シャドーイング練習: This Nobel Prize Winner Has a Really Strange Theory About the Mind - 動画で英語スピーキングを学ぶ

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In 2003, J .M.
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Coetzee was awarded the Nobel Prize in Literature.
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When giving his acceptance speech, he didn't discuss his career, he didn't lecture about culture or politics, he didn't thank anyone.
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He didn't even really discuss literature.
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Instead, he gave one of if not the most unusual
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Nobel Prize acceptance speeches in history.
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Following a brief reference to a childhood memory, he proceeded to recite a strange kind of parable.
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When introducing it, he said, The piece is called He and His Man, or His Man and He.
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I cannot remember which comes first, he or his man.
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This was not a lapse in Coetzee's memory.
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He knew the name of the story.
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Fundamentally, we all live two separate lives.
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One is our direct lived experience.
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That is, what our bodies and brains encounter, produce, and sense.
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All that is unconscious or external, but nonetheless real and integral to who we are.
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The second is our conscious awareness.
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That is, what our conscious mind observes, comprehends, conceptualizes, and tracks through language, ideas, beliefs, and stories.
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In Kochi's speech, he refers to two men, he and his man.
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He is an old retired sailor who has moved on from adventure
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and sea life and now spends almost all of his time alone in his room.
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His primary interaction with the world and others is through reports
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that he regularly receives from the character referred to as his man, an individual who travels around Europe encountering various events and phenomena.
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It is soon revealed that the retired sailor is Robinson Crusoe, one of the most famous fictional characters in history.
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This character originated in the 1719 novel titled Robinson Crusoe, written by the author Daniel Defoe,
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in which he is an English sailor who was shipwrecked on a remote island for 28 years before finally being rescued.
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What turns Coetzee's speech from interesting to profound, and perhaps a bit unsettling, is that Crusoe's correspondent, his man, is Daniel Defoe.
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In other words, Defoe is sending messages to the character he created in the story Coetzee created.
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In Coetzee's story, Crusoe and Defoe have a strange and ambiguous kind of relationship.
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On one hand, they seem to know and depend on each other intimately.
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On the other hand, they appear to be quite unknown and distant to each other.
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Neither really know the life of the other directly.
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Crusoe knows of Defoe's experiences only through his reports, and Defoe seems to know of Crusoe,
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if at all, only as a kind of receiving entity of his reports.
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Coetzee says, How are they to be figured, this man and he?
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As master and slave?
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As brothers, twin brothers?
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As comrades in arms?
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Or as enemies, foes?
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What name shall he give this nameless fellow, with whom he shares his evenings and sometimes his nights too,
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who is absent only in the daytime when he, Robin, walks the keys inspecting the new arrivals and his man gallops about the kingdom,
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making his inspections.
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There are many ways one could interpret the premise to such an enigmatic story and character relationship.
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On a literary level, it seems to possibly be a reflection on the relationship between writer
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or artist and the characters or things they create.
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What does a writer or artist do if not report their lived experiences to a kind of entity of reception—their work, their worlds, and their characters.
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In this, the Creator feels as though they are producing a character, story, or world.
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But in a way, they are sort of already there.
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That is, the character, story, or world already exist as a kind of nebulous entity of lived experience.
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They merely increasingly form into semi -tangible structures as they receive
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more information from the Creator's conscious mind a kind of embodiment of the creator's awareness
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and experience as they're assembled with words and features.
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Coatsy writes, How then has it come about that this man of his, who is a kind of parrot and not much loved,
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writes as well as or better than his master?
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For he wields an able pen, this man of his, no doubt of that.
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Only when he yields himself up to this man of his do such words come.
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There's also a deeper interpretation here.
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The very nature of the mind and consciousness, how we form knowledge and understanding and how we don't.
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Whether we write or not, whether we publish or not, each of us are authors.
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Our self, the conscious observer and narrator of our lives, is the product of our mind's creative work,
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the stories we tell ourselves about ourselves and the world, the concepts we form and the beliefs we hold.
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Our source material
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Our inspiration is all of the sensations of the body and brain and their interactions with the external world.
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Naturally, these two channels, experiencer and observer, are always trying to work together.
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Both born of and sharing the same fundamental substrate of being, they both operate toward the same shared goals.
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Survival and continuance.
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On the unconscious experiential level, this is fairly obvious.
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We automatically try to catch our balance when we trip, move our hand away from something hot or sharp, we blink and breathe automatically,
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our heart rate automatically increases, and we become adrenalized when we perceive a threat, and so on.
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On the conscious observer level, it's slightly less obvious, but still apparent.
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We attempt to make order, meaning, and rigidity out of our experiences through language, concepts, stories, and beliefs.
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Our conscious mind attempts to make sense of, tolerate, and rationalize events so that we can best endure and proceed onward.
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Though the miracle of human consciousness
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and the degree of our conceptual awareness is perhaps only second to the miracle of existence itself, it is of course deeply limited.
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We can only comprehend what we can perceive, and we can only perceive what the human brain has evolved to process.
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Moreover, words and concepts are always merely a proxy, symbols of reality and experience, never the real things.
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Thus, these two channels of experience don't really understand each other all that well.
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One is out in the world experiencing a chaos of phenomena, while the other is alone inside its room, trying to parse the chaos into clarity.
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What is left is a kind of dissonance between reality and consciousness.
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In Kochi's story, one of the main reports sent back to Crusoe describes what are known as duck decoy systems,
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Elaborate traps constructed to lure wild ducks to be killed for food.
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Using ponds, nets, channels, and decoy ducks, the configurations are designed to look natural and safe,
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deceiving the ducks into moving through them until they become trapped.
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From the ducks' perspectives, they aren't doing anything odd or unnatural.
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The traps work because they look completely real and safe to the ducks.
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They see waterways, food, and other ducks, and they simply follow their instincts of perception.
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But in the end, the pond is not real, and the ducks become consumed.
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Coetzee writes,
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them of, where they shall live safely and securely.
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Of course, we aren't ducks, but the distance between the abilities of our perception
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and the true nature of reality is likely inconceivably further than the distance between us and ducks.
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Like the ducks in the decoy systems, we don't misunderstand reality because we're foolish or irrational or doing anything unnatural.
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We misunderstand reality because nature deceives us.
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Reality, to us, is a human decoy system constructed out of human language, and yet its truth is entirely beyond human language.
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This interpretation maps fairly cleanly onto several philosophical theories and schools of thought.
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What is known as transcendental idealism, originally founded by 18th century philosopher Immanuel Kant, argues that, in simple terms,
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human knowledge is forever limited to the appearances of things.
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That is, we can never access the world that exists outside of human perception, the thing in itself, reality.
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What we perceive is inexorably shaped by the a priori structures of the human mind.
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Nineteenth -century philosopher Arthur Schopenhauer argued in his masterwork, The World as Will and Representation, the world is fundamentally divided into two components.
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The will, which is the unified underlying substrate of reality that endlessly strives to sustain and express itself, and representation, which is how the world,
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or the expressions of the will, appears to consciousness.
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According to Schopenhauer, we can never directly access the true reality of things, except through bodily sensations.
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The body gives us a kind of access point to the will, a direct subjective correspondent sending us reports.
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But when trying to interpret and transcribe these reports into concepts and words, we move away from the will and into representation, a distortion.
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Schopenhauer writes,
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namely, that which represents, and this is himself.
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Everything that exists for knowledge and hence the whole of this world is only object in relation to the subject, perception of the perceiver.
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In a word, representation.
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Likewise, the philosophy of Taoism suggests that the observing self, experiencing self, and external world are all inseparable in a state of constant flux,
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carried out by what is referred to as the Tao, the true underlying unified nature of reality.
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But as such, the Tao exists solely beyond concepts and language.
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It cannot be named or understood.
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Ideas and terms, including the Tao itself, can only gesture in its direction.
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Reality in this case isn't exactly a trap, but trying to comprehend and categorize it is.
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We must rather flow with it, letting go of rigidity, explanations, and certainties.
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The opening verse of the Tao Te Ching reads, The Tao that can be spoken is not the eternal Tao.
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The name that can be named is not the eternal name.
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The nameless is the origin of heaven and earth.
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The named is the mother of myriad things.
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Thus, constantly without desire, one observes its essence.
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Constantly with desire, one observes its manifestations.
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These two emerge together but differ in name.
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The unity is said to be the mystery, mystery of mysteries, the door to all wonders.
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In the end, Coetzee seems to possibly be representing a similar kind of inability to comprehend the world
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and define the self through a sequence of character relationships.
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Robinson Crusoe's relationship with his creator, Daniel Defoe, and Crusoe and Defoe's relationship with Coetzee, who, in this story, is sort of their creator.
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In this web of fiction weaved out of experience, it is an obvious what and who is real, if anything.
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Referring back to Coetzee's introduction to his story, when he says, The piece is called He and His Man, or His Man and He.
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I cannot remember which comes first, he or his man.
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There is something subtle yet deeply important in this preface that seems to cleanly summarize the authorship problem of identity and truth.
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We imagine we are the author of our thoughts and selves,
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but we are characters being written by the reports of forces we barely understand or have access to.
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We are both a character being written
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and the author of the character in the same story
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we are not solely the observing mind we are not solely the experiencing body
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and we are not the external world
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we are the sum total of all of it all in constant motion
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we are each an expression of the will the Tao a universal awareness
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or the universe itself whichever word or concept you like because in the end whichever word or concept you like is irrelevant.
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Of course, what is relevant to continuing on and flowing with reality is eating.
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このレッスンの語彙とスピーキングのポイント

このスピーキングレッスンは、動画「This Nobel Prize Winner Has a Really Strange Theory About the Mind」を教材にしています。 繰り返し出てくる語は次のとおりです：character, reality, duck, experience。 この動画には、シャドーイング用の文が162文、単語が2224語あります。 音声の長さは14:28です。 話す速さは1分あたり約154語で、日常会話に近い自然なペースです。 英語の頻出3,000語に含まれる単語は78%だけなので、語彙は難しめです。

この動画の重要語彙

動画に出てくる覚えておきたい単語15語を、発音と意味つきで紹介します。

単語発音意味
duck 名詞/dʌk/鴨, カモ
meal 名詞/ˈmiːl/食事, めし
observe 動詞/əbˈzɜːv/守る, 従う
awareness 名詞/əˈwɛɹ.nəs/意識
trap 名詞/tɹæp/罠
perception 名詞/pɚˈsɛpʃ(ə)n/知覚
consciousness 名詞/ˈkɑnʃəsnəs/意識, 人心地
perceive 動詞/pɚˈsiv/知覚する, 認める
belief 名詞/bɪˈliːf/確信
mystery 名詞/ˈmɪs.t(ə.)ɹi/ミステリー, 不思議
creator 名詞/kɹiːˈeɪ̯təː/造物主, 作り主
entity 名詞/ˈɛn.tə.ti/ [-tʰi]実体
observer 名詞/əbˈzɝvɚ/観測者
sailor 名詞/ˈseɪ.lɚ/船員, 水夫
comprehend 動詞/ˌkɑmpɹɪˈhɛnd/解る, 理解する

動画に出てくる句動詞

単語発音意味
carry out 動詞/ˈkæ.ɹi aʊt/行う, 実行する
get off 動詞降りる

この動画の文法

話し手がよく使っている文型を、動画の実際の表現とともに紹介します。

文型動画での表現
受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てるis sponsored · was awarded · is called
現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係しているhas moved · has it come · has evolved
関係詞節 who / which + 節 — 人や物について情報を加えるwill, which is · someone who tries · had, which was

注意したい発音

話し手はdidn't, I'm, don'tなど、短縮形や弱形を16回使っています。聞こえたとおりの短い形で発音しましょう。

  • 「th」の音: breathe /bɹiːð/, nonetheless /ˌnʌnðəˈlɛs/, nineteenth /ˌnaɪnˈtiːnθ/
  • 「sh」と「zh」の音: conscious /ˈkɑn.ʃəs/, representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/, perception /pɚˈsɛpʃ(ə)n/, consciousness /ˈkɑnʃəsnəs/, interaction /ˌɪn.təˈɹæk.ʃən/
  • 長い単語（アクセントの位置に注意）: representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/, entity /ˈɛn.tə.ti/ [-tʰi], fundamental /ˌfʌn.dəˈmɛn.təl/, interaction /ˌɪn.təˈɹæk.ʃən/, interpretation /ɪnˌtɜːpɹəˈteɪʃən/

日本語話者が苦手な音：

  • /r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: miracle /ˈmɪɹ.ə.kəl/, universal /ˌjunəˈvɜɹs(ə)l/, naturally /ˈnæt͡ʃ.(ə.)ɹə.li/, literary /ˈlɪt.(ə.)ɹə.ɹi/, relation /ɹɪˈleɪʃ(ə)n/
  • /v/ — /b/ にならないように、上の歯を下唇に当てる: observe /əbˈzɜːv/, perceive /pɚˈsiv/, observer /əbˈzɝvɚ/, whichever /wɪt͡ʃˈɛvɚ/, universal /ˌjunəˈvɜɹs(ə)l/
  • /f/ — 「フ」ではなく、上の歯と下唇で出す: belief /bɪˈliːf/, refer /ɹɪˈfɜː/, fundamental /ˌfʌn.dəˈmɛn.təl/, phenomenon /fəˈnɒm.ɪ.nən/, philosopher /fəˈlɑsəfɚ/

この動画での練習方法

  1. まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
  2. まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
  3. 自分の声を録音して元の音声と比べます。duck, meal, observeなどの単語に特に注意しましょう。

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。

シャドーイングのやり方: ステップ別の完全ガイドを読む →