シャドーイング練習: In 'The Emperor of Gladness,' Ocean Vuong explores chosen family and acts of kindness - YouTubeで英語スピーキングを学ぶ
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He's a writer who draws deeply from personal experience to explore the wider story of working class life in America.
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He's a writer who draws deeply from personal experience to explore the wider story of working class life in America.
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In his latest novel, just released, Ushun Vuong blends grief, healing, and resilience into a powerful and poetic narrative.
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Senior arts correspondent Jeffrey Brown sits down with him for our arts and culture series, Canvas.
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There's just something connected to the brain with the way the hand moves.
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He writes by hand.
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OCEAN VONG, When you're writing by hand, every sentence takes about 10, 15 seconds longer.
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JEFFREY BROWN, Author, The Emperor of Gladness, Types drafts on a vintage typewriter.
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In an age of instant output, poet and novelist Ocean Vuong takes the long way in.
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His latest novel, The Emperor of Gladness, is a meditation on pain, unexpected acts of kindness, and a reckoning with the history that shaped him personally.
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OCEAN VONG, I have always been fixated on kindness without power.
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There's so many people in America who don't have the means to alter each other's lives,
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the communities that I grew up with, working-class, poor folks, who don't have money or positions or means to rescue each other.
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And yet I have watched people still commit themselves to kindness, even though they know it won't change anything.
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JEFFREY BROWN, An immigrant from Vietnam, Vuong, now 36, spent most of his childhood in a working-class community in Hartford, Connecticut,
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much like the one where he set his novel, a fictional New England town called Gladness, where his young protagonist, like Vuong himself, is shaped by a post-industrial landscape after the 2008 financial meltdown and the ongoing opioid crisis.
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VONG, I saw the opioid epidemic before it was this convenient term used by politicians.
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I saw lunch ladies overdose overnight, teachers, your friend's mom,
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everyday Americans who lost themselves to this drug so quickly as kind of this pharmaceutical slaughter, wherein they were so ashamed of it.
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JEFFREY BROWN, Ph.D.: Vuong also tapped into another aspect of Americana he himself experienced working in fast-food restaurants, for him part of the illusion of the American dream, one offering a different kind of family.
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MARGARET WARNER, The fast-food restaurant is all about deception.
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We truly didn't cook anything.
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We were one giant microwave.
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But we presented our food as if it was home-cooked.
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It was made by some grandmother in the back, like, you know.
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And so there was...
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JEFFREY BROWN, The myth of it.
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MARGARET WARNER, The fast food, but it was made by grandma in the back.
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MARGARET WARNER, It's like impossible, right?
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A lot of this country is founded on the nuclear family.
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And one alternative to that, you can say, is the found family, chosen family.
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But there's a huge sector I think I wanted to tap into, which is the circumstantial family, the family at work, the family cobbled arbitrarily together during a shift.
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And there's an intimacy and bond and kinship there that actually corrodes ideology.
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We all had different politics.
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We came from different parts of life.
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JEFFREY BROWN, The New York Times, The New York Times, The New York Times, The New York Times, Where we all come from and how we got here is a longtime obsession of Wong's, a subject of his poetry in two volumes, Night Sky with Exit Wounds and Time as a Mother, and an earlier novel On Earth We're Briefly Gorgeous.
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He's often tackling the feeling of being an outsider, queer, an immigrant, and, as he puts it, caught in tragic history, descended from an American grandfather who served in the Vietnam War and a Vietnamese
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BROWN, How much of that past history still lives on and kind of finds itself even into a story of your, of a young man living in Hartford, Connecticut?
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DR. HENRY HENRY, History doesn't leave us.
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I think history is something that we pass through.
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through, and it's almost like this web you pass through, like a spider's web.
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You pass through a spider's web, and it clings to you.
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I have been caught by history.
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I have also been made by history.
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I joke, and I say suffering is diverse in this one, many lineages of trouble.
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JEFFREY BROWN, But sometimes you bring it to the surface in different ways, right?
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Yes, because I think we don't get to choose how we get a life.
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And we don't get to choose whether we're victims or not.
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But we do get to choose whether we live in victimhood.
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And I think, for me, being a writer, creating stories is my way of saying I'm not marked by my history.
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But also, there is no solution to my history.
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There's no easy way to say that the Vietnam War cost millions of Vietnamese lives, thousands of American soldiers who did not want to fight in this war, drafted against their will.
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And yet I owe my life to such a black page in history.
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JEFFREY BROWN, A rich history and a literary voice that has resonated with students.
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He's a professor at NYU and with many readers, especially in this moment.
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While Vong didn't set out to become a public voice, he finds himself settling into that role.
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You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG, You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG, You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG VONG, You have to now put more care and concern into the words.
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And then I thought, oh, but that's what I've been doing anyway as a writer, care and concern.
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I mean, who wakes up and decides to maneuver one of the smallest, fragile mediums in our species as letters around the smallest, fragile forms of a poem?
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Who does that without care?
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is an act of care.
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JEFFREY BROWN, The desire underneath all this that brings everything together is a central question in my life,
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trying to understand why there is so much suffering in our life as people.
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And yet, why is there so much beauty?
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Why do we suffer so much?
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yet have the capacity to recognize with absolute mystery and wonder the beauty of the world, I don't know the answer, but I'm always writing towards that and figuring that out.
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JEFFREY BROWN, For the PBS NewsHour, I'm Jeffrey Brown in New York.
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Thank you.
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このビデオで話す練習をする理由
「The Emperor of Gladness」のビデオは、オーシャン・ヴォンが選ばれた家族や親切な行動を探求している内容です。このトピックは、アメリカの労働者階級の生活に根ざした個人的な経験を通じて描かれています。ビデオを通じて、英語のスピーキング能力を向上させることができます。特に、日常生活での対話や感情表現に関する重要なフレーズや構文が含まれているため、実際の会話で役立つ表現を学ぶことができます。
文法と表現のコンテキスト
- 「I have always been fixated on kindness without power.」 - この文は「fixated on」の使い方を示しています。「何かに強く執着している」という意味です。この構文を用いることで、自分の興味や価値観を強調することができます。
- 「I saw the opioid epidemic before it was this convenient term used by politicians.」 - ここでは「before it was」という過去形の文を通じて、時制の使い方を学ぶことができます。特に歴史や社会問題を語るときに、重要な文法構造です。
- 「I think history is something that we pass through.」 - この文の表現は、「pass through」という慣用句を使い、歴史が私たちに影響を与える様子を示しています。口語的な会話で使われる表現を覚えることで、リアルなスピーキングが可能になります。
一般的な発音の罠
ビデオの中には、発音が特に難しい単語やフレーズがあります。例えば「opioid」や「epidemic」といった医学用語は、日本語話者には発音しづらいかもしれません。これらの単語を練習するための良い方法は、英語の発音を良くするために「shadow speak」を使用し、自分の声を録音して確認することです。また、リズムやイントネーションに注意を払いながら英語シャドーイングの練習をすると、より自然な話し方が身につきます。
このように、ビデオを通じて学ぶことで、IELTS スピーキング対策にも役立つリアルな表現や文法知識を得ることができます。「shadow speech」を用いて、自信を持って実際の対話に臨む準備を整えましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。