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Satō 2004

Satō Tomomi 佐藤知己 (2004). アイヌ文学における一人称体の問題[The problem of the first-person form in Ainu literature].

prior-analysis hokkaido text held locally OCR pdftotext-pieces: 10 leaves, 0 with a printed page

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First-Person Plural and the Clusivity Question (ci=/=as, un=) 1

1. In divine songs (kamuy yukar) exclusively, some dialects use exclusively ci- for transitive subject, -as for intransitive subject, and un- for object to index the protagonist.
   神謡の場合に限り、主人公を示す一人称の形式に他動詞主格 ci-、自動詞主格 -as、目的格 un- を専ら用いる方言がある。
   asserts

Hokkaido Dialect Microvariation: Phonology and Morphosyntax 1

1. The transitive subject prefix a- is reported only in a relatively restricted area including Iburi, western Hidaka, Tokachi, Yoichi, and Shakotan, whereas an- is reported across a wide area including the rest of Hokkaido, Sakhalin, and the Kurils.
   他動詞主格接頭辞 a- は胆振、日高西部、十勝、余市、積丹のような比較的限られた地域でしか報告がないのに対し、an- はそれらを除く北海道と樺太、千島を含む極めて広い範囲で報告されている。
   reports

The Indefinite/Fourth Person: Forms, Reference, and Agent-Defocusing 3

1. In Ainu oral literature, the first-person protagonist is generally indexed by a- (or an-) for transitive subject, -an for intransitive subject, and i- for object.
   アイヌ文学において一人称を示す形式は、一般に他動詞主格に a-（または地方によっては an-）、自動詞主格に -an、目的格に i- が用いられる。
   asserts
2. In Kindaichi's (1931b) description, the personal affixes a- (transitive subject), -an (intransitive subject), and i- (object) function as inclusive first-person plural in colloquial speech and as first-person (singular and plural) in the poetic/elevated register (雅語).
   金田一（1931b）の記述によれば、人称接辞 a-（他動詞主格）、-an（自動詞主格）、i-（目的格）は、口語の包括的一人称複数、雅語の一人称単複を表す。
   reports
3. In Ainu expressions corresponding to 'the door is left open', indefinite person affixes are used, and in such expressions forms corresponding to indefinite personal pronouns cannot be additionally used.
   「戸が開けてある」にあたるアイヌ語表現には不定人称接辞が用いられるが、そのような表現において不定人称代名詞に相当する形式をさらに用いることはできない。
   asserts

Personal, Reflexive, and Emphatic Pronouns 3

1. In Kindaichi's (1931b) description, the pronoun ashinuma functions as the first-person singular in the poetic/elevated register (雅語).
   金田一（1931b）の記述によれば、人称代名詞 ashinuma は雅語の一人称単数を表す。
   reports
2. In Kindaichi's (1931b) description, the pronoun aoka functions as the inclusive first-person plural in colloquial speech and as the first-person plural in the poetic/elevated register (雅語).
   金田一（1931b）の記述によれば、人称代名詞 aoka は口語の包括的一人称複数、雅語の一人称複数を表す。
   reports
3. The singular independent pronoun asinuma in the Saru and Chitose dialects has a use as a 'quotative first person'.
   沙流方言および千歳方言にみられる単数形式の asinuma には「引用の一人称」の用法がある。
   reports

First-Person Narration, the Logophoric Fourth Person, and Reported Discourse 5

1. In Saru kamuy yukar, a- series forms are generally used throughout, but ci- series forms are occasionally used in opening passages.
   沙流方言の神謡ではa-系の形式が一般的であるが、冒頭部分などでci-系の形式が用いられることもある。
   asserts
2. In the Horobetsu dialect, first-person forms are distributed by genre such that ci- series forms appear in kamuy yukar and a- series forms appear in other genres.
   幌別方言において、神謡にはci-系の形式を用い、他ジャンルにはa-系の形式を用いるというジャンルによる使い分けが存在する。
   asserts
3. In a Horobetsu prose narrative, an exceptional case is attested where a deity narrates using the a- series form rather than the expected ci- series form.
   幌別地方の散文物語において、神がci-系ではなくa-系を用いて物語る例外的な用例が1例確認されている。
   asserts
4. The quotative first person has not been reported outside the Saru dialect (or dialects closely related to it).
   引用の一人称は、沙流方言（もしくは沙流方言と関係が深い方言）以外では報告がない。
   asserts
5. In the oral literature of many dialects other than Saru, the forms expressing the 'first person' are completely identical to the indefinite person, making no distinction between singular and plural and regularly agreeing with plural verb forms.
   沙流方言以外の多くの方言の口頭文芸における「一人称」は不定人称と完全に同形であり、単複の区別を行わず、動詞複数形と規則的に一致する。
   reports

The Oral-Literature Genre System and Its Grammatical Signatures 7

1. Pananpe tales and Japanese folktale adaptations are narrated in the third person.
   パナンペ昔話および和人昔話は、三人称体で語られる。
   reports
2. Divine songs (kamuy yukar) have a refrain (sakehe) attached to usually every verse line, whereas heroic epics do not have a refrain.
   神謡には通常一句ごとに付けられる折り返し句（リフレイン）があるのに対し、英雄叙事詩には折り返し句が付かない。
   asserts
3. Ainu oral literature across major genres is fundamentally narrated in the first person ('autobiographical style') where the protagonist speaks as 'I'.
   アイヌ文学の物語は、基本的には主人公が「私は……」と一人称体で物語る自叙伝体の形式になっている。
   asserts
4. In the Horobetsu dialect, even in folktales where a kamuy 'deity' is the protagonist, there are instances where the exact same person markers (namely the a- series) are used as in heroic epics and folktales where humans are protagonists.
   幌別地方では、神が主人公となる昔話であっても、人間が主人公である英雄叙事詩や昔話と全く同じ人称（すなわち a- の系列）を取る事例がある。
   asserts
5. Ainu oral literature is broadly divided into three genres: heroic epic, divine songs (kamuy yukar), and folktales (uwepeker).
   アイヌ文学は英雄叙事詩、神謡、昔話の三つのジャンルに大別される。
   asserts
6. The word isoitak is frequently used at the end of oral literature in the formulaic expression 'so-and-so told/narrated that...'.
   口頭文芸の結びにおいて、「〜と某が物語った」という表現で isoitak という単語がよく用いられる。
   asserts
7. In Ainu heroic epic and divine songs, verse lines are composed of approximately five syllables and sung to a melody, whereas folktales do not possess a melody.
   英雄叙事詩と神謡は一旬の長さがほぼ5音節に揃えられてメロディーに乗せて語られるのに対し、昔話はメロディーを有しない。
   asserts

Architecture of the Personal-Affix System: The Four Persons and the S/A/O Paradigms 1

1. Personal affixes are obligatorily indexed on verbs, whereas independent personal pronouns are optional and used primarily for topicalization or emphasis.
   人称接辞は動詞に義務的に標示されるのに対し、独立した人称代名詞は随意的であり主に主題化や強調のために用いられる。
   asserts asserts: nakagawa2024 2 statements

The Elevated/Poetic Register: Archaic Morphology and Formulaic Diction 1

1. The use of first-person plural forms (the a-(an-) series and ci- series) in poetic/elevated language can be regarded as a kind of periphrasis that obscures the referent through plural marking.
   雅語において一人称複数形（a-(an-)系の形式およびci-系の形式）が用いられるのは、複数形を用いて指示対象を曖昧化する一種の迂言とみなすことができる。
   proposes

Statements extracted from this source

Each statement is what the source commits to at one place, in normalised wording, with its type, stance and scope; the page number comes from the page footer of the OCR dump. Status tells how far a statement has been checked.

The Oral-Literature Genre System and Its Grammatical Signatures 7

1. Ainu oral literature is broadly divided into three genres: heroic epic, divine songs (kamuy yukar), and folktales (uwepeker).
   アイヌ文学は英雄叙事詩、神謡、昔話の三つのジャンルに大別される。
   leaf 1 membership asserts checked · anchor 88% ainu
2. In Ainu heroic epic and divine songs, verse lines are composed of approximately five syllables and sung to a melody, whereas folktales do not possess a melody.
   英雄叙事詩と神謡は一旬の長さがほぼ5音節に揃えられてメロディーに乗せて語られるのに対し、昔話はメロディーを有しない。
   leaf 1 form-function asserts checked · anchor 100% ainu
3. Divine songs (kamuy yukar) have a refrain (sakehe) attached to usually every verse line, whereas heroic epics do not have a refrain.
   神謡には通常一句ごとに付けられる折り返し句（リフレイン）があるのに対し、英雄叙事詩には折り返し句が付かない。
   leaf 1 distribution asserts checked · anchor 100% ainu
4. Ainu oral literature across major genres is fundamentally narrated in the first person ('autobiographical style') where the protagonist speaks as 'I'.
   アイヌ文学の物語は、基本的には主人公が「私は……」と一人称体で物語る自叙伝体の形式になっている。
   leaf 1 form-function asserts extracted · anchor 69% ainu
5. Pananpe uwepeker and sisam uwepeker tales are told in the third person.
   パナンペ昔話および和人昔話は、第三人称体で語られる。
   leaf 2 distribution reports extracted · anchor 81% ainu pananpe uwepekersisam uwepeker
6. The word isoitak is frequently used at the end of oral literature in the formulaic expression 'so-and-so told/narrated that...'.
   口頭文芸の結びにおいて、「〜と某が物語った」という表現で isoitak という単語がよく用いられる。
   leaf 7 distribution asserts anchored · anchor 100% hokkaido isoitak
7. In the Horobetsu dialect, even in folktales where a kamuy 'deity' is the protagonist, there are instances where the exact same person markers (namely the a- series) are used as in heroic epics and folktales where humans are protagonists.
   幌別地方では、神が主人公となる昔話であっても、人間が主人公である英雄叙事詩や昔話と全く同じ人称（すなわち a- の系列）を取る事例がある。
   leaf 3 distribution asserts checked · anchor 92% hokkaido/southwest/horobetsu a-

The Indefinite/Fourth Person: Forms, Reference, and Agent-Defocusing 3

1. In Ainu oral literature, the first-person protagonist is generally indexed by a- (or an-) for transitive subject, -an for intransitive subject, and i- for object.
   アイヌ文学において一人称を示す形式は、一般に他動詞主格に a-（または地方によっては an-）、自動詞主格に -an、目的格に i- が用いられる。
   leaf 1 paradigm-cell asserts checked · anchor 100% ainu a-an--ani-
2. In Kindaichi's (1931b) description, the personal affixes a- (transitive subject), -an (intransitive subject), and i- (object) function as inclusive first-person plural in colloquial speech and as first-person (singular and plural) in the poetic/elevated register (雅語).
   金田一（1931b）の記述によれば、人称接辞 a-（他動詞主格）、-an（自動詞主格）、i-（目的格）は、口語の包括的一人称複数、雅語の一人称単複を表す。
   leaf 2 paradigm-cell reports checked · anchor 100% ainu a--ani-
3. In Ainu expressions corresponding to 'the door is left open', indefinite person affixes are used, and in such expressions forms corresponding to indefinite personal pronouns cannot be additionally used.
   「戸が開けてある」にあたるアイヌ語表現には不定人称接辞が用いられるが、そのような表現において不定人称代名詞に相当する形式をさらに用いることはできない。
   leaf 5 distribution asserts checked · anchor 100% ainu

First-Person Plural and the Clusivity Question (ci=/=as, un=) 1

1. In divine songs (kamuy yukar) exclusively, some dialects use exclusively ci- for transitive subject, -as for intransitive subject, and un- for object to index the protagonist.
   神謡の場合に限り、主人公を示す一人称の形式に他動詞主格 ci-、自動詞主格 -as、目的格 un- を専ら用いる方言がある。
   leaf 1 variation asserts checked · anchor 100% ainu ci--asun-

Hokkaido Dialect Microvariation: Phonology and Morphosyntax 1

1. The transitive subject prefix a- is reported only in a relatively restricted area including Iburi, western Hidaka, Tokachi, Yoichi, and Shakotan, whereas an- is reported across a wide area including the rest of Hokkaido, Sakhalin, and the Kurils.
   他動詞主格接頭辞 a- は胆振、日高西部、十勝、余市、積丹のような比較的限られた地域でしか報告がないのに対し、an- はそれらを除く北海道と樺太、千島を含む極めて広い範囲で報告されている。
   leaf 2 distribution reports checked · anchor 100% hokkaidosakhalinkuril a-an-

Personal, Reflexive, and Emphatic Pronouns 3

1. In Kindaichi's (1931b) description, the pronoun ashinuma functions as the first-person singular in the poetic/elevated register (雅語).
   金田一（1931b）の記述によれば、人称代名詞 ashinuma は雅語の一人称単数を表す。
   leaf 2 paradigm-cell reports checked · anchor 100% ainu ashinuma
2. In Kindaichi's (1931b) description, the pronoun aoka functions as the inclusive first-person plural in colloquial speech and as the first-person plural in the poetic/elevated register (雅語).
   金田一（1931b）の記述によれば、人称代名詞 aoka は口語の包括的一人称複数、雅語の一人称複数を表す。
   leaf 2 paradigm-cell reports checked · anchor 100% ainu aoka
3. The singular independent pronoun asinuma in the Saru and Chitose dialects has a use as a 'quotative first person'.
   沙流方言および千歳方言にみられる単数形式の asinuma には「引用の一人称」の用法がある。
   leaf 7 form-function reports checked · anchor 100% hokkaido/southwest/saruhokkaido/chitose asinuma

First-Person Narration, the Logophoric Fourth Person, and Reported Discourse 5

1. In kamuy yukar (god-songs) of the Saru dialect, the a- series forms are generally used, but ci- series forms are also sometimes used, particularly in the opening section of a tale.
   沙流方言の神謡ではa-系の形式が用いられるのが一般的であるが、特に物語の冒頭部分などでci-系の形式が用いられることもある。
   leaf 6 distribution asserts checked · anchor 100% hokkaido/southwest/saru a-ci-
2. In the Horobetsu region, first-person forms are differentiated by genre such that ci- series forms are used in kamuy yukar (god-songs) and a- series forms in other genres.
   幌別地方では、神謡にci-系の形式を用い、他のジャンルにはa-系の形式を用いるという一人称形式の使い分けがある。
   leaf 6 distribution asserts anchored · anchor 100% hokkaido/southwest/horobetsu ci-a-
3. In a prose narrative of the Horobetsu region, a counterexample is attested in which a deity narrates using the a- series rather than the ci- series form.
   幌別地方の散文物語において、神がci-系ではなくa-系の形式で物語る反例が1例見つかっている。
   leaf 6 existence asserts extracted · anchor 83% hokkaido/southwest/horobetsu ci-a-
4. The quotative first person has not been reported outside the Saru dialect (or dialects closely related to it).
   引用の一人称は、沙流方言（もしくは沙流方言と関係が深い方言）以外では報告がない。
   leaf 4 absence asserts checked · anchor 100% hokkaido
5. In the oral literature of many dialects other than Saru, the forms expressing the 'first person' are completely identical to the indefinite person, making no distinction between singular and plural and regularly agreeing with plural verb forms.
   沙流方言以外の多くの方言の口頭文芸における「一人称」は不定人称と完全に同形であり、単複の区別を行わず、動詞複数形と規則的に一致する。
   leaf 5 form-function reports checked · anchor 100% hokkaido

The Elevated/Poetic Register: Archaic Morphology and Formulaic Diction 1

1. The use of first-person plural forms (the a-(an-) series and ci- series) in poetic/elevated language can be regarded as a kind of periphrasis that obscures the referent through plural marking.
   雅語において一人称複数形（a-(an-)系の形式およびci-系の形式）が用いられるのは、複数形を用いて指示対象を曖昧化する一種の迂言とみなすことができる。
   leaf 6 form-function proposes checked · anchor 100% hokkaido a-an-ci-

Architecture of the Personal-Affix System: The Four Persons and the S/A/O Paradigms 1

1. In Ainu, the use of personal affixes is obligatory, whereas the use of personal pronouns is optional, primarily serving to mark a referent as a topic or emphasize it as a focus.
   アイヌ語では人称接辞の使用は義務的であるが、人称代名詞の使用は随意的であり、指示対象を主題として取り立てるか焦点として強調する場合に主として用いられる。
   leaf 5 form-function asserts checked · anchor 100% ainu

Chapters citing this source

Sentences of the first edition citing this source

1. The old account of an “elevated” literary person distinct from an everyday one is contested: Nakagawa assigns the narrative use to viewpoint and text type, Satō derives it from a first-person-plural strategy, and Bugaeva analyses the quotation use as logophoric and finds it outside folklore as well ; ; ; ‹contested›. 179–184 Architecture of the Personal-Affix System: The Four Persons and the S/A/O Paradigms
2. Whether this pattern derives from an original first-person plural strategy or a register-internal specialisation is debated ; ‹contested›. 179–184 First-Person Plural and the Clusivity Question (ci=/=as, un=)
3. Nakagawa treats the narrative use as the indefinite person applied to an unanchored referent; Satō argues the literary self-reference derives from a first-person strategy and cannot be collapsed into the indefinite; Bugaeva, finding comparable uses in non-folklore Asahikawa texts, removes the dependence on an elegant register entirely ; ; ‹contested›. 179–184 The Indefinite/Fourth Person: Forms, Reference, and Agent-Defocusing
4. Nakagawa subsumes all these values under a single fourth-person label; Tamura's Saru analysis separates the honorific second person and the quotative first person as distinct categories; Bugaeva's cover term is indefinite, with the quotation use reanalysed as logophoric; Satō discusses the literary and quotative functions under the literary-person problem without positing a fourth-person label; Takahashi, working on Tokachi, uses "inclusive person" for the same form range ; ; ; ; ; ; ‹contested›. 179–184 Honorific and Logophoric Uses of the Fourth Person
5. Satō discusses this under the literary-person problem; Bugaeva places it alongside the logophoric use ; ; . 179–184 Honorific and Logophoric Uses of the Fourth Person
6. Satō advances three objections to reducing the literary person to the indefinite . 179–184 Honorific and Logophoric Uses of the Fourth Person
7. Satō derives the same usage from a first-person-plural origin: the fourth-person form encompasses the narrator and any hearer who identifies with the protagonist, making it an inclusive strategy ; ‹contested›. 179–184 Reference Tracking and Argument Continuity
8. Its narrator consistently uses the exclusive first-person plural prefix ci= / suffix =as as a singular hero-narrator marker, throughout every text ; . no page The Oral-Literature Genre System and Its Grammatical Signatures
9. and treat the same forms as polysemous, deriving the narrative-first-person use from a first-person-plural (inclusive) strategy in which the 4th-person affixes index both protagonist and audience. 179–184 First-Person Narration, the Logophoric Fourth Person, and Reported Discourse
10. The narrative first-person convention of yukar (heroic and divine epic) and uwepeker (prose tale) consists in the reciter voicing the protagonist through the 4th/indefinite person forms (a=, =an, i=) rather than the narrator's own 1st-person forms ; . 179–184 First-Person Narration, the Logophoric Fourth Person, and Reported Discourse
11. Several observations favour a convention-first reading: (a) the 4th-person forms are identical to those marking indefinite agents in everyday speech; (b) the distribution skews heavily by genre — the pattern is densest in yukar, lighter in uwepeker, lighter still in everyday quoted speech ‹corpus-suggested›; (c) derives the narrative use from the inclusive reading, on which the protagonist is voiced as 'we' (protagonist and audience together). 183 First-Person Narration, the Logophoric Fourth Person, and Reported Discourse
12. The Iburi dialect tradition, canonically represented by Chiri Yukie's , uses instead the exclusive first-person plural ci= / =as as a singular hero-narrator marker, consistently throughout the collection ; . no page The Sakehe Refrain, Verse Meter, and the Structure of Sung Verse
13. The Iburi kamuy yukar collected by Chiri Yukie — , the first published Ainu-language oral-literature collection — uses a distinct convention: the hero-narrator employs the exclusive first-person plural ci=/=as consistently as a singular, throughout each text ; . no page The Elevated/Poetic Register: Archaic Morphology and Formulaic Diction
14. Satō connects the non-everyday person marking to what he calls the indirection principle: the genre convention that the narrative voice is not the actual reciter's but a god's or spirit's (possibly transmitted in a dream), and the non-everyday marker increases the indirectness of that address and softens the implied taboo on a deity speaking directly to a living human ; . no page Narrative TAM and Evidential Patterning by Genre
15. ; ; . no page A Glossed Uwepeker (Prose Folktale)
16. Whether Ainu oral narrative therefore qualifies as genuine "first-person literature" (一人称体) in the typological sense remains an open question ; ‹contested›. no page A Glossed Uwepeker (Prose Folktale)
17. The typological status of this convention — whether it represents genuine first-person narration throughout or a logophoric construction framing the whole text as a reported speech act — is unsettled ; ‹contested›. no page Glossed Verse: A Yukar Heroic Epic and a Kamuy Yukar God-Song