著者

清水 純子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.64, pp.35-54, 2014-03

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"Spy" is a person whose job involves secretly gathering and reporting information about another country, organization, group, or enemies without the consent of the information-holders. Espionage is a set of clandestine and constitutional activities carried out for government or commercial purposes. Yet, as a matter of course, spying is illegal and is punishable by law. Thus, espionage is almost always accompanied by danger; it is unavoidable that some risks will be run in this kind of work. In a word, spying is a mission that may jeopardize one's life. The duties of a spy are required most in wartime. During the 20th century, when many wars occurred, there was much demand for spying and espionage: the governments of many countries needed able spies, especially for military purposes.In the film world, spy films have always been quite popular because of their entertaining qualities: they contain thrilling action, suspense, and the seduction of beautiful women. Among countless spy films, the most popular is the 007 series, which premiered in 1964. 007 focuses on a British gentleman spy called James Bond. Although it is difficult to find female spy movies that can rank with the 007 series, the classic Mata Hari might just be a match for 007. It is said that beauty and charm are the merits of the female spy, while the man she seeks is at the center of power and holds confidential information. Through the so-called "honey trap"—the use of a seductive woman to tempt a man into passing highly classified information to her government or syndicate—female spies play an active role in the 1930s film world. Among several 1930s female spy films, this paper focuses on Dishonored and Mata Hari. I will examine the universal themes that these two movies encompass: the anxiety of excessive information management; concealment through the power of the government; and the importance of personal dignity, rights, and happiness.

著者

清水 純子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.53, pp.75-108[含 英語文要旨], 2008

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A touch of the poet is one of the striking tragicomedies of Eugene O'Neill. Through A touch of the poet, O'Neill proves that he can not only write good tragedy but also excellent drama, which comically tasteful.The setting of A touch of the poet is from the morning till midnight of 27 July, 1828, in a forlorn tavern in the suburbs of Boston. Middle-aged Cornelius Melody is an immigrant from Ireland where he believes to have been a "gentleman". Although Melody is now degraded to a drunken owner of the dirty, cheap tavern, and actually supported by his hardworking wife and daughter, he refuses to realize his true self and narcissistically praises his manly, handsome self-image refl ected in the mirror. However, Melody's illusion of "being a gentleman" is shattered by the severe antagonism of the rich Harfords, of which his beautiful daughter, Sara, is going to be a member. Sara falls in love with Simon Harford, who is an heir to the rich Harford family."The uncanny" in Melody is "the repetition of the same thing", his recurrent illusion or self-deception of being a "gentleman". "Being a gentleman" is not uncanny, but what is uncanny is the difference between his present state as a shabby drunkard and his illusory past as a glorious, gallant gentleman. What is uncanny is elody's obsession with the past and his present state of being obsessed by the illusion of "being a gentleman".When the symbol of Melody's glorious past and male vanity, the beautiful English military uniform, is torn by Harford's subordinate men, Melody ultimately realizes that he was possessed of the past glory, void pride and illusion. Melody painfully learns that even in the U.S.A., a man without money or social status is not respected as a "gentleman". Deprived of all his pride, Melody is forced to recognize his poor social and financial status; however, instead of abandoning his aristocratic bravado, Melody is freed from the affectation of aristocracy and heroism and reveals his true self, that is, his easy bum nature. Despite Melody's sudden transformation incharacter, his faithful wife, Nora, proudly says, "I'll play any game he likes and give him love in it. Haven't I always? (She smiles.) Sure, I have no pride at all—except that". Eugene O'Neill depicts the foolishly old-fashioned dreamer, Cornelius Melody, with irony, humor and pathos.

著者

徳永 聡子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.66, pp.37-45, 2015-03 (Released:2015-00-00)

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Medieval literary works popular in manuscript culture were not necessarily inherited by the print culture. Then which texts were chosen to be published by the first generation of printers in England? This paper offers a preliminary overview of the reception of medieval literature in England in the transitional period from manuscript to print by comparing the list of publications of William Caxton, England's first printer, and that of his follower Wynkyn de Worde. While Caxton's publishing style was largely influenced by the manuscript tradition and distinguished by his translation (especially from French prose romance), de Worde seems to have been more active than his master in not only expanding the market for religious works and romance (both prose and verse) but also cultivating a relationship with his contemporary authors.

著者

広本 勝也

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.39, pp.1-22, 2001

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The Masque of Anarchy (writ. 1819) shows an eclectic, combined form of the ballad, masque and dream-narrative, among which masque is a courtly entertainment that was performed for the elite during the 16th_17th century. This poses a question as to why he uses it in the poem, which deals with liberation of the working class in the early 19th century. Thus I should like to analyse its art and thoughts in relation to literature of the Renaissance period. Unable to repress his resentment about Peterloo Massacre on 16 August 1819, Shelley was compelled to write this poem. It occurred during the rally held at St. Peter's Fields, Manchester, where approxi-mately 600, 000 workers gathered to stand up for their political rights and to listen to Henry Hunt, a radical orator, who advocated them. The militia and regular troops moved in to crack down on the unarmed crowd, leaving 11 killed and about 500 injured. The poem of 91 stanzas, with four to five lines each, largely consists of two parts. In the first half (I-XXXIII) the poet describes the pag-eant of allegorical figures, such as Murder, Fraud, Hypocrisy and many other Destructions. At the end of it Anarchy, a sinister character, with `God,' `King' and `Law' inscribed on his brow, came over, and along with the troop he stomps his worshippers to death. However, Hope, a maniac maid, throws herself before the hooves of horses of the procession Anarchy leads for the London Parliament. At this instant a mysterious Shape emerges to save her and the crowd sees Anarchy has already died and his runaway horse trampling his retainers. The death of Anarchy marks the turning point of the poem, and the Shape, the author's mouthpiece, delivers a discourse about the slavery of the English people (XXXIX-LI), defines liberty (LII-LXIV), and tries to arouse them to organize a political gathering to achieve it (LXV-XC). In this poem one may notice the Shape personifies the dens ex machina, which is reminiscent of Sabrina, the Nymph, in Comus and a band of angels who save the Son of God in Paradise Regained. Introduc-ing the conventional device, Shelley does not differ much from John Milton in the way that he presents the dramatic change from chaos into order. In the Stuart age masques were shown to mythologize the absolute rule of the King on the assumption that people could live in peace, happiness, and abundant wealth, as long as he governs the nation. From Shelley's perspective, however, it is a deceiving myth that the King gives them the fundamental basics of the Golden Age since he is, in fact, the source of all misery and chaos. Thus the poet creates a topsy-turvy world. In the similar way that Ben Jonson had resort to the literary means of `naming,' (or `labelling') to paint the real nature of charac-ters in his poems, Shelley satirically identifies the high-ranking officials with allegorical figures as mentioned above. In it, real politicians aregiven abstract names such as Murder, Fraud, and Hypocrisy. Shelley makes us perceive that they change into abstract beings without human characteristics due to their self-alienation. It may sound like a litany rather than a myth when the Shape presents the doctrine of the oppressed and envisions liberation in the latter half of the poem. Still, we can see that the description of legend-ary figures such as Chronos, the discourse about gold, and the image of spring conjure up a mythological atmosphere. The author attempts to parody the traditional masque, making the rule by `God, King, and Law' represent misrule in his work. We can conclude that he has constituted a masque for the working class, introducing conventional imagery, setting, and device, and reversing the value of the ruling class espoused by masque writers of the Renaissance period.

著者

土屋 博政

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.41, pp.66-101, 2002

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The Japan Unitarian Mission was in a crisis of getting no financial support from American Unitarians any longer in late 1896. Then, Clay MacCauley, its superintendent, went back to the U.S. in the next early spring to appeal to them. As a result, he succeeded in persuading them to support the Mission again. His return to Japan was, therefore, supposed to be a very happy one. But, in fact, he did not have "the pleasantest kind of a homecoming", because he had scarcely landed before he heard that he must leave his house as soon as possible. Fukuzawa had been waiting simply for his return to get him out. Keio-gijuku was expanding fast and needed the land on which his house stood, for dormitories to be built at once. MacCauley was perplexed. He could find no available house. In his own words, "Almost in despair I concluded to house myself for a time in our hall." Why was Fukuzawa unwilling to supply another house to MacCauley? The answer was simple: he had lost his interest in the Unitarians while MacCauley was away. The letters the former superintendent, Arthur May Knapp, wrote to the A.U.A.(the American Unitarian Association) in 1897 reveal what happened to Fukuzawa. Knapp returned to Japan "almost exactly synchronous with MacCauley's departure". Fukuzawa welcomed him warmly. One of Knapp's letters tells us that Fukuzawa took him into his confidence and regard more than ever. People called him the second Dr. Simmons, because up to the time of his death the latter had been for thirty-years Fukuzawa's most intimate friend and trusted counselor. Fukuzawa had been contemplating changes in the organization of his university at the time, and asked Knapp for his assistance in the matter. Knapp's radical plan included the following ideas: that the institution would take upon itself an international character seeking a close affiliation with like institutions in America, and that the constitution would be altered so as to permit the appointment of Knapp, and other Americans to be named by him, to the Board of Overseers. Fukuzawa was pleased with his plan and talked of incorporating the Unitarian seminary, Senshin-gakuin into Keio-gijuku. He was confident that the A.U.A. would back up Knapp. As Knapp feared, however, his scheme could not be carried out without the support of MacCauley, who was the representative of the A.U.A., since Knapp had no official position. Unfortunately the two were on bad terms. Consequently, the plan was not approved. Now we see why Fukuzawa was disappointed in Knapp, MacCauley and the A.U.A.. Less than a year later Fukuzawa had a stroke.

著者

Shea David P.

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.70, pp.17-38, 2017-12

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Recently, the noted American film director, Regge Life, came to Keio University as a guest speaker to talk about his films, particularly his newest feature, Cocktail Party, an adaptation of the award-winning Japanese novel by Tatsuhiro Oshiro. The film suggests that harm is an inevitable part of the U.S. military presence in Japan, in spite of stated policy intentions. Further, by making the protagonist from Tokyo, the suggestion is made that all of Japan is implicated in the relationship with America – and, by extension, the larger world and its languages, cultures, and ethnicities. In his talk, Mr. Life also spoke about one of his first documentary films, Doubles, which introduces multiracial children who have rights and allegiances to two languages and two cultures. In this essay, I discuss issues raised by Mr. Life, with particular reference to student response to Cocktail Party, as well as my personal experience raising bilingual, bicultural children on the one hand, and dealing with being defined in racial terms as a outsider in Japan, on the other. I argue that while race is fundamental to understanding American society, it was not until I came to Japan that I understood what being white (or colored) really means. The issue is relevant for Japanese who, like the young protagonist in Cocktail Party, are caught up in global events and struggle to assert agency and responsibility in an increasingly multiracial, multilingual world.

著者

杉浦 悦子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.43, pp.1-33, 2003

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Sigrid Nunez, the author of three books, A Feather on the Breath of God(1995), A Naked Sleeper (1996), and Mitz: A Marmoset of Bloobsbury(1998), published her fourth book For Rounenna (2001), which she beginswith a reference to her first book.After my first book was published, I received some letters.Thus referring to her first book, Nunez tells us that the narrator of herfourth book is the same person with that of her first book. Though Nunezleft Staten Island in her second and third books and took Manhattan orLondon as her terrains, She returns in this book to Staten Island, where shehad begun her narrative in A Feather on the Breath of God.The first section of my essay will focus on the descriptions of thehousing project in Staten Island in both books. It is a residential area forthose who are not yet accepted into the States for several reasonsrespectively, including immigrants who have just arrived. Almost all thepeople who live there share one feeling, a feeling that they do not belongwhere they exist. They feel that they are not in the right place, and that theyare on their way from somewhere else to somewhere else, in short, afeeling of moving, of homelessness, of diaspora.On the other hand, for people outside the project, it is also a mistake.They never tread into it, let alone go across it. They will go around ithowever long it might take. They, the people outside, can somehowdistinguish the residents of the project from other Americans. By whatbrand, by what mark can they tell the people of the project from the otherAmericans? People of the project are strangers, outsiders, aliens for them.They live in the States, some might have a green card, some might have anAmerican citizenship, but they are still foreigners in America and thusStaten Island is symbolically a foreign country inside, or rather, at the heartof, America.Out of Staten Island, 'I' the narrator tries to escape into Manhattan. Thesecond section of this essay will focus on "A Feather on the Breath ofGod", the third chapter of the first book, in which 'I' is dedicated to aballet. This chapter can be read as a memory of a phase in the process ofgrowth in which 'I', the girl who has an American citizenship as abirthright and speaks American English as her mother tongue, has to cut offand cast off her foreignness rootwd in her existence in order to be anAmerican.What 'I' find in the world symbolized by a ballet is a way by which togo out of the world of reality and to be accepted into another world. Theformer world is associated with her parents, foreignness and Staten Island,and the latter with art, America and Manhattan. While the former isassociated with order, beauty and purity, the latter with a chaos, a squalor,and impurity.It is suggested that what she is trying to discard is something vital to her,something closely connected to the core of her life by the fact that herdedication to ballet includes abhorrence to eating. She persuades herselfnot to eat by emphasizing the repulsiveness of food imagining what foodturns into once eaten and digested. And the very state of chaos, ambiguityand impurity of food once in our body is precisely the metaphor offoreigners with their ambiguous identities, belonging to plural or nocountries, with languages imperfect and scattered with so many loan wordsand imperfect grammar, the foreignness woven into the texture of her life.As she consciously hates and refuses food, so she abominates and rejectsthe foreigner in herself, in order to be an American, in order to leave thehousing project in Staten Island which symbolizes a foreign country insideAmerica.However, when she grows up to be an English teacher for immigrants,that other self, that foreign self, which is supposed to have been cast off inher puberty, still abides in the depth of her heart, though oppressed, hiddeneven to herself. That is why 'I' is so ravished by a Russian immigrant, whois not only married but also a villain, almost a criminal, once suspected of amurder in his old country. If it had not been for that other self, she wouldnot have been so attracted by him or by his language. A Feather on theBreath of God depicts the process in which 'I' meets her other self, whichleads her to write lives for those who cannot write themselves. The thirdsection of my essay will explicate how through her love for a foreignerwho reminds her of her own father she gets awakened to her instinct fortranslation as an act of mediation between foreigners and other people.For Rouenna, Nunez's fourth book, is a short biography of a daughter ofPolish immigrants with whom 'I' share some period of childhood in thehousing project in Staten Island, but at the same time, it is a story of StatenIsland itself. Or rather a story of leaving and returning Staten Island.'I' is now writing in Manhattan. She hasn't been to Staten Island for along time. Though it is a home she had discarded many years before andwhich she has to abhor and reject, she, strangely enough, shares withRouenna a mixture of shame and love for that place. The fourth section ofthis essay will follow the process how Rouenna enables 'I', who has beenleading a lonely and sterile life, revives as a narrator.The vague uneasiness and fear and irresistible attraction 'I' feel towardRouenna derives from the memory of her past revived at her advent, theforeignness she once cut off and threw away in order to be an American.Rouenna appeals to the foreigner who lurks inside 'I'. This is suggested bythe Rouenna's connection with food. Rouenna urges the foreigner to writeher story because she cannot write it herself, to carry it out of her body andconvey it into the world. It is not until after Rouenna's sudden death that'I' realized the significance of their relationship, when her love forRouenna makes her to return to Staten Island and thus enables her to reviveas a narrator after a long sterile period.

著者

小町谷 尚子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.71, pp.55-74, 2019-03

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In the twentieth century Bakhtinian reading, Jack Cade in Shakespeare's Henry VI, Part 2 was regarded as a trickster because he disobeys the ruling class and brings an inversion of values to the world of the play. However, unlike other Shakespearean villains, Cade displays the anarchic nature inherent in heroes of the picaresque narrative which started to spread across Europe contemporaneously with Shakespeare's writing career. Ever a picaro, Cade is consistently a carefree rascal who uses satire to expose society's flaws. The plot revolves around the innocent but willful character of Cade, who claims to be a legitimate successor to the throne, and not a mere puppet of York. Rather than functioning as a subversive character slotted into a story about Henry VI's weak kingship over his nobles, Cade provides an autonomous side story about how a rebel's revolt was stirred up and contained. This paper examines Cade's language and anamorphic discourse to show how Shakespeare created him as an emerging picaresque hero. It then goes on to propose that Shakespeare's use of Cade not as a clownish anti-hero but as a prototype picaro anticipates his later creation of the rogue Autolycus in The Winter's Tale.

著者

Wilcox J. M.

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.44, pp.173-208, 2004

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In ILIAD VI we see a string of small-scale skirmishes, the encounter between Diomedes and Glaukos, the return of Hektor to Troy, and the culminating meeting of Hektor and Andromakhe, a profoundly moving scene due to the forboding sense of permanent separation between husband and wife.In Ernesto Cardinal's epic poem, Cosmic Canticle (tr. by John Lyons), the poet asks the question, 'Do we know the universe's metabolism?' If it is possible to FEEL the metabolism of the universe, I say letting the poetry of Homer flow through one's spirit may provide the opportunity, for the music of the Iliad is quantic like the twilight flashes of fireflies, and its rhythms push and pull and twist throughout its beautiful adamantine structure like the colored planets in their invisible orbits.Taking a look at one of Ando Hiroshige's ukiyoe xylographs (floating world woodblock prints) from One Hundred Views of Edo, 'View from the Massaki Shrine of the Uchigawa Sekiya-no sato Village and the Suijin-no mori Shrine', one can also feel a potent and expansive rhythm, a supreme invisible flow. A kind of fragile sadness subsumes the scene, punctuated by the male and female twin peaks of Tsukubayama, with the crepuscular light washing over the blue mountain and the green grove girded by the disintegrating red paste-like horizon. Yet, unlike Andromakhe and Hektor, we know the eastern and western peaks will be together forever.

著者

大和田 俊之

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.46, pp.143-156, 2005

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This essay explores the diverse aspects of literary nationalism inHerman Melville's renowned essay, "Hawthorne and His Mosses" (1850).Whereas Melville champions the American writers and anticipates theemergence of "American literature," -which means that he persistsin the particular rather than the universal— he himself writes this essayanonymously and pretends as if he were "a Virginian Spending July inVermont." This auctorial strategy can be explained by the theory proposedby Benedict Anderson in his monumental work Imagined Communities(1991). According to Anderson, what differentiates the medieval era fromthe modern time is its sense of time. As the religious communities ofmedieval mind decline, the simultaneous sense of time has come to takeplace where a person can share the same sense of time with a total strangerliving far away. Anderson concludes that this "idea of 'homogeneous, emptytime'," to borrow from Benjamin, enabled to form the idea of nationalism.Then Melville, by disguising himself in the essay as a Southerner who hasnever seen Hawthorne, can be said to be reinforcing the idea of nationalismbecause of his anonymity.Another significant aspect of Melville's essay is that he compares the"excellent books" to "foundlings." Here, he seems to be suggesting thatthe authority of a literary work should be carefully denied. This contradictswith the idea of "possessive individualism" proposed precedently by WaiChee Dimock. However, by referring to the arguments of Ellen Weinauer,where she uncovers the new idea of "literary brotherhood" implied inMelville's works, we conclude that the disappearance of the author's namein Melville's essay not only makes it possible to establish the idea of literarynationalism, but also suggests an alternative way of possessing art.

著者

Wilcox J. M.

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.45, pp.35-69, 2004

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In Book 7 two key events take place: the encounter between Hektor and Aias, and the gathering of the dead. Although Book 7 clearly is not as well-engineered, moving and pivotal as Book 6, the bright velocities of the rhythm and the supple tones of the melody, which seem to alternately squeeze and let go of the language which robustly and chromatically fills out the beadlike arrays of its hexametric structure, tell us it's Homer. The Iliad generates more wonder each time one comes into contact with the magic of its poetry, for one becomes lost among the perpetually evolving and tangible beauties of its musical whirlpools and oscillating rhythms, its chiseled curves and balletic twirls.Adventuring through the 'clang tinkle boomhammer' of James Joyce's tour de force, Ulysses, one comes across the phrase, 'a chemistry of stars'. One may perceive an 'amino charm' and 'harmonic structure' in Richard Powers' musical novel, The Gold Bug Variations, where DNA, a Bach fugue and love intervolve. In one of Emily Dickinson's poems, we hear and see the dynamic and precious lines, 'The prism never held the hues, it only heard them play'. What do all of the above quotes have in common? All could, in fact, be applied to the poetry of Homer, for Homer's universe is both mysteriously remote, yet intensely intimate, bright and strident, yet tender and crepuscular, melodic and fluid, yet sudden and syncopated.One might receive an impression or notice an effect of this type in a xylograph of Ando Hiroshige from his series, Meishi Edo Hyakkei ( A Hundred Famous Views of Edo). In 'Asakusagawa Shubi-no matsu Ommayagashi', we see the distant dots of stars and a proximate boat with closed green cane blinds. Between the seeming calm of river and sky twists a dragon-shaped pine tree, one unbroken (unlike previous ones) by hurricanes. The crisp cusp of the Moon is barely visible. Did a similar slice of outer space arc over the plain of Troy more than three thousand years ago, that evening when Ajax was given the sword on which he would ultimately fall?

著者

浅川 順子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.70, pp.1-16, 2017-12

著者

De Wolf Charles

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶應義塾大学日吉紀要. 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.70, pp.39-56, 2017-12

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著者別名 : 須田, 狼庵(Suda, Roan)

著者

広本 勝也

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.59, pp.1-30, 2011

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This paper concerns the life of Ted Hughes and poems selected from his main works. I begin by presenting an overview of the poet's life, which is indispensable in understanding his works of art. I then analyze ten poems to help us have an insight into the distinctive character of his writings.Edward James Hughes was born on 17 August 1930 in a terraced house in the village of Mytholmroyd, deep in a valley in West Yorkshire and within walking distance of Brontë country. His father, William Hughes, a carpenter, was one of only seventeen men from an entire regiment who had survived the battle of Gallipoli in the First World War. When Hughes was eight, the family moved to Mexborough in South Yorkshire, where William ran a newsagent and tobacconist shop. Ted Hughes was educated at Mexborough Grammar School and explored the moors, having a fascination for the wildlife in the Pennines. After leaving school, he spent two years in National Service as a wireless mechanic in the Royal Air Force in Yorkshire, after which, in 1951, he went up to Pembroke College, Cambridge.He read English for two years, and finding it sterile, changed to a course in Archaeology and Anthropology. After graduating in 1954, he took a number of odd jobs in London: rose-gardener, night-watchman, scullion in a zoo, and script reader at the J. Arthur Rank film company. Frequenting Cambridge, he decided in February 1956 to start a poetry magazine, St Botolph's Review, with some friends. It was at a party to celebrate the publication of the first issue that he met a Bostonian called Sylvia Plath, then a Fulbright scholar at Newnham College.Four months later, Hughes and Plath married in London and found a flat in Eltisley Avenue near Granchester Meadows in Cambridge. After Plath graduated from Cambridge in May 1957, they both moved to Boston in the U.S.A., where they taught and wrote from 1957 until 1959. When they returned to England, they rented a small flat in Chalcot Square in London. Their first child, Frieda, was born there in 1960, and they then moved into a large house, Court Green, in Devon. In 1962, their son Nicholas was born. Soon afterwards, however, Hughes fell in love with Assia Wevill, a poet who visited from London, where she lived after having resided for a long time in Canada. After Plath and Hughes separated, it was tragic that Plath took her own life in February 1963.In 1970, after Wevill committed suicide the previous year, in a mimicking way to Plath, Hughes married a nurse called Carol Orchard, and they lived in Court Green in Devon, where Hughes entered a remarkably productive period of writing in which he produced his major works. Consequently, he was recognized as a distinguished post-war poet, which culminated in his appointment as Poet Laureate in 1984. On 28 October in 1998, he died of cancer, only twelve days after he visited Buckingham Palace to receive the Queen's Order of Merit.Seeking the true way of healing, Hughes takes a shamanic approach to thinking about animals and writing about them. In his first collection of poems, The Hawk in the Rain (1957), he deals with the exuberance of energy, the war experience of his father, mass destruction, and the like. "Childbirth," one of the poems in the book, contrasts the ordinary world with the chaos that threatens a pregnant woman. In the poem, numbers have the symbolic role of restoring order to the surroundings familiar to her."Mayday on Holderness" in his second poetry collection, Lupercal (1960), evokes a grotesque scene of a heap of wastes and mess caused by the Battle of Gallipoli. One image dominating this poem is the sea, where deep-sea fish live among the debris, garbage, and wreckage, and in which the sea symbolizes everyday life, which absorbs everything into it. Another image is a digestive organ that eats up everything, including leftovers, as a mute eater.In "The Voyage" in Lupercal, the sea is nothing but a mystery, incomprehensible to humans. This is reminiscent of John Donne's poem, "Air and Angels," as Professor John Cary has pointed out. In the sea, there is something beyond the experience of men who feel isolated from the world due to the rebuffs of their lovers.According to the astronomy of the 15 th-16 th century, it is supposed that the earth, composed of the dusts of stars which exploded in pre-historic times, will be eaten up by other stars. Based on this idea, "Fire-Eater" in Lupercal, the poet, who is considered a small fire or life on the earth, entertains an ambition of eating big fires, which are gods seen in the shape of stars. Ironically, though, he eats earth instead of fire, after being pierced by a star.In "The Bear" in Wodwo (1967), the poet looks into the skeletal structure of human beings, confronting a bear, which is thought to eat its own meat. As a trial of the initiation of a shaman who wants to acquire esoteric power, he needs to meditate on his own skeleton."Ghost Crabs" in Wodwo is about enormous creatures that crawl out of the sea and stagger along the seashore. They enter into the unconsciousness and dreams of human beings on earth, looking to possess the whole world. They are inducing our souls into the nightmare of irrationality and are horrific in the sense that they are totally unaware of the destructive influence they have upon us. This poem, in which crabs are represented as psychopomps, looks at the self-consciousness of modern man, who is divided internally and externally.A hard-driving knight in "Gog, III" in Wodwo, believes in the principle founded on the puritanical belief that repudiates what his lover wants him to do. Having a negative view of women's bodies, he does not listen to her. Controlling natural energy, and inevitably disappointing her, he is characterized as a leading figure produced in the context of culture, religion, and society, which is contrasted with Coriolanus who succumbs to his mother's plea. Asking questions about modern thoughts in terms of literalism, Crow, a central character, in Crow, From the Life and Songs of the Crow (1970) makes us understand how they are illusory, false, and unfounded. Theories such as scientific determinism, the teachings of Christianity, and sexuality as a driving force, among others, bring forth just words, which have no gripping power on the contemporary mind.Gaudete (1977), a narrative poem composed of a series of episodes, shows the poetic perception and metaphysical visions, and explores the relationships between inner and outer natural energies in the stories of mythology and folklore. One of them particularly draws our attention because it depicts the death of Sylvia Plath, which reminds us of the scene in Samson Agonistes.In conclusion, Hughes, who was disappointed in Christianity, creates a poetic world influenced by ancient mythologies and rites of fertility. Although he is sometimes criticized for the brutality, violence, and sex he makes use of in his works, he attempts to attain a world that surpasses such phenomena. Considering that violence can be viewed as the intrinsic vitality animals have in nature, and that it should not be suppressed by reason, he perceives the emergence of a good conscience through the negative words and images, in trying to find a possible way to restore Eden.

著者

西川 正二

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.58, pp.19-50, 2011

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Akutagawa loved gardens and plants. Fallen leaves and yellow-tinged leaves are his favorite motifs and they are symbolically used in The Oriental Autumn. Classical Chinese scholars' tastes are found in his love for a poor hermitage and such plants as bamboo, lotus and basho, Japanese fibre banana. In The Garden of Shoren-in Akutagwa thinks that the traditional Japanese garden is a work of art. Akutagawa loves to use a deserted garden as a motif and it is usually related to the theme of art. Blending different elements in a garden is a formidable tool for Akutagawa to create his novels. Such motifs as strange eyes, an eerie smile, American sycamore, rose, etc are sometimes used in one text implicitly to refer to some other text. Intertextual connections may be found between The Oriental Autumn and The Smile of the Gods and between Woman and Mother, etc. The Garden and the Yu-yu Villa are interpreted as a story of the creative and devastating imagination of the art of Akutagawa.

著者

徳永 聡子

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.54, pp.59-80, 2009

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はじめに展示ケース1:16・17世紀の大陸本1-1. ジャン・ド・コラ『忘れ難き判決』(リヨン、1561年)[KV0@326.9@Co1@1]1-2. ゴンザレス・デ・メンドーサ『シナ大王国誌』(ローマ、1585年)[KV0@292.2@Go1@1]1-3. フランソワ・ガラス『キリスト教主要真理の神学大全』(パリ、1626年)[KFO@191@Ga1@1]1-4. ピンダロス『祝捷歌集』(ライデン、1590年);ヨハン・ヴァレニウス『ギリシア語文法』(バーゼル、1561年)[KV0@991@Pi1@1]1-5. ルイ・マンブール『カルヴァン派史』(パリ、1682年)[KV@0198.3@Ma1@1]展示ケース2:アーサー王からミルトンまで2-1. リチャード・ブラックモア『アーサー王: 英雄詩』(ロンドン、[1695年])[KV0@931@Ar1@1]2-2. ウィリアム・カムデン『エリザベス女王の年代記』(ロンドン、1625年)[KV@0233.05@Ca1.1]2-3. 『チョーサー全集』トマス・スペイト編 (ロンドン、1687年)[KV0@931@Ch1@1]2-4. ジョン・ミルトン『失楽園』第4版 (ロンドン、1688年)[KV0@931@Mi1@1]展示ケース3:シェイクスピアとその周辺3-1. ウィリアム・シェイクスピア『ジュリアス・シーザー』(ロンドン、[1695?]年)[KV0@932@Sh1@2]3-2. ウィリアム・シェイクスピア『オセロー』(ロンドン、1687年)[KV0@932.Sh1@1]3-3. ボーモントとフレッチャー『悲喜劇集』(ロンドン、1647年)[KV0@932@Be1@3]3-4. トマス・ライマー『古代ギリシア人の実践と万世にわたる良識に鑑みて考察された先代の悲劇』 (ロンドン、1692年);トマス・ライマー『悲劇管見』(ロンドン、1693年)[KV0@932@Ry1@1]3-5. ファインズ・モリソン『旅行記』(ロンドン、1617年)[KVO@290.9@Mo1@1]The Hiyoshi Media Center of the Keio University Library holds a collection of both Western and Japanese early books. Although the size of this collection may not be large, it contains historically significant copies. However, there has been no systematic catalogue nor active use of this collection. The present writer has therefore organized an exhibition of the rare books housed in the Hiyoshi Media Center on the occasion of the Hiyoshi Research Portfolio (HRP), an annual event for introducing research activities at Hiyoshi campus to the public. This paper is a reprint (with some revisions) of the catalogue prepared for the exhibition held at HRP 008. In total sixteen editions of Western old books were selected for the display, ranging from 16 th-century Continental books to 1 7th-century English books, including Jean de Coras's Arrest memorable, dv Parlement de Tolose (Lyon, 1561), Louis Maimbourg's Histoire de Calvinisme par Monsieur Maimbourg (Paris, 1682), William Camden's Annales (London, 1625) and Comedies and Tragedies Written by Francis Beavmont and John Fletcher Gentlemen (London, 1647).

著者

西川 正二

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.54, pp.13-43[含 英語文要旨], 2009

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序論I 絵画購入の経緯と先行研究II クレオパトラのイメージII. 1 絵画のイメージII. 2 演劇におけるクレオパトラII. 3 小説のクレオパトラIII アウグストゥスの意味IV 結論Henry Hoare II transformed Stourhead into his ideal place with the garden, garden architecture, paintings, sculpture, and objets d'art. He acquired Carlo Maratta's Marchese Pallavicini conducted by Apollo to the Temple of Fame in 1758 and commissioned in 1759 a pendant to this, Augustus and Cleopatra, from Anton Raphael Mengs, arguably the most celebrated European painter of the day. This subject is uncommon in the iconography of the seventeenth and eighteenth centuries compared with other Cleopatra's subjects, such as the Death of Cleopatra and Cleopatra's Banquet. As is evident in Cortona's Augustus and Cleopatra it represents Augustus's morally overcoming Cleopatra's temptation. Given his preference for the Choice of Hercules, Henry must have liked its ethical aspect. As Henry had Guercino's Augustus and Cleopatra in mind, he was not satisfied with Mengs's picture: his Cleopatra lacked 'grandeur' or 'majesty'. Yet his criticism implies more than that. As the concept of luxury had been changing in the eighteenth century, Henry needed Cleopatra's gorgeous dress as a symbol of his own luxuries, the garden and his art collection. He did not need an element of sacredness in Cleopatra which he found in Mengs's or Reni's Cleopatra. As Henry was the founder of Stourhead garden and the patron of artists, Henry could identify himself with Augustus, the founder of Rome and the patron of Virgil, whose Aeneid was used as a theme for Henry's garden.Henry's choice of Augustus and Cleopatra may have been influenced by the following books and plays. Sara Fielding's The Lives of Cleopatra and Octavia, whose subscribers include Henry's friends, was published in 1 757. Dryden's All for Love was performed in April, 757 and March, 758. David Garrick's version of Shakespeare's Antony and Cleopatra was published in October, 758 and the play was performed in January, 759. It is reasonable to assume that Cleopatra was one of the favorite topics of conversation among the fashionable circles in London in those years.

著者

不破 有理

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.52, pp.1-24[含 英語文要旨], 2008

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The Red Dragon has closely been associated with the Welsh national identity, but this symbol does not appear in actual form in the Union Jack today. This paper fi rst traces the changes of the dragon both in meaning and form, and then discusses its political connotations in early Arthurian chronicles. The "dragon" in the Old Testament denotes a variety of animals such asfox and whale, while in Greek and Latin it simply refers to a serpent without wings. In the Ancient Roman period, the "dragon" came to have a meaning of "a battle standard" as well as "a mythical creature." But as British Latin sources such as Gildas demonstrates, only the Welsh language adds the meaning of "a war leader" to the word, as is seen in the example of KingArthur's father, Uther Pendragon, "the chief of the war leaders." The Red Dragon in Nennius is emblematic of the British people. The red dragon is, in short, the symbol of military resistance. On the other hand the White Dragon stands for the Saxons who eventually defeat the Britons. It is generally believed that Arthur fought against the Saxons and wore the dragon on his helmet. However, neither of Arthurian chroniclers such as Geoffrey of Monmouth, Wace, and La3amon mentions the red dragon as Arthur's standard. Both the red and white dragon suffered arbitrary interpretations during the twelfth-century under the Norman rule. The present paper argues that Cadwaladr, the last British King, who is also the last Breton hope and thereby linked with the resistance of the red dragon, was the Norman's main political concern. Their suppression of the symbolic power of the red dragonas British icon was more concerned about Cadwaladr than about Arthur.

著者

小菅 隼人

出版者

慶応義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.20, pp.p91-108, 1993

著者

小菅 隼人

出版者

慶應義塾大学日吉紀要刊行委員会

雑誌

慶応義塾大学日吉紀要 英語英米文学 (ISSN:09117180)

巻号頁・発行日

no.45, pp.1-20, 2004

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In ILIAD VI we see a string of small-scale skirmishes, the encounter between Diomedes and Glaukos, the return of Hektor to Troy, and the culminating meeting of Hektor and Andromakhe, a profoundly moving scene due to the forboding sense of permanent separation between husband and wife.In Ernesto Cardinal's epic poem, Cosmic Canticle (tr. by John Lyons), the poet asks the question, 'Do we know the universe's metabolism?' If it is possible to FEEL the metabolism of the universe, I say letting the poetry of Homer flow through one's spirit may provide the opportunity, for the music of the Iliad is quantic like the twilight flashes of fireflies, and its rhythms push and pull and twist throughout its beautiful adamantine structure like the colored planets in their invisible orbits.Taking a look at one of Ando Hiroshige's ukiyoe xylographs (floating world woodblock prints) from One Hundred Views of Edo, 'View from the Massaki Shrine of the Uchigawa Sekiya-no sato Village and the Suijin-no mori Shrine', one can also feel a potent and expansive rhythm, a supreme invisible flow. A kind of fragile sadness subsumes the scene, punctuated by the male and female twin peaks of Tsukubayama, with the crepuscular light washing over the blue mountain and the green grove girded by the disintegrating red paste-like horizon. Yet, unlike Andromakhe and Hektor, we know the eastern and western peaks will be together forever.