著者

蒔田 裕美

出版者

法政大学スポーツ健康学部

雑誌

法政大学スポーツ健康学研究 = Bulletin of Faculty of Sports and Health Studies Hosei University (ISSN:21853703)

巻号頁・発行日

vol.10, pp.15-22, 2019-03-30

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山田耕筰は、人間の抱くあらゆる感情を健康な肉体美を通して表現することを理想とするイザドラ・ダンカンの革命的な舞踊思想に感化され、舞踊を創作した。ダンカンの舞踊は音楽に依存していたが、山田はリズムを媒介として音楽と舞踊の一体化を理想とする「舞踊詩」を独自に考案し、自身の内から沸き起こった詩情を音楽と舞踊で表現した。因襲的なバレエの形式を打破し、感情を自然な動きに翻訳することを目指したダンカンのモダン・ダンスは、西洋音楽の伝統に縛られていた山田が独創性を発揮する作品を生み出す原動力となったのである。

著者

蒔田 裕美

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.40, pp.89-109, 2010

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Philaster, or Love Lies a-Bleeding, a collaboration by Francis Beaumont and John Fletcher, was one of the most successful tragicomedies that appeared on the Jacobean stage. It is said that Shakespeare followed the fashion set by them in writing romances such as Cymbeline and The Winter's Tale. Arethusa, the heroine of Philaster, represents-at least in some aspects-the "patient Griselda" type, a romantic character appearing in medieval and Renaissance Europe, noted for her enduring patience and wifely obedience. This motif can be found in Shakespeare's Cymbeline and The Winter's Tale. The purpose of this paper is to consider the heroine character of Philaster by comparing it with Shakespeare's Griselda heroines, and by showing some new features found in Beaumont and Fletcher's work. Shakespeare's heroines recognize that their sufferings are derived from the gods. Thus they endure their trials conventionally until time reveals the truth and things end in the spirit of "all's well that ends well," as in the Griselda tradition. Arethusa, however, already deviates from the typical Griselda heroine motif in the sense that she doesn't wait for a happy ending and, instead, takes passionate action to get married to her lover. In conclusion, Beaumont and Fletcher succeed in creating a sensational play, as the subtitle "Love Lies a-Bleeding" symbolically suggests.