著者

木曽 明子

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.9, pp.1-13, 1991-12-20

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

木曽 明子

出版者

京都大学

巻号頁・発行日

1987

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博士論文

著者

木曽 明子

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.14, pp.1-26, 1996-09-15

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。Euripides the tragedian is often called the inventor of European comedy. Indeed the plays he wrote in the last years of his career, Iphigenia among the Taurians. Helen and Ion, include most of the elements which were to become the stock features of comedies of Menander, Plautus, Shakespeare. Moliere, Oscar Wilde and even Joe Orton of the present day. How can a tragedy be presented as a tragedy but be appreciated as a comedy? I will try to examine the dramatic art of Euripides as shown in Ion, a play which, though an entry in the tragic competition at the festival of Dionysus, shows a treatment of situation and character differing subtly from the tragic norm and introducing a new attitude to human nature and action. The following points will be discussed from the perspective of what is comic (1-14, 16-18) and what is tragic (15) in the play : 1. Hermes' appearance as Prologist in the style of Roman comedy. 2. The introduction of "household matters, things we use and live with, " as phrased by Aristophanes. 3. Parody in the mode of Aristophanic stage. 4. The attitude of watching which causes detachment rather than involvement on the part of the audience. Peace and harmony in mythical prospect. 5. The so-called "Sophoclean irony" in stichomythia utilized to create tragicomic effects. 6. The fall of divine authority-Apollo caricatured. 7. Comic effect through hyponoia. 8. Qui pro quo in the scene of father-and-son recognition. 9. Comic effect through simple gestures on trochaic tetrameter. 10. Xuthus as the prototype of pater iratus and his deception. 11. Topicality treated with satire. 12. Diversion from the main plot in the style of comic parabasis. 13. The significance of paronomasia on Ion as the symbol of the rebirth of Athens. 14. Things contrary to expectation-the archetype of servus dolosus in his role manipulating his mistress. 15. Tragic monody by the heroine, as the centripetal force supporting the dramatic structure. 16. Disjointed structure-contrary to the Aristotelian prescription for successful tragedy. 17. Anagnorisis(discovery) and peripeteia(change of fortune) brought about by accident, not by the neccesity and probability of action. 18. The play as a ritual in celebration of the rebirth of Athens, with Athena ex machina to honour the occasion.

著者

木曽 明子

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.18, pp.1-17, 2002-10-30

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。Demosthenes (384-322 B. C.) has kept the unchallenged name as first and foremost of the ancient Greek orators, which means that his speeches well deserve attention not only as delivered "live" to the citizens of the democratic Athens of the fourth century B. C., but also as literary works which stand up to various demands of artistic criticism of different ages and cultures. Among the ancient critics who appreciated Demosthenes' speech was Dionysius of Halicarnassus, who arrived at Rome around 30 B. C. to become a tutor of declamation. Declamation at that time not only constituted part of the educational program for the youth of the upper class Romans but also was very popular as a sort of entertainment in which the performances of professional declamators attracted the audience just as the recitals of popular singers did. In such circumstances Dionysius who used the speeches of Greek orators as model material in his tutorial of declamation was in a favorable position to discover one of the keys to the miraculous power of Demosthenes' speech---euphony. Dionysius examined how his sentences were composed and found that the word arrangement in the composition was the secret of the phonetical beauty and charm of Demosthenes' speech. The orator proved to be the best exploiter of the linguistic characteristics of Greek language which allows considerable license in word order without contravening grammar. The orator could provide euphony in his speech as in poetry without losing clarity of speech which is the vital prerequisite in persuasion.

著者

木曽 明子

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.18, pp.1-17, 2002-10-30

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

木曽 明子

出版者

北見工業大学

雑誌

北見工業大学研究報告 (ISSN:03877035)

巻号頁・発行日

vol.30, no.2, pp.33-61, 1999-03

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One or the principal interests western civilization has taken over from the Greeks is rhetoric or techniques of oratory. Rhetoric was a product of democratic society in which the power of speech played an in important part not only in political and litigious scenes but also in social and intellectual life. The present writer examines how Demosthenes, who as an orator and stetesman controlled the fate of Athens, exploited and developed the art of persuasion in one of his earliest public speeches AGAINST ANDROTION.