文献一覧: 英文学研究支部統合号 (雑誌)

1 0 0 0 OA クラウディウスとアダプテーション ― 歴史、小説、映画―

著者: 佐々木徹
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.227-234, 2018 (Released:2019-02-07)

2019-03-26 07:47:00
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1 0 0 0 OA 引用表現の広がりとつながりを追う ― 引用名詞類とその意義拡張をもとに ―

著者: 山口治彦
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.241-250, 2018 (Released:2019-02-07)

2019-02-08 12:41:14
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1 0 0 0 Bussy d'Amboisにおける自然と人間(東北英文学研究)

著者: 石橋敬太郎
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.6, pp.53-60, 2014

In his play Bussy dAmbois (c. 1604), George Chapman created a hero who takes an unyielding stand against courtiers at Henry III's court and governs himself by the law of his own reason. More important in the play is that Guise and Monsieur appear as ministers of fate and providence. The French courtiers are controlled by stoic moral doctrine, the belief in the rationality of Nature. According to the stoics, God imparted a rational design to the degrees of Fate which govern Nature. In Chapman's play, the French courtiers believe that human nature is created within the divinely ordered scheme. For Bussy D'Ambois, however, human nature is constructed from the law of his own reason, not from the supernatural existences of fate and providence. Bussy challenges the providential view of human nature conceived by Guise and Monsieur. What is the nature of the element that made Chapman embody the hero's idea of human nature in a sharp contrast with that of the French courtiers? To examine this problem, I would like to focus on interrogation of the stoic view of human nature by intellectuals in the early Jacobean period. In the time when Bussy d'Ambois was composed, it was believed among the stoics that natural law emerges from the universe as "encoded" in creation with order, value and purpose. In virtue of his rational capacity, man synchronizes with this teleological design and discovers within it the main principles of his own moral law. The most famous exponent of such view was Richard Hooker, a divine of the Church of England in Elizabethan period. He combined with it a version of Christian providentialism. In the play, Bussy claims that rational man is a law unto himself, preserving a higher degree of virtue than law can legislate. He governs himself by the law of his own reason. There is a remarkable parallel between the portrait of Bussy and Sir Francis Bacon's portrait of human nature. In Bacon's view, the ontological basis of human beings was nature as the intrinsic principle-intellectual reason-within himself, not derived from God. Considering human nature as intellectual reason, he attempted to free people from the stoic traditional authorities, such as church and sacred kingship. In this sense, the hero's view of nature in the play serves as the precise inversion of Hooker's positive dependence of man upon God-man within nature created by God. To illustrate the conflict between the two human natures, it is important that Bussy's love for Tamyra is gained by obedience to reason. With his refusal of stoicism, the play's supernatural dimension works against fate and providence. In particular, Behemoth and his spirits are shown to be incompetent. But Guise sees the hero's interrogation of providentialism creating an arbitrary order that jeopardizes all "law", especially the idea of kingship itself. By the actions of Guise and Monsieur, finally, Bussy dies in a scene which begins with repudiations of teleology, providence and natural law to be found anywhere in stoicism of the early Jacobean period. An idea of fate and providence in human nature is still preserved at Henry III's court. However, the effect is too detached to praise Guise and Monsieur's providentialism. Actually, Bussy is transmogrified into a new star in the "firmament," an abiding reminder of his repudiations of stoic view, at the end of the play. Strongly aware of Bacon's human nature, therefore, Chapman illustrated the conflict between the two human natures seen in early Jacobean period. In doing so, the dramatist explored the significance of the hero striving to insulate himself from the stoic view of human nature by his self-fashioning in order to become a law unto himself.

2019-01-19 20:30:17
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1 0 0 0 OA アイルランド詩の現在 : 女性詩人の場合(グローバリゼーション途中の二極化の問題-民族・ジェンダー・階級をめぐって,第1室(イギリス文学),シンポジウムプロシーディングス,第61回支部大会,中部英文学)

著者: 河合利江
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.359-364, 2011-01-20 (Released:2017-06-16)

2019-01-03 16:45:29
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1 0 0 0 『お人好し』における感受性の経済効率(東北英文学研究)

著者: 岩田美喜
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.99-112, 2011

Oliver Goldsmith's The Good Natur'd Man (1768) has mainly been interpreted as an abortive piece of laughing comedy and often contrasted with False Delicacy (1768), a sentimental comedy by Hugh Kelly. Modern scholars point out that, though critics contemporary with Goldsmith upbraided the former as "low and vulgar" and praised the latter as "refined and sentimental," the two plays actually share the same ambivalent views about sentimentalism. Nevertheless, The Good Natur'd Man greatly differs from False Delicacy in that Goldsmith's play tries to highlight the commercialism latent in sentimental comedy rather than to conceal it. As Sir William Thornhill in The Vicar of Wakefield (1766) does, Honeywood in The Good Natur'd Man suffers from "a sickly sensibility" and his excessive benevolence makes his fortune decay. Thus, Honeywood's distress is always connected with his economic discomfort, especially in Act 3, where he is placed under house arrest for his debts and has to meet his beloved, Miss Richland, who comes to rescue him, in this humiliating situation. Though he tries to disguise a bailiff and his follower as respectable gentlemen, they misinterpret the couple's conversation about the London literary taste as the literal "taste," i.e., food prices in London, making Honeywood feel even more humiliated. In the final scene, Honeywood, remonstrated by his uncle and Miss Richland, vows that he would henceforth bestow charity only for those who deserve it and the play ends in expectation of the marriage between Honeywood and Miss Richland. Even in this conventional ending, the surname of the heroine, whose first name is unknown throughout the play, reminds the audience that his mental happiness is concurrent with his financial success. The Good Natur'd Man exposes the commercialist drive, which is existent but usually concealed in the virtue-in-distress strategy of sentimental comedy. However, at the same time, the fantasy ending of the comedy does admit the utilitarian exercise of sensibility, which seems the last thing the author of The Traveller (1764) and The Deserted Village (1770) would do. Richard Cumberland, in his memoirs, recollects with compassion that Goldsmith even in his final years laboured to write scribbles according to the demand of publishers, resignedly commenting that "Paternoster-Row is not Parnassus." The phrase may also be true of the divided attitude towards the economy of sensibility in The Good Natur'd Man.

2018-12-19 14:00:16
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1 0 0 0 Jude the Obscureにおける「婚姻」と「家族」の概念 : 1890年代イギリスの人類学的議論を踏まえて(関東英文学研究)

著者: 唐戸信嘉
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.6, pp.125-132, 2014

When Thomas Hardy published Jude the Obscure, it was bitterly criticized by reviewers chiefly for its unconventional discourses on "marriage," "family," and "sexual instinct." Although it is, as critics have agreed unanimously, obvious that an antagonistic attitude to Victorian domestic ideology provoked the reader's antipathy, a more accurate analysis of the socio-cultural context in which Jude was written and read would be needed to clarify what the radicalism of "the marriage question" in the text was. This paper first gives a brief outline of the institution of marriage which was strongly conditioned by social evolutionary theory. This theory identified the patriarchal and monogamous family as one of the most important achievements of evolutionary advance. While evolutionist anthropologists formulated the late Victorian norm of marriage, the 1890s marked a turning point in the interpretation of marriage as a result of the publication of Edyard Westermarck's The History of Human Marriage; it rejected the evolutionist theory of primitive matrimonial anarchy and cast a doubt upon the patriarchal tradition inimical to the idea of sexual equality. Accepting a new historical point of view through which the contemporary institution of marriage loses its historical legitimacy, Jude redefines marriage as a private act whose duration depends only on the couple's will, and also revolts against the evolutionist ideology which, looking on a family as the social unit, coerces people into compulsory monogamy. In the process of analysing matrimonial conventions, the text discloses their exclusive structure and detects that they arise from the desire to monopolize wealth. While symbolizing the historical shift of the idea of "marriage" in the 1890s, Jude's attack on the hypocrisy of the middle-class ideology was, we can conclude, premature (only four years after the publication of Westermarck's book) and drew heavy criticism from many readers.