著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

no.61, pp.9-28, 2015-03-31

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Since the beginning of the 20th century the Homeric epics have been the main focus of historical discussions on "the Trojan War" in the Mycenaean Age and the actual societies and cultures of the later periods. In this paper I envisage the Iliad as not so much a historical document as a fictional work and propose to make clear the poet's social vision which should have appealed to his contemporary audience near the end of the Dark Age. The literary world of the Iliad, as J. Goold has pointed out, is made up of the four model societies: those of the Greeks at Troy, Troy itself, the gods on Olympus and the Greeks at the age of Homer, of which the last one is described briefly on the Shield of Achilles and in similes. From this general view I proceed to put in the foreground the depiction of the city at war - a secularized and reduced Iliad - on the Shield (Il. l8.509-540) and to look from there into 'the vanishing point' on which the 'parallel lines' of the other three societies should converge in a poetic perspective. At the end of this dynamic structure the victorious Achilles, who insults the defeated Hector's dead body and has become a helpless victim of physical force, is saved from this fatal mechanism of perpetual violence by the divine familial affection and the old king Priam's action of paternal love for his son. And just after the reconciliation, the entire narrative concludes with Hector's funeral which symbolizes the continuation of Troy's social life. Thus Homer seems to show his original view in which the type of his Trojan society, an urban civilization with the great potentialities of mediating social conflicts and resolving mental crises, can repair the grave defects inherent to such an excessively competitive organization as his Greek army and provide good guidance for the people of many emerging city-states of his time.

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

vol.60, pp.1-36, 2014-03-31

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There has been a long discussion since antiquity about the abrupt ending of the Aeneid which leaves the readers with a very disturbing impression: at the decisive duel in the twelfth book Aeneas, after having hesitated for a moment and inclined to spare Turnus' life, kills him, suddenly driven by fury and anger. On this unusual last scene the ancient commentary of Servius has presented a typical "optimistic" view, attributing the glory of pietas both to the hero's hesitation and his killing for revenge. The present paper attempts to offer another interpretation, which will acknowledge his hesitation as showing a great desire to be relieved of the burden of sorrowful and useless war and his vengeance for the death of Pallas as revealing his deep sense of guilt and his innermost longing to punish himself. Thus the death of Turnus would be foreshadowing Aeneas' own dying in the near future which is predicted repeatedly in the epic. We shall arrive at this conclusion after the detailed consideration of how the hero reacts to the deaths of Dido, Pallas, Lausus and others.

著者

朔 啓二郎 三浦 伸一郎 瀬川 波子 野田 慶太 中嶋 恵美子 西尾 美登里 安永 晋一郎晋一郎 柳瀬 敏彦 SAKU Keijiro MIURA Shin-ichiro OGAWA Masahiro ZHANG Bo NODA Keita NAKASHIMA Emiko NISHIO Midori YASUNAGA Shin'ichiro YANASE Toshihiko

出版者

日本機能性食品医用学会

雑誌

機能性食品と薬理栄養 : 日本機能性食品医用学会認定誌 : Associate journal of Japanese Society for Medical Use of Functional Foods = 機能性食品と薬理栄養 : 日本機能性食品医用学会認定誌 : Associate journal of Japanese Society for Medical Use of Functional Foods (ISSN:13482564)

巻号頁・発行日

vol.10, no.1, pp.367-406, 2016

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第13回日本機能性食品医用学会総会会長講演

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

vol.59, pp.1-33, 2013-03-31

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In 1956 more than 1,000 Japanese soldiers who had been detained for six years in the Fushun and Taiyuan War Criminals Management Centres of the People's Republic of China were released without any punishment after their painful confessions of all the sinful acts committed in China during the Second World War and their heartfelt apologies to the Chinese. This unusual event has been called the Miracle in Fushun. The present paper discusses the process of how these typical Japanese Devils (Riben guizi in Chinese) were mentally rehabilitated and morally reformed to be ordinary human beings, by closely comparing their case with that of another most devilish character who appears in Virgil's Aeneid and is also spiritually regenerated after the death of his son: Mezentius, the Etruscan cruel tyrant and terrible warrior. In conclusion it will be pointed out that, although the Japanese war criminals were legally forgiven by the Chinese government and Mezentills, having no more intention than opportunity of seeking forgiveness, punishes himself by facing death resolutely, the difference does not affect the sincerity of the ex-Japanese soldiers' repentance, especially because they have been feeling and even trying hard to show publicly, since the unexpected merciful judgement of the Chinese, all the deeper remorse for their past crimes and the stronger desire for lifelong atonement to the victims who were sacrificed by them to the Japanese invasion of China and their own brutality.

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集. 文学 (ISSN:04694716)

巻号頁・発行日

vol.61, pp.9-28, 2015-03-31

---

Since the beginning of the 20th century the Homeric epics have been the main focus of historical discussions on "the Trojan War" in the Mycenaean Age and the actual societies and cultures of the later periods. In this paper I envisage the Iliad as not so much a historical document as a fictional work and propose to make clear the poet's social vision which should have appealed to his contemporary audience near the end of the Dark Age. The literary world of the Iliad, as J. Goold has pointed out, is made up of the four model societies: those of the Greeks at Troy, Troy itself, the gods on Olympus and the Greeks at the age of Homer, of which the last one is described briefly on the Shield of Achilles and in similes. From this general view I proceed to put in the foreground the depiction of the city at war - a secularized and reduced Iliad - on the Shield (Il. l8.509-540) and to look from there into 'the vanishing point' on which the 'parallel lines' of the other three societies should converge in a poetic perspective. At the end of this dynamic structure the victorious Achilles, who insults the defeated Hector's dead body and has become a helpless victim of physical force, is saved from this fatal mechanism of perpetual violence by the divine familial affection and the old king Priam's action of paternal love for his son. And just after the reconciliation, the entire narrative concludes with Hector's funeral which symbolizes the continuation of Troy's social life. Thus Homer seems to show his original view in which the type of his Trojan society, an urban civilization with the great potentialities of mediating social conflicts and resolving mental crises, can repair the grave defects inherent to such an excessively competitive organization as his Greek army and provide good guidance for the people of many emerging city-states of his time.

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集 (ISSN:04694716)

巻号頁・発行日

no.54, pp.1-24, 2008

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Virgil is the most important classical author for the creation of Dante's Divine Comedy. The present paper discusses how this ancient poet is treated in the poem and why the Comedy can be regarded as an epic rather than a "commedia", which was the original title of the work and probably means a story with a happy ending. Although Virgil is paid the deepest respect as Dante's master and guide in the Comedy, his limitations are repeatedly shown mainly in theological matters. In particular he lacks in deep understanding of human sin and Christian salvation, so that he is to disappear before Beatrice who can fully purify Dante's soul and lead him through the paradise. In respect of natural virtues and human intellectual power, however, he is so excellent that his guidance through the underworld, successfully finished, represents a fortunate union of the classical humanism and the medieval Christianity. But there is another aspect of Virgil: the great spirit who stands for Limbo. In Dante's hell this special place contains, besides the traditional residents of pious Jews before Christ and unbaptized children, the various pagan poets and philosophers who, despite their outstanding human achievements and their being innocent except for original sin, will not be given divine grace for ever. Why cannot those best pagans be saved? The question is put in Paradiso but remains mysteriously unanswered. Thus Dante casts a doubt on the Christian doctrine, while depicting the supreme bliss of his alter ego elevated to the vision of God. It is because of this unprejudiced view of human conditions that the Comedy should be ranked along with classical epic poetry and still has great spiritual value for us today.

著者

小川 正廣 OGAWA Masahiro

出版者

名古屋大学文学部

雑誌

名古屋大学文学部研究論集 (ISSN:04694716)

巻号頁・発行日

vol.54, pp.1-24, 2008-03-31 (Released:2008-10-01)

---

Virgil is the most important classical author for the creation of Dante’s Divine Comedy. The present paper discusses how this ancient poet is treated in the poem and why the Comedy can be regarded as an epic rather than a “commedia”, which was the original title of the work and probably means a story with a happy ending. Although Virgil is paid the deepest respect as Dante’s master and guide in the Comedy, his limitations are repeatedly shown mainly in theological matters. In particular he lacks in deep understanding of human sin and Christian salvation, so that he is to disappear before Beatrice who can fully purify Dante’s soul and lead him through the paradise. In respect of natural virtues and human intellectual power, however, he is so excellent that his guidance through the underworld, successfully finished, represents a fortunate union of the classical humanism and the medieval Christianity. But there is another aspect of Virgil: the great spirit who stands for Limbo. In Dante’s hell this special place contains, besides the traditional residents of pious Jews before Christ and unbaptized children, the various pagan poets and philosophers who, despite their outstanding human achievements and their being innocent except for original sin, will not be given divine grace for ever. Why cannot those best pagans be saved? The question is put in Paradiso but remains mysteriously unanswered. Thus Dante casts a doubt on the Christian doctrine, while depicting the supreme bliss of his alter ego elevated to the vision of God. It is because of this unprejudiced view of human conditions that the Comedy should be ranked along with classical epic poetry and still has great spiritual value for us today.