著者

村里 好俊

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.13, pp.139-140, 2007-02

著者

田吹 香子

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.14, pp.47-60, 2008

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Tim O'Brien's Going After Cacdato is one of his so-called 'Vietnam war trilogy,' but it differs from the others, If I Die in a Combat Zone (1975) and The Things They Carried (1990), because of its unique structure and imaginative story. Although this novel has three separate kinds of chapters, 'The Road to Paris' chapters cannot be independent themselves, and they are often interrupted by his war memories. This structural invasion is brought about by the protagonist Paul Berlin's confusion which is caused on the borderline between the old American dream and the turbulent social situation in 60s America. In the Vietnam War, Billy Boy Watkin's death makes Berlin realize that American fathers of the good old Protestantism can no longer teach their sons how to survive in the new-type of war. On the contrary, the fathers accuse their sons of cowardice, and Abraham-like Lieutenant Sidney Martin representing American fathers leads soldiers as Isaac to the hilltop to offer them up as sacrifices for their God, that is, the United States of America. Once Berlin's conventional view begins to shatter, his fantasy also comes to be unstable. 'The Road to Paris' fantasy assumes a nomadic atmosphere as well as his ancestors' Westward Movement plot, and Berlin as 'an author' cannot put a clear distinction between himself and his characters. He sees Sarkin Aung Wan, Li Van Hgoc and an executed man superimposed on his situation, though in this novel the postcolonial idea of 'fusion' has not been accomplished yet. This metaphysical chaos of Berlin's is best represented in a deserter, Cacciato. His elusive image is also reminiscent of the indefinable Vietnam War and American society of the 60s, and it stands for the idea of the coming Postmodern era, especially of Jacques Derrida's idea, 'differance.' Likewise, Berlin, who sees Cacciato as a person to lead him, intends to maintain his aporia with both of his choices, an obligation to his homeland and freedom from it; in the peace talks with Sarkin, his alter ego representing freedom, he does not reach any agreement and they are split apart on either side of the Eurasian continent. Yet, here, some hints of Berlin's defiance against the modern civilization are suggested; his indecisiveness implicitly rejects self-determination characteristic of civilized society, and he also refuses to work as a soldier of America by letting Cacciato free. In addition, with Lieutenant Corson's suggestion of Cacciato's survival, the tentative end of Berlin's fantasy seems to make him go back to the starting point of his journey. This circular form of his narrative is a sign of farewell to the linear modernistic narrative. Rewriting the 60s in such a complicated style from the point of view of the 70s, Berlin and the author O'Brien might have tried to preserve secretly what they wanted to insist, and showed a faint but critical attitude toward the amnestic 70s when American people refused to talk about the Vietnam War.

著者

伊藤 真紀

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.13, pp.61-72, 2007-02

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It was the life's work of P.B. Shelley to discover the relationship between ascendance and submission. His works which include poetry and prose express revolutionary suggestions on the contemporary world. Shelley regards the contemporary world as being in a state of imperialism caused by the advent of Industrial Revolution. He endeavours to stop the spread of a disparity in wealth by Capitalism and to correct the egoistic posture of wealthy classes. He writes various works to create his ideal world. Shelley's Vegetarianism is one of his many attempts at protest. Shelley considered that eating had a great effect on creatures including human beings. Based on the idea that animal food produces physical and psychic corruption, Shelley inhibits animal food and recommends Vegetarianism. Shelley issued a pamphlet about Vegetarianism, therewithal he wrote a note about it in Queen Mab (1813). In 1812 Shelley wrote "A Vindication of Natural Diet", which describes the reasons for and the significance of the Vegetarian Diet. In the essay, he tries to prove the idea that diet has an influence not only on people but on all creatures. As a meat diet brings people to fierceness based on vice, decomposition and selfishness, people have to abstain from a meat diet. If people and all other creatures change from a meat diet to a Vegetarian Diet, they will be calm, peaceful and even agricultural in character. Shelley regards the meat diet as the root of all evil in modem capitalism.

著者

林 恵子

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.18, pp.1-16, 2012-02-29

著者

馬塲 弘利

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.13, pp.150-151, 2007-02

著者

石田 由希

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.19, pp.47-58, 2013-02-28

著者

宮原 牧子

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.13, pp.99-118, 2007-02

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Francis James Child collected forty traditional ballads related to Robin Hood in The English and Scottish Popular Ballads. He called Robin "a ballad hero", and, in fact, it is remarkable that a single character has been sung about in so many ballads. In the medieval times Robin was an outlaw virtuous and courteous, but after the second half of the sixteenth century, when the broadside ballad was in its prime, Robin lost his natural nobility, becoming weak in battles and supple in behaviour. William Edmondstoune Aytoun's parodic ballad, "Little John and the Red Friar" was written after Robin's fame had fallen to the ground. The new hero is Little John, who struggles to maintain the manners of his master and gets out of all bounds. The story is similar to that of "Robin Hood and the Curtal Friar", a broadside ballad in the late eighteenth century. John is now only a 'thief' or may be the most obsequious outlaw in the history of Robin Hood ballads, and the readers may laugh or smile at him because what he says and does is extremely anachronistic. Aytoun, however, did not intend to make a mockery of the Robin Hood legend, for the last words of his ballad, 'Is Sherwood now what Sherwood once hath been?', tell of his nostalgia for the good old times of Robin Hood and his company. As his biographer, Theodore Martin wrote '[1] et no one parody a poet unless he loves him', Aytoun loved and knew Robin Hood ballads enough to make such an elaborate parody. His ballad is a mixture of the medieval and broadside ballads: he borrowed the style from the medieval structure while he wrote the story based on the broadside. Aytoun revived the Robin Hood legend with his parodic ballad. Graeme Stone, the editor of Parodies of the Romantic Age, who explains that parody is at its best a uniquely creative form of literary criticism, clarifies its nature: [Parody] may query overstatement, dispose of sentimentality, remote historical process, re-introduce social influence, banish outworn forms, revive discarded forms thought to have long been exhausted, and rescue art from narcissism. The medieval Robin could be a parody of King Arthur as some critics point out, and Robin in the broadside ballads is a travesty of himself in the medieval ones. Aytoun created a new ballad of the outlaws as a sequel to the traditional ballads, and the parody made him an heir of the legend of Robin Hood.

著者

吉田 有紀

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.8, pp.33-47, 2001-11-30

著者

江口 京子

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.13, pp.151-154, 2007-02

著者

橋口 保夫

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.13, pp.148-150, 2007-02

著者

岡 照雄

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.10, 2004-02-27

著者

渡辺 真理子

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.1, pp.31-45, 1994-11-30

著者

林 恵子

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.14, pp.1-14, 2008

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コールリッジが「動機なき悪意が動機探しをしている」とIagoのOthelloへの復讐に関して言及して以来、多くの批評家は彼の動機に様々な関心を示してきた。"But partly led to diet my revenge, / For that I do suspect the lusty Moor / Hath leaped into my seat" (2.1.275-77)と打ち明けるIagoの台詞は、その信憑性には疑義が付きまとうが、少なくとも彼の悪意の動機を照らし出している。IagoはOthelloと自分の妻Emiliaとの不貞を疑い、「寝取られ夫」にされたと思い込み、それが彼の復讐への動機の一因となっているのだ。「寝取られ夫」の題材は、主として、喜劇に多く見られるものである。このことからして、Othelloは悲劇ではありながらも、バーレスク的様相に彩られていることは否めない。本稿では「寝取られ夫」という喜劇的題材と、ムーア人として表象されたOthelloへの人種差別的観点から生まれるシャリヴァリ的なOthelloとDesdemonaの結婚を分析し、その結婚が大衆祝祭的な価値の転覆関係として表象されていることを考察する。

著者

神山 絵美

出版者

福岡女子大学

雑誌

Kasumigaoka review (ISSN:13489240)

巻号頁・発行日

vol.11, pp.121-138, 2005-02-28