文献一覧: ヴァージニア・ウルフ研究 (雑誌)

7 0 0 0 OA 病と社会の想像

著者: 河野真太郎
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.37, pp.68-71, 2020 (Released:2021-01-13)
参考文献数: 4

2022-06-07 00:06:51
7 + 20 Twitter

5 0 0 0 OA 『歳月』における“facts”の反復─危機に抗する日常の可能性

著者: 楠田ひかり
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.38, pp.23-41, 2021 (Released:2022-11-25)
参考文献数: 18

2022-11-29 04:26:30
5 + 21 Twitter

5 0 0 0 OA フォースターやウルフの作品にケムブリッジで初めて出会って(第I部:日本におけるウルフ-現在までの道程,20号特別企画-ウルフ研究「現在・過去・未来」)

著者: 近藤いね子
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.20, pp.69-70, 2003-09-30 (Released:2017-07-08)

2021-11-27 22:10:31
5 + 16 Twitter

5 0 0 0 OA アウラと情動、あるいは残滓的なものの唯物論をめぐる断章

著者: 遠藤不比人
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.34, pp.86-95, 2017 (Released:2018-11-27)
参考文献数: 8

2021-07-02 22:44:30
5 + 5 Twitter

4 0 0 0 OA ヴァージニア・ウルフと尾崎翠 : 日英二人の女性モダニストにみる「海」と表現をめぐって

著者: 長柄裕美
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.28, pp.21-38, 2011-10-30 (Released:2017-07-08)

The aim of this paper is to analyze how two contemporary female modernists at the beginning of the 20^<th> century, Virginia Woolf in the U.K. and Midori Ozaki in Japan, employed similar literary images of "the sea" which were fostered by familiar and fondly-remembered scenes from their childhood, and how these images influenced their literary themes. The sea images used by Woolf derive from the town of St Ives in Cornwall and those of Ozaki from the town of Iwami in Tottori. Though they worked separately in England and Japan probably without knowing much about each other, Woolf and Ozaki built up a very similar kind of literature. The shared characteristics of their works can be found in their description of the human unconscious or subconscious, by using "stream of consciousness" in the case of Woolf, and by picturing "the world of the seventh sense" (Dai nana kankai) in Ozaki. This paper analyzes and compares the influences of their sea images on their works, and also their opinions on literature as expressed in their essays. The paper concludes that the objects or content of their expression are very close to each other, though their styles of expression are different: Woolf being inclined to impressionism and Ozaki to expressionism. For both Woolf and Ozaki, the images of the reality of life distilled from their experiences with nature (including the sea) in their childhoods seem to have worked as essential sources of inspiration in creating the unique body of literature they produced.

2019-11-21 12:03:47
4 + 0 Twitter

4 0 0 0 ヴァージニア・ウルフと尾崎翠 : 日英二人の女性モダニストにみる「海」と表現をめぐって

著者: 長柄裕美
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: no.28, pp.21-38, 2011-10-30

2014-04-12 23:03:51
4 + 3 Twitter

https://ci.nii.ac.jp/naid/110008799277

3 0 0 0 OA 「内部の外部」─遠藤不比人著『情動とモダニティ』をめぐって

著者: 高村峰生
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.34, pp.73-85, 2017 (Released:2018-11-27)
参考文献数: 6

2020-08-12 08:52:12
3 + 14 Twitter

2 0 0 0 OA '実験的'短編小説に見られる語りの構造 : 『灯台へ』から『波』へ

著者: 那須雅子
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.16, pp.33-46, 1999-09-30 (Released:2017-07-08)

2023-04-29 08:02:19
2 + 4 Twitter

2 0 0 0 OA 「病気になるということ」訳出について

著者: 片山亜紀
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: vol.37, pp.129-132, 2020 (Released:2021-01-13)

2 0 0 0 ウルフのテキストはワグネリアンか? : 『船出』における『トリスタンとイゾルデ』の受容

著者: 富田雄一郎
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究 (ISSN:02898314)
巻号頁・発行日: no.13, pp.15-28, 1996-09-30

2021-02-14 17:30:06
2 + 0 Twitter

https://ci.nii.ac.jp/naid/110007152011

2 0 0 0 『灯台へ』におけるヴィジョンのあり方 : 科学的、幾何学的そしてコロニアルな目

著者: 岩崎雅之
出版者: 日本ヴァージニア・ウルフ協会
雑誌: ヴァージニア・ウルフ研究
巻号頁・発行日: vol.32, pp.1-16, 2015

Previous studies, such as Virginia Woolf in the Age of Mechanical Reproduction (2000) edited by Pamela L. Caughie, and Holly Henry's Virginia Woolf and the Discourse of Science (2003), argue that Virginia Woolf literalises in her novels new perspectives brought by technological devices such as the X-ray photograph, the gramophone and the telescope. However, these works do not clarify the correlation between scientific perspectives and the sexual desires represented by modern technological devices in To the Lighthouse (1927). In this novel, Mrs Ramsay, a Victorian "Angel in the House," appears in the visions given by the telescope and the telephone, having her sexual enchantment enhanced through which other characters see her in a "modern" way. In addition, Lily Briscoe, an aspiring postimpressionist artist, is said to see things with her X-ray-like vision, which discloses the desires of male characters hidden in their bodies. The discourse of science modifies her perspective as an artist and represents sexual differences in an artistic way. Meanwhile, Lily paints Mrs Ramsay as a "wedge-shaped core of darkness" and a "triangular purple shape," purely geometrical painterly forms. Significantly, these images are visualised through her "Chinese eyes." Urmila Seshagiri indicates how racial differences work to produce the postimpressionist geometrical expressions, defining modernism as an art movement that always pursued the new and discovered racial differences as an aesthetic innovation for the aim. According to Seshagiri, this tendency is found in To the Lighthouse as Lily's "Oriental" eyes. Certainly, Mrs Ramsay's images appear in Lily's vision as the geometrical forms representing a novelty in Western art, but the artist's eyes also work virtually as a technological device. In short, her "Oriental" eyes are also scientific, revealing sexual desires and perceiving human beings in a geometrical pattern. In this study, I suggest that Mrs Ramsay's image appears at the intersection of discourse of science, colonialism and post-impressionism. Geometrical expressions by Lily meet the demand of modernism, succinctly expressed by Ezra Pound's "Make it new," through racial differences and presents a new form of human beings in a post-war society liberated from the conventions of pre-war society. The correlation among the discourse of science, body and geometrical perspective forms an aspect of Woolf's visionary modernism in this novel.