著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

no.61, pp.9-28, 2015-03-31

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Since the beginning of the 20th century the Homeric epics have been the main focus of historical discussions on "the Trojan War" in the Mycenaean Age and the actual societies and cultures of the later periods. In this paper I envisage the Iliad as not so much a historical document as a fictional work and propose to make clear the poet's social vision which should have appealed to his contemporary audience near the end of the Dark Age. The literary world of the Iliad, as J. Goold has pointed out, is made up of the four model societies: those of the Greeks at Troy, Troy itself, the gods on Olympus and the Greeks at the age of Homer, of which the last one is described briefly on the Shield of Achilles and in similes. From this general view I proceed to put in the foreground the depiction of the city at war - a secularized and reduced Iliad - on the Shield (Il. l8.509-540) and to look from there into 'the vanishing point' on which the 'parallel lines' of the other three societies should converge in a poetic perspective. At the end of this dynamic structure the victorious Achilles, who insults the defeated Hector's dead body and has become a helpless victim of physical force, is saved from this fatal mechanism of perpetual violence by the divine familial affection and the old king Priam's action of paternal love for his son. And just after the reconciliation, the entire narrative concludes with Hector's funeral which symbolizes the continuation of Troy's social life. Thus Homer seems to show his original view in which the type of his Trojan society, an urban civilization with the great potentialities of mediating social conflicts and resolving mental crises, can repair the grave defects inherent to such an excessively competitive organization as his Greek army and provide good guidance for the people of many emerging city-states of his time.

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

vol.60, pp.1-36, 2014-03-31

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There has been a long discussion since antiquity about the abrupt ending of the Aeneid which leaves the readers with a very disturbing impression: at the decisive duel in the twelfth book Aeneas, after having hesitated for a moment and inclined to spare Turnus' life, kills him, suddenly driven by fury and anger. On this unusual last scene the ancient commentary of Servius has presented a typical "optimistic" view, attributing the glory of pietas both to the hero's hesitation and his killing for revenge. The present paper attempts to offer another interpretation, which will acknowledge his hesitation as showing a great desire to be relieved of the burden of sorrowful and useless war and his vengeance for the death of Pallas as revealing his deep sense of guilt and his innermost longing to punish himself. Thus the death of Turnus would be foreshadowing Aeneas' own dying in the near future which is predicted repeatedly in the epic. We shall arrive at this conclusion after the detailed consideration of how the hero reacts to the deaths of Dido, Pallas, Lausus and others.

著者

小川 正廣

出版者

日本英文学会

雑誌

大会proceedings

巻号頁・発行日

vol.79, pp.167-169, 2007-05-19

著者

サルスティウス [著] 小川正廣訳

出版者

京都大学学術出版会

巻号頁・発行日

2021

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

vol.59, pp.1-33, 2013-03-31

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In 1956 more than 1,000 Japanese soldiers who had been detained for six years in the Fushun and Taiyuan War Criminals Management Centres of the People's Republic of China were released without any punishment after their painful confessions of all the sinful acts committed in China during the Second World War and their heartfelt apologies to the Chinese. This unusual event has been called the Miracle in Fushun. The present paper discusses the process of how these typical Japanese Devils (Riben guizi in Chinese) were mentally rehabilitated and morally reformed to be ordinary human beings, by closely comparing their case with that of another most devilish character who appears in Virgil's Aeneid and is also spiritually regenerated after the death of his son: Mezentius, the Etruscan cruel tyrant and terrible warrior. In conclusion it will be pointed out that, although the Japanese war criminals were legally forgiven by the Chinese government and Mezentills, having no more intention than opportunity of seeking forgiveness, punishes himself by facing death resolutely, the difference does not affect the sincerity of the ex-Japanese soldiers' repentance, especially because they have been feeling and even trying hard to show publicly, since the unexpected merciful judgement of the Chinese, all the deeper remorse for their past crimes and the stronger desire for lifelong atonement to the victims who were sacrificed by them to the Japanese invasion of China and their own brutality.

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

vol.61, pp.9-28, 2015-03-31

---

Since the beginning of the 20th century the Homeric epics have been the main focus of historical discussions on "the Trojan War" in the Mycenaean Age and the actual societies and cultures of the later periods. In this paper I envisage the Iliad as not so much a historical document as a fictional work and propose to make clear the poet's social vision which should have appealed to his contemporary audience near the end of the Dark Age. The literary world of the Iliad, as J. Goold has pointed out, is made up of the four model societies: those of the Greeks at Troy, Troy itself, the gods on Olympus and the Greeks at the age of Homer, of which the last one is described briefly on the Shield of Achilles and in similes. From this general view I proceed to put in the foreground the depiction of the city at war - a secularized and reduced Iliad - on the Shield (Il. l8.509-540) and to look from there into 'the vanishing point' on which the 'parallel lines' of the other three societies should converge in a poetic perspective. At the end of this dynamic structure the victorious Achilles, who insults the defeated Hector's dead body and has become a helpless victim of physical force, is saved from this fatal mechanism of perpetual violence by the divine familial affection and the old king Priam's action of paternal love for his son. And just after the reconciliation, the entire narrative concludes with Hector's funeral which symbolizes the continuation of Troy's social life. Thus Homer seems to show his original view in which the type of his Trojan society, an urban civilization with the great potentialities of mediating social conflicts and resolving mental crises, can repair the grave defects inherent to such an excessively competitive organization as his Greek army and provide good guidance for the people of many emerging city-states of his time.

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集 (ISSN:04694716)

巻号頁・発行日

no.54, pp.1-24, 2008

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Virgil is the most important classical author for the creation of Dante's Divine Comedy. The present paper discusses how this ancient poet is treated in the poem and why the Comedy can be regarded as an epic rather than a "commedia", which was the original title of the work and probably means a story with a happy ending. Although Virgil is paid the deepest respect as Dante's master and guide in the Comedy, his limitations are repeatedly shown mainly in theological matters. In particular he lacks in deep understanding of human sin and Christian salvation, so that he is to disappear before Beatrice who can fully purify Dante's soul and lead him through the paradise. In respect of natural virtues and human intellectual power, however, he is so excellent that his guidance through the underworld, successfully finished, represents a fortunate union of the classical humanism and the medieval Christianity. But there is another aspect of Virgil: the great spirit who stands for Limbo. In Dante's hell this special place contains, besides the traditional residents of pious Jews before Christ and unbaptized children, the various pagan poets and philosophers who, despite their outstanding human achievements and their being innocent except for original sin, will not be given divine grace for ever. Why cannot those best pagans be saved? The question is put in Paradiso but remains mysteriously unanswered. Thus Dante casts a doubt on the Christian doctrine, while depicting the supreme bliss of his alter ego elevated to the vision of God. It is because of this unprejudiced view of human conditions that the Comedy should be ranked along with classical epic poetry and still has great spiritual value for us today.

著者

小川 正廣

出版者

名古屋大学

雑誌

名古屋大學文學部研究論集. 文學 (ISSN:04694716)

巻号頁・発行日

vol.42, pp.183-218, 1996-03-31

著者

小川正廣著

出版者

京都大学学術出版会

巻号頁・発行日

1994

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集 (ISSN:04694716)

巻号頁・発行日

vol.54, pp.1-24, 2008-03-31 (Released:2008-10-01)

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Virgil is the most important classical author for the creation of Dante’s Divine Comedy. The present paper discusses how this ancient poet is treated in the poem and why the Comedy can be regarded as an epic rather than a “commedia”, which was the original title of the work and probably means a story with a happy ending. Although Virgil is paid the deepest respect as Dante’s master and guide in the Comedy, his limitations are repeatedly shown mainly in theological matters. In particular he lacks in deep understanding of human sin and Christian salvation, so that he is to disappear before Beatrice who can fully purify Dante’s soul and lead him through the paradise. In respect of natural virtues and human intellectual power, however, he is so excellent that his guidance through the underworld, successfully finished, represents a fortunate union of the classical humanism and the medieval Christianity. But there is another aspect of Virgil: the great spirit who stands for Limbo. In Dante’s hell this special place contains, besides the traditional residents of pious Jews before Christ and unbaptized children, the various pagan poets and philosophers who, despite their outstanding human achievements and their being innocent except for original sin, will not be given divine grace for ever. Why cannot those best pagans be saved? The question is put in Paradiso but remains mysteriously unanswered. Thus Dante casts a doubt on the Christian doctrine, while depicting the supreme bliss of his alter ego elevated to the vision of God. It is because of this unprejudiced view of human conditions that the Comedy should be ranked along with classical epic poetry and still has great spiritual value for us today.

著者

山下 宏明 小川 正廣 神澤 榮三

出版者

名古屋大学

雑誌

一般研究(B)

巻号頁・発行日

1992

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前年度の成果を踏まえ、研究分担者各自の専攻領域の研究を改めて問いなおすことを課題とした。すなわち、山下は、改めて平家物語を内在的に規定している‘語り'の問題を物語と音曲の両面にわたって検討し、説話文学との差異を明らかにし、語り行為論的観点からする平家物語論に対して評価を加えた。音曲面については東京芸術大学を場とする共同研究グループとの音楽的成果を生かしたり、語り行為論的側面については、これも芸大での共同研究者の一人である兵藤裕己氏による肥後に伝わる座頭琵琶の語りの実情からする成果をめぐって、平家物語を口誦詩的観点のみに限定して論じきれないことを論じた。神澤はローランの歌との比較から口誦詩論的に平家物語を論じ、その成果を國文学者たちが企画した“あなたが読む平家物語"の1冊『芸能としての平曲』に求められて執筆、近く東京都内の出版書肆から刊行の予定である。なお山下の成果も、その企画の1冊『平家物語の受容』におさめ、すでに刊行ずみである。フランスの口誦詩との比較研究については先例もあるが、外国文学研究者が平家物語に即して検証したのは、佐藤輝夫氏以来の成果であろう。小川については専攻のギリシャ古典の関する学位論文の出版に従事し、その作業を進めるうえで本研究の成果を踏まえた。ギリシャの口誦詩は、世界のいわゆる叙事詩の原型をなすもので、平家物語を口誦詩論的に検討するうえでも有効なモデルであることを改めて確認した。

著者

小川 正廣

出版者

名古屋大学

雑誌

基盤研究(C)

巻号頁・発行日

2004

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本研究では、個人および共同体・社会階層・文明としての人間とその社会のあり方を、空間的・時間的にそれらの内外に存在する「他者」とのかかわりという観点からとらえ、その諸相を古代ギリシア・ローマの古典文学やその伝統を継承した西洋文学の中に探った。具体的には、主に次の点に研究成果を要約することができる。1.ギリシア・ローマ文明が他者との関係を軸として固有の人間観・社会観を発展させたプロセスを、他の古代文明の場合との比較にもとづいて概観した。2.他民族との関係を戦争と平和という両極の状況としてとらえた場合、ホメロスのギリシア叙事詩では戦争と平和の間に乗り越えがたい溝が存在し、他方ウェルギリウスのローマ叙事詩では、戦争の価値は平和の確立という明確な目的によって相対化されたことが明らかになった。3.奴隷と女性という社会の内側の他者に対する見方の変容過程を、ギリシア古典期の通念と両者の地位に顕著な変化をもたらしたヘレニズム・ローマの人間観との比較によって、および、そうした社会的・思想的変化を背景として創作されたローマの劇文学と恋愛詩の分析によって浮かびあがらせた。4.国家の君主がとるべき他者に対する寛容な態度や、人間が他者に恩恵を与えるときの精神的なあり方について、ローマのストア哲学者セネカの論説を中心に検討した。5.異教文化と古典文学の伝統を代表するローマ詩人ウェルギリウスが、キリスト教化した西洋中世を代表するダンテの叙事詩において他者としてどのように扱われ、またどのように評価されたかを検証し、西洋文化固有の他者概念にもとづくヨーロッパ文明の特質について考察した。