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English Journalではthe accent is almost a map of her life.とあった表現がこの動画ではThe accent is almost like a diagram of her background.となっています。

The accent is almost like a diagram of her background. She has this very New York side which is, you know, That's a sort of Grey Gardens world of the eccentric Bouviers. And then there's this very sort of proper, finishing school accent. And it's this odd combination of the two, which helped sort of form her.



She has this, a sort of New York accent that’s mixed with this finishing school accent. She says I rather love this hall. You know, “hall” is very New York and “rather” is almost British. It’s a really unusual combination of sounds.



If you can’t understand it without an explanation, you can’t understand it with an explanation.

村上春樹の作品にあった言葉を鵜呑みにすれば英語教材で解説や語注なんか不要になります。突き詰めれば和訳なんかも無意味かもしれません。正直、以下の部分はEnglish Journalの和訳を読んでも、語注を確認しても、腑に落ちた理解ができなかったんですよね。

it was very helpful, `cause the accent is almost a map of her life. `Cause you see the, sort of, like, you know, New York childhood and then the prep school, sort of , finishing school part of it, and it really, sort of, gives you a diagram to her background.


finishing school
教養学校、花嫁学校 ★女性に礼儀作法などを身に付けさせるための、私立の教育機関。ジャクリーンの通ったコネティカット州のMiss Porter’s Schoolはフィニッシング・スクールを前身とするプレパラトリー・スクール。


Portman notably worked towards nailing Kennedy’s distinctive mid-Atlantic accent, which was common amongst the girls that attended Miss Porter’s finishing school.

そうか、ジャキーはお嬢様学校のようなところに通っていたとすれば「ごめん遊ばせ。オホホホ」みたいな特徴あるしゃべり方になるということなんでしょうね。さらに調べてみるとニューヨークのロングアイランドの発音もあるそうで、だからこそポートマンはNew York childhoodと語っていたのでしょう。まさにその部分を説明している番組がありました。

The Kennedys
Natalie Portman Talks Working on Her Jackie Kennedy Accent
She relied on her Long Island roots to play the former First Lady in Jackie.

By Matt Juul | Arts & Entertainment | November 30, 2016, 6:53 a.m.

“It’s a very specific accent,” Portman said. “I’m from Long Island, so I can go back to my roots quite easily and she’s got some of that.”
“Then she has like this fancy thing too from finishing school,” she added before giving the audience a taste of her best Jackie impression.



So why does the accent sound so unusual to modern ears? "It's an accent from a fairly small region. Meaning a particular area of Long Island. Most people who were born and raised in the United States speak nothing like that and may very well go their entire lives not meeting anyone else who speaks anything like that. It's a minority speech pattern," Stoller says.

Plus, it's a speech pattern that emerged during the earlier half of the 20th century. "You're not going to hear somebody who's gone to high school in the Five Towns [on Long Island] in the last five years who sounds anything like Jackie Kennedy," Stoller adds.

So did Portman go too far in mimicking this speech? "I don't think it's exaggerated at all," Stoller says. "[Jackie Kennedy's] personal speech pattern is extremely distinctive. It's clearly related to a certain class and locale in Long Island, and speaking more broadly, the New England speech pattern area. It also displays signs of a certain kind of private school, upper-echelon presentation, where people are taught how to present themselves and how to modulate their speech."

Kennedy, who served as the country's third youngest first lady, spent her formative years at several Northeast private schools: The Holton-Arms School, in Bethesda, Maryland, and Miss Porter's School in Farmington, Connecticut. The best way to experience her haughty, finishing-school accent is to watch her 1962 tour of the White House (which is creatively incorporated in Jackie):


When I point out that the finishing school accent seems to signify class more than anything, Smithee points out that all accents encode class. "Accent is identity," he says. "That accent is very, very much associated with upper classes and a high level of social status and/or education." 
But today it's almost completely gone. "That particular speech pattern is an interesting and weird one because it wasn't really spoken natively by almost anybody. It was kind of a constructed synthetic speech pattern," he says.

Miss Porter's Schoolというお嬢様学校の実状を知るには以下の記事が参考になりました。

The Code of Miss Porter’s

Last fall, at Miss Porter’s School, in Farmington, Connecticut—attended by generations of debutantes and heiresses, including Jacqueline Kennedy Onassis, Gloria Vanderbilt, and Barbara Hutton—a student named Tatum Bass confessed to cheating, and was later expelled. Bass’s parents claim the school allowed their daughter to be so bullied by a group of girls, “the Oprichniki,” that she was driven to cheat. Talking to students, alumnae, and the headmistress, the author discovers that Bass violated a deeper, unspoken code as well.
JUNE 9, 2009 12:00 AM

日本でお嬢様学校といえば、そんなのとは無縁のYutaでも幾つか思い浮かびますが、アメリカでのお嬢様学校と言われると連想できません。アメリカ人にとってはMiss Porter's Schoolと聞けばそのような連想ができるのでしょう。だからこそWikipediaで紹介されていた以下のようなセリフが出るのでしょう。

In the Law & Order episode "Shangri-La," during a conversation about the conduct of students at a New York City public school, a character points out that the school is not "Miss Porter's Finishing School for Young Ladies."

振り返ってみれば発音の話をしていて、ジャッキーの発音に地方や育ちが反映しているということをポートマンは説明していたという当たり前のことかもしれません。ただ、Yutaにとってはニューヨークのロングアイランドには独特の話し方があること、Miss Porter’s Schoolというfinishing schoolにも独特の話し方があることが知識としてなかったために、腑に落ちた理解ができませんでした。

「ああ、そうか」と色々なことが結びついて理解できるきっかけはどのようにしたら得られるのか? なかなか難しいものがあります。和訳がなければ、語注がなければそのようなきっかけが掴めるという単純な話ではないでしょう。


出典 『夢を見るために毎朝僕は目覚めるのです』


English Journalの5月号はナタリー・ポートマン。インタビューが短く感じられたのでてっきり自分のリスニング力がアップしたからかと思ったら、単にいつもより短かっただけでした。。。


So I just watched those tapes and listened to them over and over and over and over again. And, yeah, I would practice. I had, like, I had it on my iPhone, and I would, you know, listen while I was running, or while I was just cooking, or whatever.


ここでのI would practiceのwouldは学校で習う「過去の習慣の回想」なんでしょう。

(!(1)個人の過去の習慣を回想したりなつかしむ気持ちを表し, しばしば頻度時を表す副詞相当語句を伴う; 現在の習慣を表す用法については↓12. (2)used toとは違って, 現在との比較対象は意識せず, 通例動作動詞を従える; →used to語法(2), (5),can1 1a文法)
▸ When I was a child, my father would often get angry with me.
子供のころ, 父はよく私を怒ったよなあ
▸ At weekends, we would go to the beach.

White House Tourの比較映像を見てもポートマンの発音や立ち振る舞いは遜色ないですね。

次の動画でも3分52秒あたりから“”#2 Natalie Portman Worked on the Perfect Kennedy Accent“とアクセントを取り上げています。こういうのでもwork on …が使われています。

Portman didn’t get into her character overnight, however. She strived to turn in the most authentic depiction of Jacky Kennedy possible.
“I really watched and listened to the tapes of the original “White House Tour” over and over and over again.”
Portman notably worked towards nailing Kennedy’s distinctive mid-Atlantic accent, which was common amongst the girls that attended Miss Porter’s finishing school.
“You know, when you see interviews of her versus hearing tape-recording of her talking with her friends in private, you know, it’s a completely different voice and completely different sense of humor. So, little details like that were help for finding those kinds of different aspects.”
In addition to studying books, audio tapes and White House Tour recordings, she trained intensely with a dialect coach. Once Portman finally arrived on set, she not only had the accent down to the teeth but also had much deeper understanding of who Jacky O really was.

こちらの動画ではoverは3回しか繰り返されていませんが(笑)、Portman didn’t get into her character overnight(一夜で役になりきったわけではない)とあるように発音指導も頼んでしっかりとマスターしたことがわかります。




YBM bears the sole responsibility for all the materials contained in this product, which ETS does not review or endorse.


Excuse me, I received this T-shirt as a Christmas gift a week ago

to hire additional part-time workers over the Christmas shopping period.




a Hindu festival that is held in the autumn/fall, celebrated by lighting candles and clay lamps, and with fireworks



I don't eat meat, so I was wondering if there would be any vegetarian options.






I asked Kawakubo whether she felt that her creativity was rooted in her Japanese identity and if she could ever envisage working outside Japan – perhaps in Paris, where she has shown her collections since 1981? Her emphatic response surprised me.

“I have no consciousness on a day-to-day basis of being Japanese,” she said, “and yes, I could work somewhere else – it doesn’t have to be Japan.”


Rei refuses to define her work. She wants to set the meaning is “there is no meaning.” As a curator, part of your role is interpretation. It really is a riddle. She is open to interpretation but not to one interpretation. It allows you to move beyond to the experience of clothing. It took me long time to get that realization. In a way, she’s like a zen master, encouraging students who do suffer to get that level of enlightenment.


② 禅宗で,修行者が悟りを開くため,研究課題として与えられる問題。優れた修行者の言葉や事績から取られており,日常的思考を超えた世界に修行者を導くもの。

“I like to work with space and emptiness.” Rei Kawakubo, 2000

Since founding Comme des Garçons (“like some boys”) in 1969, the Tokyo-based designer Rei Kawakubo (born 1942) has consistently defined and redefined the aesthetics of our time. Season after season, collection after collection, she upends conventional notions of beauty and disrupts accepted characteristics of the fashionable body. Her fashions not only stand apart from the genealogy of clothing but also resist definition and confound interpretation. They can be read as Zen koans or riddles devised to baffle, bemuse, and bewilder. At the heart of her work are the koan mu (emptiness) and the related notion of ma (space), which coexist in the concept of the “in-between.” This reveals itself as an aesthetic sensibility that establishes an unsettling zone of visual ambiguity and elusiveness.

“Rei Kawakubo/Comme des Garçons: Art of the In-Between” examines nine expressions of “in-betweenness” in Kawakubo’s collections: Absence/Presence; Design/Not Design; Fashion/ Antifashion; Model/Multiple; High/Low; Then/Now; Self/ Other; Object/Subject; and Clothes/Not Clothes. It reveals how her designs occupy the spaces between these dualities—which have come to be seen as natural rather than social or cultural— and how they resolve and dissolve binary logic. Defying easy classification themselves, her clothes expose the artificiality, arbitrariness, and “emptiness” of conventional dichotomies. Kawakubo’s art of the “in-between” generates meaningful mediations and connections as well as revolutionary innovations and transformations, offering endless possibilities for creation and re-creation.

少し調べてみたくなったのは、この展覧会のタイトルArt of the In-Betweenを「間の技」と訳していたり、「間の芸術」と訳していたりしていたから。美術館だし素直に「芸術」でいいんじゃないのと素朴に思ったからでした。動画の最後で語っているartは明らかに「芸術」の方です。

USA Todayのレビューには彼女の服は芸術なのか、服飾なのか。服飾は芸術たりうるか。と問いかけがあります。まあ、でも取っ掛かりは川久保って発音しにくいよね。難しいコンセプトを語っているけどわからなくていいよ、ファション好きじゃないけと見る価値あるよとハードルを下げて紹介してくれています。

Is clothing art? Who cares, you’ll love the new Met exhibit either way
Cara Kelly , USA TODAY Published 12:22 p.m. ET May 4, 2017 | Updated 5:07 p.m. ET May 4, 2017

The Metropolitan Museum of Art’s Costume Institute is a mecca for wannabe designers and those who follow the Carrie Bradshaw logic of prioritizing style over all else, sometimes even food. But a fashion obsession isn't required to enjoy the museum’s new exhibit opening May 4, Rei Kawakubo / Comme des Garçons: Art of the In-Between.

Nor is an understanding of design history or what the term "deconstructed" means.

An open mind, maybe.

Japanese designer Rei Kawakubo’s name is a mouthful (pronounced ray cow-uh-kooh-bo), as is her line, Comme des Garçons ("like some boys" in French). But New York City visitors shouldn’t let the unfamiliar names and terminology deter them from a trip to the 5th Avenue museum.

ここでのIs this art or clothing? Is clothing art?という問いかけは川久保玲の作品全体を指しているものの「芸術」を意識してのことでしょう。

The white-walled exhibit is broken into nine sections, each examining “in-betweenness.” It’s possible to get caught up in the heady philosophical questions Kawakubo poses in her works, like the dichotomy of absence and presence. Yet, it’s also possible to enjoy it as a more surface-level brain teaser: Is this art or clothing? Is clothing art?

Those questions are at the core of why the 74-year-old designer has been hailed as a revolutionary, and are on full display in the 140 piece collection. The exhibit guidebook suggests a pathway through the circular layout inhabited by puzzle-piece-like structures framing the garments, but guests also are encouraged to choose their own adventures and let their imaginations fly.


“Fashion is not art. You sell art to one person. Fashion comes in a series and it is a more social phenomenon.”

“Things that have never been seen before have a tendency to be somewhat abstract, but making art is not my intention at all. All my e ort is oriented towards giving form to clothes that have never been seen before.”

They share formal qualities with sculpture as well as conceptual and performance artworks, but Kawakubo has always preferred the epithet “worker” to “artist.” Even so, she recently has begun to consider fashion as art, opening up yet another in-between space — Fashion/Art.