A-VersesIn refereedAcademic JournalSingle-AuthorINOUE NorikoYearbook of Langland Studies18,,107-32-2004~
ThesesThe A-Verse of the Alliterative Long Line and the Metre of Sir Gawain and the Green KnightIn refereedOtherSingle-AuthorINOUE NorikoUniversity of Bristol,,-2002/12~The purpose of this study is to conduct a close and careful study of the metre of Sir Gawain and the Green Knight, and thereby to describe the metrical principles that underlie the structure of the unrhymed long line, especially, that of the a-verse, and to demonstrate the stylistic possibilities that individual poets could exploit on the basis of these principles.
In the introduction, I re-examine the three-stave half-line theory and point out the inconsistencies and unnecessary complexities that this theory entails, and argue for the regular two-stave verse and the potential disjunction between alliteration and stress.
Chapter I examines the lines with non-aa/ax patterns found in Sir Gawain, and considers whether the non-aa/ax alliterative patterns in this romance should be treated as ‘irregular’ and thus be assumed to require emendation.
Chapter II deals with the so-called ‘extended’ verses, and how stress and alliteration function in such half-lines; Chapter III investigates combinations of various syntactic units, mainly those of adjective + noun and verb + adverb, and presents general metrical ‘rules’ which appear to govern the ‘extended’ and non-‘extended’ a-verse; Chapter IV is aimed at the demonstration of these rules by examining the metrical function in the long line of doublet forms, such as to/for to + infinitive and on/vpon folde.
Chapter V presents a comparative study between the metre of Sir Gawain and that of Cleanness and Patience, the other alliterative poems found in the same manuscript, and three other alliterative poems, namely, The Destruction of Troy, The Wars of Alexander, and St Erkenwald.
Chapter VI explores how the alliterative metre can be exploited for stylistic purposes.
My conclusion summarises the metrical rules that have emerged from this study.
In the introduction, I re-examine the three-stave half-line theory and point out the inconsistencies and unnecessary complexities that this theory entails, and argue for the regular two-stave verse and the potential disjunction between alliteration and stress.
Chapter I examines the lines with non-aa/ax patterns found in Sir Gawain, and considers whether the non-aa/ax alliterative patterns in this romance should be treated as ‘irregular’ and thus be assumed to require emendation.
Chapter II deals with the so-called ‘extended’ verses, and how stress and alliteration function in such half-lines; Chapter III investigates combinations of various syntactic units, mainly those of adjective + noun and verb + adverb, and presents general metrical ‘rules’ which appear to govern the ‘extended’ and non-‘extended’ a-verse; Chapter IV is aimed at the demonstration of these rules by examining the metrical function in the long line of doublet forms, such as to/for to + infinitive and on/vpon folde.
Chapter V presents a comparative study between the metre of Sir Gawain and that of Cleanness and Patience, the other alliterative poems found in the same manuscript, and three other alliterative poems, namely, The Destruction of Troy, The Wars of Alexander, and St Erkenwald.
Chapter VI explores how the alliterative metre can be exploited for stylistic purposes.
My conclusion summarises the metrical rules that have emerged from this study.
Academic presentationReading Sir Gawain and the Green Knight: A Study of its Style and MetreINOUE NorikoLeeds International Medieval Congress (UK) リーズ大学2002~University of Leeds, UK
PapersThe Exploitation of Meter for Stylistic Purposes in the Three Alliterative Poems of the Cotton Nero ManuscriptIn refereedAcademic JournalSingle-AuthorINOUE NorikoPOETICA58,,77-96-2002~0287-1629
Academic presentationThe Style and Metre of Middle English Alliterative PoetryINOUE NorikoJACET 京都セミナー 国立京都国際会館2001~
Academic presentation1999~
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