著者

谷山 智彦

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.14, pp.377-400, 2021-03-16

著者

谷山 智彦 Tomohiko Taniyama 桃山学院大学文学研究科

出版者

桃山学院大学総合研究所

雑誌

英米評論 = English Review (ISSN:09170200)

巻号頁・発行日

no.24, pp.261-307, 2010-03-19

---

Tess of the d'Urbervilles is undoubtedly the most famous novel of Thomas Hardy's numerous works. The novel's shocking representations of woman's sexuality made it controversial in Victorian society, which, in turn, made the author more well-known. Through its fierce representations of sexuality, however, the novel revealed problems in Victorian culture surrounding morality, sexuality and marriage. In Victorian culture, women were confined by strict codes of etiquette regarding proper manners, clothing and behavior. Those concerned with sexuality, especially, were most serious. Women were thought of as faithful and asexual beings like pure angels. In the novel, Hardy challenged this view of woman by attempting to depict the truth. In the strictness of Victorian society, however, strict censorship in publishing world made it quite difficult to honestly represent women's sexuality. Hardy, therefore, chose to use metaphorical representations to depict it indirectly. Tess of the d'Urbervilles is filled with metaphorical representations. Representations of light and darkness, particularly, which surround the body of the main character, hold the most important function in the novel. Employing chiaroscuro Hardy visually emphasizes the bodily presence of characters. Meanwhile, he also uses the technique to depicts their emotions about corporeal problems. Through such characteristic expressions, the complex consciousness on the body and sexuality is revealed to readers. The novel's narrative lies in revealing the life of Tess, the history of her love affairs, and growing awareness of her sexuality. She was a woman loved by two very different men, Alec D'Urberville and Angel Clare. Her relationships with the two men awaken her to both the sexuality within her body, something she had never known before, and awareness of the guilt surrounding that awakening. The light and darkness is often used to express her suffering and conflict connected with sexuality. Alec is portrayed as Tess's seducer. He holds strong sexual desire for her physically, and through his strong lust, tries to dominate her. As ways of showing his desire, Alec stimulates her physically using means such as continually touching her body as well as teaching her to whistle. With such curious practices and experiences, her sexual sense of pleasure is awakened, visually emphasized with shining light. Tess is perplexed regarding such unknown bodily enjoyment. Feeling such pleasure, she suffers, bound by a moral consciousness of having violated the something inviolable. Conflicted, she also anxiously desires to be dominated by such pleasure Alec offers. Inevitably this anxiety brings her consciousness to a crisis. To defend her soul from the crisis Alec has brought, she sinks her soul into an abyss of darkness, secluding her consciousness from her body. In this way, she attempts to resist Alec's lust. Whenever he expresses his desire for her, by forcing her awareness away from her from body, she strives to protect the peace within herself. Such movement of consciousness is represented quite visually, especially in the scene where Alec forces himself upon her. Dramatic scenes such as this, which surround her, are darkened, when her soul is separated from her body. The darkness acts to express the absence of her soul in her body, and her will to resist against Alec's domination. Through her experience of life with Alec, she comes to know the forbidden pleasure of her sexual self and an awareness of guilt surrounding such feelings. She suffers through this conflict on sexuality. After the parting from Alec, she meets Angel Clare, a man of very different qualities compared to Alec. Angel is intellectual and philosophical, and Tess gradually becomes more fascinated with him. Her soul feels sympathy for his soul. But Angel also attempts to dominate her, not by bodily lust but by his ideas of womanhood. Though he is welleducated man, his mind is confined by a quite conservative view of women. In this the Victorian view, he idealizes Tess as a pure angelic woman. His desire for her reflects to the scenery of the place where they rendezvous. She is surrounded by misty twilight, the somber space making her appear like a goddess. For Tess, who now has experienced the corporeal pleasure and its sins, this was quite unacceptable. She, therefore, refuses to be the divine female. Her refusal is also represented visually. When she denies Angel's idealized image of herself, her bodily presence is emphasized by light representing her refusal. But she cannot help being attracted to Angel. Aware of her guilt, she feels lust for him. The sexual urge, which Alec awakened in her, pushes her on. She secretly longs for bodily contacts with Angel. Like Tess, Angel is also gradually fascinated by her corporeal beauty. Through such bodily desires they become attracted to each other. As with Alec, the lust between Tess and Angel is also represented by shining light. Light emphasizes the presence of their bodies and their beauty, implying the secret pleasure between them. For both Tess, however, who experienced both love and violation with Alec, and Angel, with his conservative view of women, the pleasure they share inevitably makes them conscious of guilty and suffering. After Tess confesses her secret past, the conflict and suffering over sexuality become decisive. For Angel, Tess's body, which experienced such raw sexuality with Alec, becomes an object of fear. Her sexuality, overwhelming his mind, is expressed by visually by light. Ironically, Tess's experience with Alec becomes the cause of Angel's mental anguish. After this incident, Tess is filled with a growing desire to take responsibility by destroying her sexual self to make Angel suffer. She unconsciously longs for death, but cannot kill herself because she also knows how much she enjoys sexual pleasure. The pleasure prevent her from leaving the body easily, filling her with ambivalent emotions about her sexual body. As a way of resolving this crisis within, Tess idealizes the darkness as a place of rest. The darkness diminishes her bodily senses to a minimum, bringing her an experience of pseudodeath, a temporal rest of mind. The darkness becomes a symbolic expression of her rest and liberation from the body. The last scene expresses this well, where Stonehenge is shrouded in darkness as Angel and Tess meet for their last rendezvous. The darkness symbolizes her rest and liberation, but is quite transient. As time passes, light inevitably intrudes into the darkened space, making her body visible and aware of its presence. Even in the last scene, the light flows into the darkness. Her rest is inevitably broken, indicating the cruel fact that as long as she lives, she cannot escape from the presence of her sexual body. Throughout the history of her love affairs with the two men, the use of chiaroscuro indicates Tess's conflict of mind and emotion over her sexuality. Her sexual sense or desire is metaphorically represented with light. The light strengthens the presence of her sexual body and reveals her hidden sexual desire for men. But feeling such pleasure, Tess suffers a guilty conscience. She feels ambivalent emotions concerning her body. To liberate herself from such suffering, she seeks to destroy her body believing it to be the cause of her distress. As a way to destroy her physical self, she longs for darkness. The darkness temporarily makes her body invisible and diminishes her bodily senses, allowing her to briefly experience bodily liberation and oblivion. Consequently, this becomes a metaphor for her mental rest. Through his expression of visible light and darkness, Hardy expresses visually for reader the suffering that women endured under the strict moral code of the Victorian era. His novel also spotlights the absurdity and double standard of Victorian oppression of sexuality on women.

著者

石島 博 前田 章 谷山 智彦

出版者

情報処理学会

雑誌

研究報告数理モデル化と問題解決(MPS) (ISSN:09196072)

巻号頁・発行日

vol.2010, no.1, pp.1-13, 2010-09-21

---

本論文では, 不動産が立地する,Google Earth(GE) などの地球儀・地図上の座標にピンを打ち,金融工学の理論に基づいて評価した不動産の価格とリスクを表示させるシステム 「不動産バリュエーション・マップ」 を提案する. 本システムは,金融工学を地理情報システム (GIS; Geographic Information System) 上に,融合・展開する新しいモデルである.不動産は,個人や企業等にとって最も大きな資産であるにも関わらず,株式などの金融資産とは異なり,その売買の意思決定において,手軽に利用・活用できるデータや分析ツールが圧倒的に少ない.このような状況に 1 つの解決策を提案すべく,クラウド時代の Web 上のデータや GE などの高度な地球儀・地図アプリケーションを効果的に用いることにより,不動産バリュエーション・マップを構築する.This paper presents a system called "Real Estate Valuation Maps" which displays prices and risks of target real estate by clicking the pin at which it is located on the globes or maps such as Google Earth (GE). These prices and risks are rigorously evaluated based on the financial theory which are previously developed by authors. Hence this system can be regarded as a new Geographic Information System in the sense that financial engineering techniques are driven on it. Although real estate is no doubt the largest asset for individuals and firms, there are few data or tools available when they make a decision to buy or sell real estate. The situation is quite different from the one concerning financial assets such as stocks. Hence we are to present the system in the era of cloud computing which effectively uses data on the Web and well-developed globe or map applications such as GE.

著者

石島 博 前田 章 谷山 智彦

雑誌

研究報告数理モデル化と問題解決(MPS)

巻号頁・発行日

vol.2010-MPS-80, no.1, pp.1-13, 2010-09-21

---

本論文では, 不動産が立地する,Google Earth(GE) などの地球儀・地図上の座標にピンを打ち,金融工学の理論に基づいて評価した不動産の価格とリスクを表示させるシステム 「不動産バリュエーション・マップ」 を提案する. 本システムは,金融工学を地理情報システム (GIS; Geographic Information System) 上に,融合・展開する新しいモデルである.不動産は,個人や企業等にとって最も大きな資産であるにも関わらず,株式などの金融資産とは異なり,その売買の意思決定において,手軽に利用・活用できるデータや分析ツールが圧倒的に少ない.このような状況に 1 つの解決策を提案すべく,クラウド時代の Web 上のデータや GE などの高度な地球儀・地図アプリケーションを効果的に用いることにより,不動産バリュエーション・マップを構築する.