著者

小野 良子

出版者

桃山学院大学

雑誌

英米評論 = ENGLISH REVIEW (ISSN:09170200)

巻号頁・発行日

no.28, pp.5-35, 2014-03-18

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Introduction 1. Feminine Mystique: American women in 1950s 2. The Second Wave of Feminist Movement: American women in 1960s 3. Hollywood Shakespeare and its Artistic Limitation: Zeffirelli's Taming of the Shrew Conclusion Notes Bibliography This paper is an attempt to examine whether the feminist movements of the 1960s had a particular impact on Franco Zeffirelli's filmed production of The Taming of the Shrew in 1967. The play was first performed on Elizabethan stage and reflected gender politics of the Elizabethan age. The story portrayed the process how the shrew was instructed and molded to the ideal wife by her newly wedded husband. Shakespeare's Taming of the Shrew created the taming plot as comedy with a happy ending of the married couple. Zeffirelli's Shakespearean comedy expected an utterly different audience living in the age of women's liberation. The feminist's movement prompted re-evaluation of the existing social framework authorized by the patriarchal ideology. Zeffirelli's adaptation was a farcical comedy with an ambiguous ending, presenting both the latest feminist's reading and antifeminist backlash on screen. Zeffirelli's Taming of the Shrew was never an academic reproduction of Shakespearean work, but a Hollywood commodity that sells Shakespeare for huge commercial profits.

著者

小野 良子

出版者

桃山学院大学総合研究所

雑誌

人間文化研究 = Journal of Humanities Research,St.Andrew's University (ISSN:21889031)

巻号頁・発行日

no.16, pp.137-174, 2022-02-23

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In Shakespeare's King Richard Ⅱ, John of Gaunt, Duke of Lancaster,described England before the reign of Richard Ⅱ as "other Eden,"lamenting "This land of such dear souls …/ Is now leased out." TheDuke implied that the political failure of the king had corrupted the "garden"image of England and destroyed England's greatness inherited fromthe Black Prince, Richard Ⅰ. King Richard Ⅱ was written and staged in 1595 as the initial play in asequence about the Lancastrian phase of English history. The first edition(Q1) was published in 1597 and promptly followed by two furtherissues (Q2 and Q3) in 1598. It was the first play-text to prove its popularity,which indicates the "garden" image of England should have beenshared among the Shakespearian audience and readers. This paper is an attempt to examine the myth of England as "the secondEden," tracing back the origins of the legend to Classical mythologyand history. The first chapter consists of three parts: a survey of "Britannia,"ancient Greek and Roman mythology, and Arthurian legends. Thesecond chapter gives a closer reading of "Britannia" under the RomanEmpire.

著者

小野 良子

出版者

桃山学院大学

雑誌

英米評論 = English review (ISSN:09170200)

巻号頁・発行日

no.28, pp.5-35, 2014-03

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Introduction 1. Feminine Mystique: American women in 1950s 2. The Second Wave of Feminist Movement: American women in 1960s 3. Hollywood Shakespeare and its Artistic Limitation: Zeffirelli's Taming of the Shrew Conclusion Notes Bibliography This paper is an attempt to examine whether the feminist movements of the 1960s had a particular impact on Franco Zeffirelli's filmed production of The Taming of the Shrew in 1967. The play was first performed on Elizabethan stage and reflected gender politics of the Elizabethan age. The story portrayed the process how the shrew was instructed and molded to the ideal wife by her newly wedded husband. Shakespeare's Taming of the Shrew created the taming plot as comedy with a happy ending of the married couple. Zeffirelli's Shakespearean comedy expected an utterly different audience living in the age of women's liberation. The feminist's movement prompted re-evaluation of the existing social framework authorized by the patriarchal ideology. Zeffirelli's adaptation was a farcical comedy with an ambiguous ending, presenting both the latest feminist's reading and antifeminist backlash on screen. Zeffirelli's Taming of the Shrew was never an academic reproduction of Shakespearean work, but a Hollywood commodity that sells Shakespeare for huge commercial profits.

著者

小野 良子 Yoshiko ONO

雑誌

桃山学院大学総合研究所紀要 = ST.ANDREW'S UNIVERSITY BULLETIN OF THE RESEARCH INSTITUTE (ISSN:1346048X)

巻号頁・発行日

vol.25, no.3, 2000-03-25

著者

小野 良子

出版者

桃山学院大学

雑誌

人間文化研究 = Journal of humanities research St. Andrew's University (ISSN:21889031)

巻号頁・発行日

no.4, pp.5-35, 2016-02-26

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This paper is an attempt to re-examine the narrative technique adopted in The Great Gatsby. The first chapter deals with the structure and the authority of the first-person narrative. The second chapter analyzes how Gatsby, introduced as the main character of the book, is portrayed from the narrator's point of view. The narrator assumes the role of the omniscient "I" and endeavors to recollect the smallest details of his encounter with Gatsby ; however, the `authorized' story-telling reveals the psychological depth of the narrator himself and his emotionally biased judgements about Gatsby. The first-person narrative fails to present the clear portrayal of Gatsby, only to create the character in the way the narrator wants to see.

著者

小野 良子

出版者

桃山学院大学

雑誌

英米評論 (ISSN:09170200)

巻号頁・発行日

vol.13, pp.51-70, 1998-12-21

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Neptune's Triumph for the Return of Albion was composed as the Twelfth Night masque for the Court Christmas. Ben Jonson wrote the masque in answer to the request from Prince Charles and the Duke of Buckingham who had returned from a Spanish mission. Charles and Buckingham had made a secret journey to Spain to negotiate the prince's marriage with the Spanish Infanta and to bring her home to England. The Spanish match had been a favorite and ambitious project of King James. However, after long negotiations the prince and the duke returned home resentfully, and the Jacobean court was divided between James and Prince Charles concerning England's Continental policies. Jonson's masque dealt with the safe return of Prince Charles from his misson to Spain; and yet the subject-matter was to pay homage to King James's political wisdom and the consequent triumph for the victorious return of his son. Neptune and his court was dentified with James I and his court and the argument of the masque was presented as an ideal version of the recent political events. In fact, Charles's mission to Spain brought nothing fruitful to England; and much worse, King James was pushed into a new and hard course in foreign policy. Nevertheless, Jonson's loyalty to the State as the court poet urged him to rewrite English history and to create another myth of Jacobean England as the 'Fortunate Isles'. Jonson was convinced that the poet had obligation to serve the State and to sustain wise government by providing the monarch with good counsel. Yet Jonson was never ignorant of the fact that the masquewriter's function which the poet himself believed to be was not identical with the one that the court audience expected. Jonson's awareness of this gap was demonstrated in the comic dialogue between the 'Poet' and the 'Master-Cooke' of the masque. The main masque celebrated the ideal reign of James I by identifying it with the myth of Ocean God, Neptune. And, by the employment of the poet figure as masque-writer of the masque in progress on the stage, Jonson exposed that the masque world was an illusion, a fiction created by the poet. The meta-masque device introduced in Neptune's Triumph was thus a Jonsonian way of manifestation that the poet's invention alone could achieve the ideal transformation of the Monarchy.

著者

小野 良子

出版者

桃山学院大学

雑誌

英米評論 (ISSN:09170200)

巻号頁・発行日

vol.15, pp.57-71, 2000-12-20

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The female figures in Shakespeare's comedies, such as Rosalind in As You Like It and Viola in Twelfth Night, are traditionally portrayed as healthily asexual heroines by women actors on the modern stage or screen. The disguised heroine as witty, eloquent, and beautiful boy who is erotically alluring to another female figure in the play reveals in the final act the female body in the female clothes to celebrate her own marriage to a male superior. The cross-dressing of the female figure is simply taken for granted as a theatrical convention and never raises sociopolitical issues concerning sexuality and gender among the modern audience. However, for the critical reader of Shakespeare's plays transvestism and 'the body beneath' of the female figures are of much consequence in speculating on the representation and its reinterpretation of the Elizabethan stage. Every Shakespeare student knows that there were no professional women actors on the English stage before 1660, and that the female roles had been played by young male actors. The taking of female parts by boy actors should not be dismissed as the convention. Indeed, this fact has raised crucial issues of postmodern cultural criticism among Shakespearean readers. From the recent critical point of view, identity, either gendered or sexed, has been seen as a historical production. The human subject is considered the ideological product of the relations of power in the Elizabethan patriarchal society. The theatre then becomes an agent of the absolutist state, reproducing the state's strategies and celebrating and confirming its power. The purpose for my essay is to examine the process by which power is produced and legitimated on the Shakespearean stage and to lead to the argument which explores possibilities of reinterpretation and its cultural production of Shakespeare's comedies on the modern Japanese stage. This paper traces the contemporary anti-theatrical campaign and its discourse which condemned the closs-dressing of the boy actor as the threat to the male identity and hierarchical society itself; and then speculates upon the relation between the boy actor and the woman he plays-the imaginedbody of a woman, a staged body of a boy actor-and how clothes embodied and determined a particular sexual identity and contradictory fantasies of the body beneath.