著者

大室 剛志

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.11, pp.179-186, 2018 (Released:2019-02-07)

著者

岡裏 浩美

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.3, pp.517-530, 2011-01-20 (Released:2017-06-16)

著者

高野 泰志

出版者

一般財団法人日本英文学会

雑誌

英文学研究. 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.7, pp.339-346, 2015-01-20

著者

竹腰 佳誉子

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.10, pp.129, 2018 (Released:2019-02-16)

著者

山本 真由美

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.12, pp.155-163, 2019 (Released:2020-12-05)

著者

高森 暁子

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.3, pp.473-488, 2011-01-20 (Released:2017-06-16)

著者

岡本 太助

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.13, pp.279-287, 2019 (Released:2021-02-09)

著者

丹治 愛

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.12, pp.7-16, 2019 (Released:2020-04-20)

著者

鷲野 亜紀

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.15, pp.205-214, 2023 (Released:2023-03-02)

著者

澤田 治美

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.15, pp.169-175, 2023 (Released:2023-03-02)

著者

戸谷 陽子

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.11, pp.105-113, 2018 (Released:2019-02-07)

著者

Shotaro Sasaki

出版者

The English Literary Society of Japan

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.14, pp.217-230, 2022 (Released:2022-02-14)

著者

田中 裕介

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.1, pp.127-144, 2009-01-10 (Released:2017-06-16)

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It seems strange that Matthew Arnold, who could be regarded as a realistic relativist, devoted himself to the belief that 'culture' is an abstract and absolute idea, in his most famous work, Culture and Anarchy. In this paper, I will recount the how (not the why) of his thoughts by examining the transition of his use of critical terms such as 'culture' and 'state.' Through his early prose works, Arnold struggled to abandon the romantic sentiments that overwhelmed him as a young poet and confirm his own view of poetry by idealising the verbal reproduction of the 'actions' described in ancient Greek plays. In On Translating Homer, a creative activity based on 'models' was generalised as a form of recognition 'to see the object as in itself it really is', which he called 'criticism.' In 'Function of Criticism at the Present Time,' he defined 'criticism' as a mediating art to diffuse normative knowledge to a whole society; in his educational reports, he considered 'state' as an 'art' of creating or maintaining national unity. 'State' became a normative idea in Culture and Anarchy, where 'culture' was considered to function as a medium through which the English could attain the ideal. However, in his critical terminology, the word 'culture' has diverse meanings. In his early politico-historical essay, 'Democracy,' there is a strong indication of the general mode of the lives of the English aristocracy. Originally, it was a concrete noun that suggests a particular national life, though it gradually became an abstract concept that referred to general humanity. In 'Function of Criticism at the Present Time,' he stressed the social instrumentality of 'criticism' while restraining himself from pushing 'culture' to the forefront. Prior to Culture and Anarchy, he appeared to hesitate to use the word 'culture' extensively, especially in his literary criticism, since it is a term that implies nationality and is closely associated with romanticism, which he negated in his earlier writings. Thus, how did he manage to employ 'culture' as a normative concept in Culture and Anarchy? Paradoxically, he achieved this by defining it as an art. Based on the parallelism with the concept of the state, it follows the process by which 'state' changes from an instrumental framework to a normative idea. In this work, Arnold not only absolutised but also personalised the term 'culture', which appeared to be a medium or an image of God. Arnold claimed that the English adored 'culture' as it could function as a medium for their intellectual perfection. Absolute diction enabled him to use the word with a kind of transcendent significance. For this reason, we can consider the quasi-religious language of Culture and Anarchy as the discourse of idolatry.

著者

福岡 忠雄

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.4, pp.331-338, 2012

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Peter Widdowson takes us by surprise when he enumerates as the major themes of Thomas Hardy war as well as sex and class. But the surprise is only for a moment. A moment's reflection on Hardy's literary career soon makes us agree with him. The battle of Waterloo was fought only 25 years before his birth. His interest in Napoleonic wars was a lifelong one as is shown by the novel The Trumpet-Major, a short story 'A Tradition of Eighteen Hundred and Four' and, above all, that striking feat of poetic creation, The Dynasts which he completed in his sixties. While Napoleonic wars took place before he was born, the Crimean war, the Franco-Prussian war and the Boar war all broke out in his life time. Especially the Boar war which his friends and relatives took part in induced Hardy to write about ten poems including 'Drummer Hodge.' This essay is an attempt to focus on the comparatively neglected aspect of Hardy, i.e. Hardy as war poet, with special reference to the Great War and to the way the War brought a serious blow to Hardy's faiths in human progress. When England declared war to Germany which invaded Belgium to secure the route to France, Hardy was 74 years old. The reason why the War gave him so great a shock as he had never experienced is that it seriously undermined the last resort which barely kept in check the aggravation of his pessimistic view about the future of humanity. In 'Apology', a short essay attached to one of his collections of poems, Late Lyrics and Earlier, Hardy attempts to repudiate the criticism leveled to his pessimistic attitude by citing the evolutionary meliorism prompted by the advance of science. But the War made him face the fact that what the advance of science brought in was machine guns, cannons and poison gas which exacted an appallingly heavy toll of young lives caught up in this bloody war. His despair was so deep that in 'We Are Getting to the End', a penultimate poem of his final collection Winter Words, he gloomily predicted the misery of the Great War should be repeated. It might be argued that he was rather lucky not to see his prediction actualize in the form of the Second World War which arose only 11 years after his death.

著者

Tohru NAKAMURA

出版者

The English Literary Society of Japan

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.14, pp.71-79, 2022 (Released:2022-02-14)

著者

松浦 和宏

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.5, pp.17-25, 2013

著者

楠木 佳子

出版者

日本英文学会中国四国支部

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.1, pp.301-311, 2009

著者

石田 由希

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.1, pp.381-393, 2009

著者

佐藤 憲一

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.3, pp.169-184, 2011

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This paper is an attempt at rereading Charles Brockden Brown's Ormond as a political allegory. It focuses on the loss and recovery of the sight of Stephen Dudley, the father of the novel's heroine Constantia. Though overlooked by former critics, Stephen Dudley's blindness and subsequent recovery by surgical operation provokes political significance in Ormond, which up to now has been frequently referred to as simply a "Bildungsroman" of the novel's heroine Constantia. After briefly reviewing the history of treatment for cataracts, the paper first confirms Stephen's cure is clearly informed by Enlightenment medicine. Various contemporary documents show the radical cure of the blind is promoted most by the Enlightenment. The notion of radical cure was first prevailed in France and then in Britain by the promotion of scientific academies. In this process, curing the blind became one of the most important issues in the Enlightenment medicine. In view of this intellectual tradition, Ormond can be read as a novel, though partly, but clearly informed by the Enlightenment. Indeed, detailed comparison of the texts of Ormond and of contemporary reference sources on the treatment of cataracts proves that Stephen is cured through the method of extraction, which was invented and promoted by Enlightenment medicine. The next point to be observed is the problem of who operates on Stephen's cataract. The text of Ormond tells us that the doctor who treats Stephen is not a native of the United States but a traveling oculist from Europe. And contemporary advertisements in local newspapers tell us that the situation described in the novel is quite similar to the circumstances of cataract surgery in the United States around 1800. In Ormond, the traveling oculist radically extracts Stephen's 'evil' cataract. And the doctor, 'one of the numerous agents and dependants of Ormond,' is supposed to be a member of the Illuminati, a politically radical secret society that was a menace to social order in Europe and the United States. Here, a politically radical thus performs medically radical treatment. But, ironically enough, in respect of the policy of the Federalist Party, the doctor can be the very 'evil' who should be extracted from the body politic of the United States. Considering the fact that Federalists enforced the notorious Alien Acts to deport 'evil' foreigners such as the Illuminati out of the nation, we can safely say the performance of the traveling oculist is self-contradictory. He is at once a subject involved in extraction in a surgical operation and is an object of extraction by Federalist politics. In this sense, his performance accuses the Federalist policy of setting xenophobic laws in the nation framed mainly and invariably by immigration. Thus the pro-Federalist performance by the Illuminati doctor reveals the emptiness of the laws and their meaninglessness in setting binary opposition between inside/outside, foreign/native, good/evil at the first stage of nation-building. In this sense the performance of the doctor has the potential to be a counter-discourse against the Federalists by deconstructing their xenophobic policy. The cataract that invades Stephen's eye and makes him unable to see is a metaphor for the early Republic susceptible to 'internal invasion,' and his cure is a Federalist way of dealing with the matter. Performing the invasion and the treatment on it at once, the traveling oculist in Ormond illuminates the limit of the Federalist politics of the day. In short, he claims there can be no Americans without aliens. Detailed consideration of Stephen's cataract operation thus opens the possibility of reading Ormond as a political allegory.

著者

木村 正子

出版者

一般財団法人日本英文学会

雑誌

英文学研究. 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.4, pp.313-319, 2012-01-20

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This paper examines the issue of a fallen woman in Elizabeth Gaskell's Ruth, exploring the reasons why the heroine Ruth Hilton should die even after repenting. In Victorian literary convention, fallen women were treated as objects of moral scorn and their story of transgression and plight was offered as a warning to unmarried women readers who were themselves expected to be "angels in the house." Gaskell did not consider all fallen women as depraved. She poses the question: Is a woman's "fall" a problem of individual morals or a social issue intertwined with the Victorian double standard? While Gaskell's Ruth casts a light on the socially ill treatment of fallen women, the novel ends with Ruth's abrupt death, leading critics to argue that Gaskell could not go beyond the bounds of the Victorian norms. This may be partly true, but in Gaskell's mind as long as Ruth's repentance is complete, she does not die a sinner. As a character, Ruth is an anomaly in. the Victorian world because she feels both repression and passion, the latter of which should not belong to an "angelic" woman. This deviancy has a productive side for Ruth to have a chance of speaking out and to liberate herself from the manacles of patriarchy. Instead she is forbidden to have her place in the Victorian society. Her death is both punishment and reward. This is Gaskell's argument against the idealistic woman model, the "angel in the house" which denies woman's individuality and a personal history.