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The present thesis conducts a pragmatic and cognitive linguistic analysis of the semantics and pragmatics of English modal root must and English quasi-modal root have to . This thesis consists of six chapters. Chapter 1 poses aims and phenomena to be treated in this thesis, and briefly presents the arguments of this thesis. Chapter 2 introduces how modality and English (quasi-)modals have been analyzed. More specifically, the following three subjects are discussed: (i) how modality has been defined and characterized, (ii) how the meanings of modality have been classified, and (iii) whether they have been viewed as monosemous or polysemous. Cognitive linguistic framework for the analysis of English (quasi-)modals is also introduced in this chapter: a force dynamic approach applied in Talmy (2000) and Sweetser (1990). Chapter 3 argues that cognitive, rather than non-cognitive, approaches work better (i) to distinguish between root must and root have to , and (ii) to propose context in which interrogatives with epistemic must , root must and epistemic have to are properly used. One limitation, however, is revealed with the previous cognitive approaches up to this chapter. More specifically, the approaches fail to fully explain non-prototypical cases of root must and root have to , and this insufficiency is solved in Chapter 4. Chapter 4, depending on Searle’s (1969, 1979) speech act theory and Lakoff ’s (1987) Idealized Cognitive Model (ICM), constructs an ICM of obligation (and three more subclasses of directive speech acts). The meaning of root must and that of root have to are specified separately, and it is demonstrated that the prototypicality of root must and root have to are explained through the (varying degree of) deviation from the ICM of obligation. Chapter 5 conducts a quantitative research of root must and root have to . With data in my corpus, the two following themes are examined: (i) whether “prototypical” root must and root have to are in fact observed the most frequently synchronically and diachronically, and (ii) what are actual usage patterns of root must and root have to , focusing on the notion of imposee, or the target of an obligation. Chapter 6 concludes the present thesis, and proposes as prospects three problems that should be examined in future research. / 北海道大学 / 博士 / 文学

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The thesis is an examination of the concept of the chronicler and the nature of the chronicle as developed by the GDR author Christoph Hein from the theoretical writing of the philosopher Walter Benjamin. It examines the role of the chronicler as portrayed in Benjamin's essay "Der Erzähler" and his thesis on history, "Über den Begriff der Geschichte", and the way in which the concept was adopted and developed by Hein to become the basis of his understanding of his role and activity as an author in the GDR. Although Hein, as an important literary figure of the last decade of the GDR, has received increasing critical attention a full and detailed analysis of his theoretical development of the concept of the chronicler and its application in his works of prose fiction has hitherto not been undertaken. This thesis attempts to fill this gap in the reception of Hein by exploring the merits of this concept of his literary production. The first chapter aims to examine Hein's understanding of history and the role of the chronicler in the context of his own theoretical writing. It begins with his analysis of the nature of historical understanding and the writing of history as practised in the GDR presented in the essay "Die funfte Grundrechenart". Questioning the determinist methods of history writing in the GDR, Hein looks for an alternative orientation in Benjamin's theoretical writings. The thesis reveals how Hein adapts and develops Benjamin's concept for the chronicle as a form of writing open to the contradictions of contemporary society. It concludes with Hein's critique of a simplistic and deterministic concept of progress in history through the examination of the essay "Maelzel's Chess Player goes to Hollywood. Das Verschwinden des künstlerischen Produzenten in Zeitalter der technischen Reproduzierbarkeit". Chapters 2-5 examine the way in which the concept shapes the literary production of Hein in those works which he produced as an author in the GDR: The novella <I>Drachenblut, </I>the novel <I>Horns Ende, </I>and the "Erzählung" <I>Der Tangospieler, </I>as well as the collection of shorter prose fiction <I>Nachtfahrt und früher Morgen</I>.