著者

小町谷 尚子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.71, pp.55-74, 2019-03

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In the twentieth century Bakhtinian reading, Jack Cade in Shakespeare's Henry VI, Part 2 was regarded as a trickster because he disobeys the ruling class and brings an inversion of values to the world of the play. However, unlike other Shakespearean villains, Cade displays the anarchic nature inherent in heroes of the picaresque narrative which started to spread across Europe contemporaneously with Shakespeare's writing career. Ever a picaro, Cade is consistently a carefree rascal who uses satire to expose society's flaws. The plot revolves around the innocent but willful character of Cade, who claims to be a legitimate successor to the throne, and not a mere puppet of York. Rather than functioning as a subversive character slotted into a story about Henry VI's weak kingship over his nobles, Cade provides an autonomous side story about how a rebel's revolt was stirred up and contained. This paper examines Cade's language and anamorphic discourse to show how Shakespeare created him as an emerging picaresque hero. It then goes on to propose that Shakespeare's use of Cade not as a clownish anti-hero but as a prototype picaro anticipates his later creation of the rogue Autolycus in The Winter's Tale.

著者

小町谷 尚子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学

巻号頁・発行日

no.42, pp.1-17, 2003-03 (Released:2003-00-00)

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An emergent ideology of love in Romeo and Juliet appears to have been central and centrally attacked in the controversy over a defiant daughter in a patriarchal society. Thus, a study of the ways in which Shakespeare deals with an integral part of the family, Juliet and her father, reveals, from one perspective that of how he employs the relationship of the father and the daughter he uses the father's redemption as negotiation of the father-daughter relationship and reconciliation between the feuding families, all of which mirror the social circumstances of the early modern society. From another perspective that of why he questions this kinship bond he employs the relationship among the family for the positive purposes of subversion, thereby again commenting on the social mores of the period. However, Shakespeare does not romanticize or idealize the father-daughter relationship. Rather, in such a relationship he creates a female subject for larger societal issues that inflamed his era. He presents this with those who form a homosocial bond with the heroine to interrogate gender, generational and familial issues, as well as the relationship of the society to the individual. Employing the strategy of Queer Theory, this paper reveals the fiction of forced heterosexual love in a patriarchal society, and then shows that the Nurse is a queer agent who serves as an internal director, manipulating and exerting control over Juliet, ranging frominfluencing the development of Juliet's sexuality to helping her depart from a traditional role as an obedient daughter. Her function and impact seem to be closely related to the qualities she possesses. Thus, the paper's primary focus is upon the role of the Nurse who affects cross-gender relationships for either good or ill.