著者

伊藤 ゆかり 伊藤 ゆかり ITO Yukari イトウ ユカリ Ito Yukari

出版者

山梨県立大学

雑誌

山梨国際研究 山梨県立大学国際政策学部紀要 = Yamanashi glocal studies : bulletin of Faculty of Glocal Policy Management and Communications (ISSN:21874336)

巻号頁・発行日

no.15, pp.1-10, 2020

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Venus is one of the history plays by Suzan-Lori Parks. Its protagonist is Saartjie Baartman; known as the Hottentot Venus, she was taken from South Africa to London and put on a freak show in 1810 to die in Paris in 1816. Her remains were displayed at a museum in Paris until 1976. She symbolizes the victimization of African women in the colonial period. However, Parks's play reveals the possibility of the Venus being an accomplice, and has evoked much controversy. Venus is the play of fragmentation. Parks fragments the story of The Venus into 31 scenes. With a play-within-play and historical information inserted, the audience cannot grasp the play as a whole. The figure of The Venus is fragmented into several ones, too, from a girl in Africa, a freak on the show, to the medical object. Because of the fragmentation, what the audience can see on the stage is a ghost in history. At the same time, the audience is also fragmented into the voyeur, the spectator, and the accomplice. At the end of the play, The Venus asks for a kiss, that is, affectionate physical contact which a ghost could not wish for.

著者

伊藤 ゆかり

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.85, pp.183-187, 2008

著者

伊藤 ゆかり 伊藤 ゆかり Yukari ITO イトウ ユカリ Ito Yukari

出版者

山梨県立女子短期大学

雑誌

山梨県立女子短期大学紀要 (ISSN:03850331)

巻号頁・発行日

no.35, pp.63-71, 2002

著者

伊藤 ゆかり

出版者

山梨県立大学

雑誌

山梨国際研究 : 山梨県立大学国際政策学部紀要 (ISSN:18806767)

巻号頁・発行日

vol.4, pp.47-56, 2009-03-06

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Automobiles are one of the most significant inventions not only in society but also in cultures in the United States. We can often find its symbolic use in the works of American writers, and Paula Vogel is no exception. This paper examines how she depicts cars in The Long Christmas Ride Home and How I Learned to Drive. The Long Christmas Ride Home tells a story of seemingly typical American family.All the characters are played by puppets and performers. The puppets make it easier for the audience to imagine their invisible cars, which confines the family within its small space; the family cannot escape from the car. The car is sometimes regarded as their home, and other times it is like a human being, one of the family members who share their mortality. On the other hand, How I Learned to Drive focuses on the relationship between the niece and the uncle who teachers her how to drive as well as sexually abuses her in the car. Here Vogel makes the best use of the sexual images of automobiles in American society. Furthermore Vogel show the similarities between cars and human bodies; they both offer the joy of gratifying any deadly impulse and of controlling everything. Thus, these two plays theatrically reveal the close connection between a human body and car.