- 著者
- 楠 明子 Kusunoki Akiko
- 出版者
- 名古屋大学英文学会
- 雑誌
- IVY (ISSN:09142266)
- 巻号頁・発行日
- no.41, pp.21-42, 2008-11-30
In contrast to Urania and her sonnet sequence,the aspects of Love's Victory, Mary Wroth's only extant play, which have hitherto attracted the most critical attention are the constraints on Wroth's expression of her views of female agency. Yet Wroth's representations of women's sense of self in this play need to be further explored in terms of her response to dramatic representations of womanhood in other English Renaissance plays, in particular to the plays of Shakespeare. Insightful comparisons of Wroth's works and Shakespeare's plays were made in pioneering studies by Josephine Roberts, Barbara Lewalski and Naomi Miller, but since then not much critical work on Wroth's play has adopted this perspective. It is almost certain that Wroth knew Shakespeare, probably even personally, through William Herbert, who was her lover/cousin and one of Shakespeare's patrons. She must have been quite familiar with Shakespeare's plays; indeed, she may have seen almost all the court productions of Shakespeare. This essay will explore the concerns expressed by Wroth in Love's Victory in relation to a number of problems left unresolved in Shakespeare's plays, as well as with reference to the representations of these concerns in Urania Part I and Part II. These issues will include the problems of male jealousy, the changeability of men's emotions, and women's awareness of gender ideologies in society, especially those related to their ageing and their powerlessness. Among Shakespeare's plays, the discussion will centre on Othello (1604) and The Winter's Tale (1611), referring also to Romeo and Juliet (1593) and Twelfth Night (1600). As Alison Findlay has demonstrated, Love's Victory was probably performed in some part of the Garden or the Great Hall of Penshurst Place. Most critics find Wroth's attitude to gender ideologies in Jacobean society in the play less challenging than is the case in the two parts of Urania and the sonnet sequence. Explanations for this are usually linked to the likelihood that the play was most probably intended or performed for the Sidney inner circle. And yet, many of the members of that circle must have known Shakespeare's plays extremely well. The essay thus argues that, for an audience who had knowledge of Shakespeare's treatments of women's issues, Love's Victory constituted a challenging response to social assumptions about gender boundaries. Through the delicate manipulation of Shakespeare's treatments of women's issues, and their revision from female points of view, Wroth in fact offered to her audience of the Sidney circle not the happy traditional pastoral comedy which Love's Victory at first sight appears to be, but a quite radical view of gender distinctions in Stuart England. Wroth's challenging attitudes even to the familial discourse of Sidney/Herberts has been discussed in Marion Wynne-Davies' recently published, ground-breaking study of Love's Victory (Familial Discourse 89-103). Though not paying much attention to the relationship of Wroth's play to Shakespeare, Wynne-Davies discusses the significance of Wroth's play for the genre of tragi-comedy, a popular literary form at the time, in the political context of 1612-1619. This essay will finally discuss Wroth's challenge to contemporary gender assumptions in the light of Wynne-Davies' reading of the play as "the emergent politicisation of tragi-comedy (Familial Discourse 103).本論は2007年度名古屋大学英文学会サマーセミナー(2007年7月20日)における講演に基づくものである。
- 著者
- 楠 明子
- 出版者
- 東京女子大学
- 雑誌
- 英米文学評論 (ISSN:04227808)
- 巻号頁・発行日
- vol.50, pp.59-74, 2004
1604年11月1日、OthelloがWhitehall Palaceで上演された時、当時Queen Anneの側近だったLady Mary Wroth (c. 1587-1653)が観劇したのはほぼ確実といえる(Miller:"Engendering Discourse:"170)。彼女は自らも牧歌劇Love's Victory (c. 1620)を書き、1605年1月、宮廷での十二夜の祝いにはQueen Anne主催のBen Jonson作The Masque of Blacknessの上演にも参加したほど演劇好きだった。彼女の恋人はShakespeareのパトロンのWilliam Herbert (1580-1630)、第三代Earl of Pembrokeであったから、Shakespeareと面識があった可能性も高い。Wroth作の散文ロマンスUrania I・II部、戯曲Love's Victory、そしてUrania Iと合本の形で刊行されたソネット詩集Pamphilia to Amphilanthusには、Shakespeareの作品を想起させる箇所が多い。本論では、Othelloを強く意識して書かれたと思われるUrania第II部のなかのエピソードである、主人公のパンフィリァ王国女王のPamphiliaと、彼女の夫となるタータリア王Rodomandroの話を取りあげる。Uraniaの特徴の一つは、散文ロマンスでありながらストーリーが登場人物の会話体で進行していく部分が多いことである(Miller:"Engendering Discourse:"155-6)。ここにもWrothの演劇への関心が窺える。また、この独特の形態のおかげで、ロマンスと演劇というジャンルの違いは2作品を比較するのにあまり大きな支障とならない。両作品における「黒」の表象を比べてみることで、イギリス・ルネサンスの白人女性の異文化に対する認識を、主にジェンダーの観点から考察する。Wrothが男性作家のつくりあげた当時の文学伝統にいかに自らの作品を順応させようとしたかではなく、彼女がOthelloという作品のどのような点を問題として捉え、Uraniaのなかでその点をいかに書きかえているかに焦点を当てる。その結果、Othelloのどのような面が照射されるかを考えてみたい。
1 0 0 0 OA 世界シェイクスピア上演をとおした異文化理解教育
世界シェイクスピア上演(翻訳、翻案も含む)に焦点をあわせて「演劇をとおした異文化理解教育」の研究を行った。シェイクスピアと異文化理解教育の接合に関しては、本研究代表者が実質的にパイオニアである。本研究では、次世代の研究者と共に、異文化理解教育に資する世界シェイクスピア上演を理論と実践の両面から解明する基盤の構築を行なった。3年間で、異文化理解教育に資する世界シェイクスピア上演の多様な実例を見出すと同時に、今後の世界シェイクスピア演劇をとおした異文化理解教育のあり方に有意義な提言を行うことができた。