著者

三戸 雄一

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.1978, no.1, pp.45-62, 1978-01-15 (Released:2011-03-11)

著者

児玉 久雄

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.1996, no.17, pp.32-43, 1996 (Released:2011-03-11)

参考文献数

14

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This article deals with the trend in modern productions of Othello to characterize Iago either dominated by Eros (including homosexuality) or by the will to power (and its reversal, the inferiority complex). In this contrast between Eros and powerdrive, we are able to discern an echo of the discrepancy between the Freudian theory of a prevalent sexual-drive and Alfred Adler's power principle, that caused the breach of the latter from the Freudian school. The author argues that this collision which occurred in 1911 was more than a schism within the circle of depth-psychology. Sexual impulse, power-drive and the subconscious form a triangular set of very important fundamentals that have determined the main currents of modern thought. We can locate Freudianism on the line between Eros and the subconscious, and place feminism between Eros and power, and "ideology"between power and the subconscious, respectively. This article also applies Jungian psychology to this topic. Instead of construing Iago to be the representation of Othello's "shadow -side", a way of interpretation much used by Jungian critics, Othello is better understood as the representation of Iago's shadow image, and not vice versa. Iago represents the malignant aspect of "Yin'' (the opposite of "Yang"), a plurality Jung adopted from classical Asian thought.

著者

関谷 武史

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢

巻号頁・発行日

vol.1985, no.9, pp.39-52, 1985

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We can't say that the motives of characters' actions in Richard Ill are fully supplied before and after they are determined upon. As the main examples of incomplete motivation, we can pick up three ones: why did Richard live such a wicked life? why was Anne, the widow of Edward, Prince of Wales, wooed and won by Richard with all her hatred to him? and why were others so helpless against him? There have been many explanations, which we can't be fully satisfied with. Now, in this play we often meet the word 'shadow', uttered mainly by Richard himself. Seeking for its true meaning, we come to the conclusion that it almost coincides with what Jung calls `the shadow'. When we take the viewpoint that Richard is the image of the archetypal shadow as well as of the personal one, the problems picked up above can be solved, I suppose. And observing how others get out of his control over themselves, we find there rises up the image of `the self', one of Jung's archetypes, from behind them.

著者

野村 直壮

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.1980, no.3, pp.51-58, 1980-01-20 (Released:2011-03-11)

参考文献数

8

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[I] Oedipus Complex A. (1) The outline of King Oedipus by Sophocles. (2) Oedipus did not know the murder of his father by himself, and succeeded to the father's throne, making his mother his own "Qeen" without any knowledge of the truth of these facts, and without never falling in love with his mother. It is only the destiney of the oracle by Apollo. As the resulting disaster in his dispair, he forced to make himself blind, exiled out of his ruling country. "The myth can be understood as a symble not of the incestuous love between mother and son but of the rebellion of the son against the authority of the father in the partriarchal family; that the marriage of Oedipus and Jocasta is only a secondary element, only one of the symbols of the victory of the son, who takes his father's place with it all his privileges. " (The Forgotton Language by Fromm p.202)B. Antigone by Sophocles. (Conscious Oedipus complex between father and son)[II] Electra Complex (Chiefly through My Mother-My Self by Nancy Friday)With the daughter's envy, and jealousy of her mother, (attached to the closeness to and the bymbosis to the mother), the girl wants to be loved by her father, taking the place of her mother. Father must love his daughter with his wife in love.

著者

金丸 千雪

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.2001, no.22, pp.1-18,102, 2001

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Gaskell's &lsquo;The Old Nurse's Story&rsquo; appeared in the Christmas issue <I>Household Words</I>, which was edited by Charles Dickens. The end of this ghost story was criticized by Dickens. But despite his suggestions, Gaskell refused to rewrite it. No satisfactory explanation is given in two novelists' points of view. Perhaps, however, Gaskell is more concerned with a pressure placed upon women's sexuality, whileDickens pays more attention to the readers' reaction.<BR>It is out of jealousy that Grace Furnivall reveals to her father the secret of her sister Maude's marriage to a foreign musician, and the existence of their daughter. Consequently, her father drives Maude and her baby on a snowy winter night. After their death, a ghost child tries to attract Rosamond, the descendant of the Furnivalls. Rosamond is saved by the strength of the nurse's love. At the climax, the ghosts of thechild, Maude and Lord Furnivall appear. Butold Gracedies paralyzed as the result of being obliged to watch the phantom in the terrible scene. It is in this scene hat Gaskell employs the term &ldquo;phantom&rdquo; instead of &ldquo;ghost&rdquo;.<BR>Through the duality of the text which is organized around two oppositions, the real and the phantom, this novel involves a conflict between awoman's own impulses and male demands. Female characters are not regarded as passive objects of romantic ove.<BR>The purpose of this paper is to reconsider The Old Nurse's Story in relation to Freudian psychoanalysis concept of libido. This reading leads us to find that Gaskell aises broader questions concerning the sexual rights of women.

著者

板倉 亨

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.2008, no.28, pp.1-18,84, 2008 (Released:2011-05-24)

参考文献数

12

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The purpose of this study is to examine the ambiguity of Hamlet from the psychoanalytic point of view.In the first place, we focus our attention on the speech of Ghost and Hamlet' s soliloquy, and examine their words with many different meanings. Because of the indefinite existence of Ghost, Hamlet cannot believe the speech of it, and loses confidence in his own role as an avenger. Similarly, because of the inconsistency between Hamlet's sayings and doings, he comes to feel a credibility gap in his own statement, and moreover, he comes to doubt the consistency in the language itself and the unity between a show and its' substance, “signi fier” and “signified”. The ambiguity of their words leads to the uncer tainty of the language itself in this play.In the second place, we consider expressions with “mirror” in this play. They are used directly in some lines and implied by symmetrical relationships between characters in this play. Each of the characters in Hamlet is connected and is contrasted with another character in it as a mirror image of himself or herself But, in the complex symmetry, Horatio is the unique character, who only stands the outside of the complicated relationships and serves as the only observer of this story. In the last scene of this play, he also functions as a narrator of all of the occurrences in it. Such distinctive position of him takes the essential part for Hamlet, which assures us of the objectivity of this story and connects us to Horatio in the role of the interpreter. In other words, when each of us, as an interpreter of Hamlet, is contrasted with Horatio as the interpreter of this story, we ourselves are thrown into the intricate symmetrical world of Hamlet in which various mirror images are reflected.Then, to discuss further on their relationships between characters in this play and between We and the text of Hamlet, we quote Jacques Lacan's theory of “The Mirror Stage” and his “schema L”, and survey them. Here, adopting his theory and the figure, we examine more closely the text of Hamlet and the symmetrical relationships between its characters, and analyze the process of our interpretations of this play from the psychoanalytic point of view.In conclusion, we reveal how “the Subject” of Hamlet or ourselves is mistaken in the process, and then I would like to point out the important role which psychoanalytical criticism can play in it.

著者

森岡 稔

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.2005, no.25, pp.51-73,99, 2005 (Released:2011-03-11)

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Erik H. Erikson developed the idea of crisises in life. Those who are unable to obtain their own identities are assumed that they have lost what is important for their living in the society. America is a country of immigrants, whose settlers have always come with their success dreams and their own cultural identities. “Culture” here means an integrated system of learned behavior patterns characteristic of a self-identifying group. In many cases, these groups are ethnic minorities. When they have to interact with other ethnic groups having other cultures, communication becomes a major issue. After the start of World War II, 120, 000 Japanese Americans were interned in concentration camps. Two tests of loyalty were applied at that time: an oath of allegiance to the United States and willingness to serve in the armed forces. Those who replied “no” to both questions were called “no-no boys, ” and regarded with suspicion. Ichiro Yamada, the protagonist of John Okada's novel No-No Boy, is one of these. Ichiro suffers from a cultural identity problem. Although he becomes classed as a “no-no boy, ” he himself never knows the reason why he answered in the negative. His mother, who has pledged her loyalty to Japan, can be considered the biggest influence behind his decision. Yet Ichiro, who was born and brought up in the USA, has an attachment to America and does not entirely align himself with Japan. However, he also has a feeling that America has betrayed his faith and trust by violating its own Constitution. The Constitution for the United States of America is the result of a spirit of amity. It promote the general welfare, and secure the blessings of liberty to Americans and their posterity, do ordain and establish this constitution. Ichiro struggles in his choice of cultural identity between America and Japan. Ichiro cannot help rethinking what he acquired under the influence of his parents. My aim in this paper is to investigate the problems of cultural identity and the psychological background to them through interpretations of this novel.

著者

倉橋 淑子

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.1992, no.15, pp.37-53, 1992 (Released:2011-03-11)

参考文献数

15

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Four Quartets shows us the world which T. S. Eliot attained after his long spiritual pilgrimage. His chief concerns in this work are 'life and death', 'light and darkness' and 'time and timeless'. 'the still point'. There are the necessary and important elements to be discussed in order to get the salvation for him. Eliot's concepts of 'opposites and reconciliation' can also be found in C. G. Jung's process of analysis. By comparing their works, we can find great similarities between their ways to 'Acceptance'. Both sought for the salvation of human soul all through their lives and finally attained almost the same world of 'Acceptance'.

著者

大住 有里子

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.2003, no.24, pp.1-12,75, 2003 (Released:2011-03-11)

参考文献数

13

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It is often said that Shakespeare's works contain many contradictions and I cite as an example Witches' words in Macbeth; Fair is foul and foul is fair. Many scholars has discussed what this phrase means for a long time, and this question doesn't reach one answer but it allows us to interpret in some ways, which usually happens in Shakespeare's works. Sonnets has also many contradictions. In this paper I pick up Sonnets 127 and 130 to see the contradictions.Sonnets 127 and 130 belong to a series of sonnets the poet composes for a lady and she is known as Dark Lady. Her complexion being dark and her hair being black, Dark Lady stands far from the beauty of those days, whose hair is blonde and complexion is fair. Despite of her being opposite from general beauty or because of her being so, the poet praises the lady in his sonnets. The lady is regarded as foul not fair but she is transferred to fair by means of the poet's skills. I try to explain how the poet succeeds the transference of the lady, taking up three points; logic, ambiguity, and psychoanalysis.The poet enumerates the lady's faulty points by making contrast to the conventional poetic skill, that is hyperbole. The more he writes the lady' s lack of the conventional attributes, the more the lady seems beautiful. This is the poet's logic. As for ambiguity, I pay attention to the word “damasked roses” in Sonnet 130. Damasked rose is often used as a hyperbole which expresses females' cheeks, but ‘damasked roses’ can make readers imagine females' cheeks with cosmetics. Then when the poet says the lady' s cheeks are nothing like ‘damasked roses, ’ he gives evidence of the lady's being natural without cosmetics while the other ladies insult Nature using cosmetics, and again the lady comes from foul to fair. To examine the sonnets psychoanalytically, I refer to and quote from Freud's ‘Repression’ and ‘Negation.’ Sonnet 130 is a kind of negation of the lady' s beauty though the couplet says the lady is beautiful. Behind the negation there must be the poet's real love. I think sonnet 130 contains the poet' s double negation. One is his performance as a poetic skill and the other is the poet's real negation, from which we can inspect the mechanism of his unconsciousness. He loves the lady but this love is accompanied with discomfort, because nobody can sympathize with his love to her. In order to avoid discomfort, the poet pushes his love from consciousness to unconsciousness. In this process the negation appears in front of us as a kind of the repression. I examining sonnets 127 and 130 psychoanalytically, some hints show up which lead us to understand the existence of the two lovers, the lady and the youth at the same time in the latter part of Sonnets.

著者

関谷 有里子

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.2000, no.21, pp.44-57, 2000 (Released:2011-03-11)

参考文献数

14

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Shakespeare's Sonnets has two parts; one is dedicated to the youth, and the other is to the lady who is known as a "dark lady". The latter part interests me, for there I can find the poet's swaying emotion. In that part, the poet expresses his love for the lady. It can be said that his love for her is one of things which his self consists of. At the same time, the poet's self has his love for the youth, as a factor which the poet's self consists of, for the poet writes love sonnets for the youth in the former part. Then, when the intimate relationship between the youth and the lady appears, the poet suffers a great deal. For the poet experiences two betrayals at one time; one is of the youth and the other is of the lady. The poet's love for the youth and the lady forms the poet's self mainly, so his self faces crisis because of the detection of the relationship between the youth and the lady. I see the divided self of the poet as a result of the great mental shock. The poet's self is divided into the body and the mind. Especially I recognize the division between the eyes and the mind. In this paper, I quote R. D. Laing, who uses his original words such as "embodied self' and "unembodied self" in The Divided Self, and I observe how the poet's self is divided in the latter part of Shakespeare's Sonnets.

著者

谷川 二郎

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.1997, no.18, pp.1-15, 1997

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There is necrophilious taste in the scenes where Romeo meets Juliet, who is thought to be dead for him, in her familiy's semetry, and Othello talkes to himself, looking at Desdemona sleeping in her deathbed. In Othello's words: " I will kill thee / And love thee after ", we clearly see the protagonist's necrophilious desire. This necrophilious desire is caused by Othello's misunderstanding of his wife's disloyalty which causes him strong mysogyny at the same time. Othello's necrophilious desire is, as it were, the inversion of mysogyny caused by Desdemona's misundrstood disloyalty. Among the plays of around 1600, turning point of the playwright's dramatic vision from comic to tragic, the dramatic setting of heroine's disloyalty in Troilus and Cressida proves true unlike that of Othello. Troilus is shocked to see and hear Cressida's unbelievable disloyalty, while Hamlet severely criticises his mother's early remarriage with his uncle, which means the disloyalty against her ex-husband, his father. And Lear's unquenchable agony and anger caused by his two daughter's ingratitude lead him to the extreme of cursing feminity as a whole. In the Romance Plays, the last group of tragi-comedies, which are characterized with the happy-endings of forgiveness, reunion and reconciiation, the theme of protagonists' jealousy caused by heroine's supposed disloyalty is persistently repeated. Their jealousy is always 51accompanied with strong sense of mysogyny when they misunderstand they are betrayed by their wives or lovers. It is so strong that it never is healed till it leads them to decide to kill their wives or lovers. True reconciliation and reunion only comes after this bitter process of killing heroines once. Leontes in The Winter's Tale meets the happy case of reunion and reconciliation between husband and wife where the protagonist's necrophilious desire enjoys a happy ending under the theme of jealousy, while the playwright shows us a twisted, grotesque scene of necrophilious desire in Cymbeline.

著者

中戸 一子

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.2008, no.28, pp.41-51,88, 2008 (Released:2011-05-24)

参考文献数

8

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Virginia Woolf tried to realize her ideal of human existence in her novel Orlando. It is in fantasy that a man can turn into a woman or live for nearly four centuries. Woolf had a strong wish to grasp the ‘moment of existence, ’ and this novel was to be a successful attempt to give it form, for Orlando is a fantasy.Woolf inherited a mental illness that incessantly troubled her. To her the only way to prevent the incidence of illness was to write novels, and writing was effective therapy for her.In Orlando she made her hero turn into a woman, and many a man of unpolished beauty. Both husband and wife were androgynous. Orlando and Shelmerdine spent ten days of blissful marriage which they began just after they met. They did not need many words to communicate with each other. To be together was all that they needed.At the very moment of happiness the idea of death occurred to Orlando. However, it no longer threatened her but allured her. Just like Orlando the author Virginia Woolf must have felt the same way, for the novel is in one sense the author herself, and in every work she wrote of the search of the moment of existence.In reference to “being” and “non-being, ” they are analyzed herein along the theory of C. G. Jung. For Woolf “being” was far more important for her life and for her writings than “non-being.” What are implied in these words are to be metaphysically ascertained.

著者

飯田 啓治朗

出版者

サイコアナリティカル英文学会

雑誌

サイコアナリティカル英文学論叢 (ISSN:03866009)

巻号頁・発行日

vol.2000, no.21, pp.16-30, 2000 (Released:2011-03-11)

参考文献数

24

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"Eros" and "Thanatos" mean "love" and "death" respectively in Greek. In Beyond the Pleasure Principle (1920), Sigmund Freud employed the ideas of "Eros" and the "death instinct" (which is generally called "Thanatos") as psychological concepts. "Eros, " the libidinal, sexual or life instinct, aims to form living substances into ever greater unities. "Thanatos" leads the living creatures to death and manifests itself as destructive or aggressive impulses. Romeo and Juliet dramatizes the romantic love and tragic death of the two young lovers. However, as the opening of scene 1, Act 1indicates, this drama is full of bawdy or sexual words, representing "Eros. " M. M. Mahood suggests that "the bawdy has always a dramatic function, " and this becomes clearer with reference to "Thanatos. " From the Prologue's first reference to "death-mark'd love, " this play abounds in the imageries of death, most of which are directed toward Romeo and Juliet. In addition these imageries are connected with the imageries of love. Freud first supposed a struggle between "Eros" and "Thanatos, "but in the course of time he allowed the fusion of these two instincts. In the final scenes where Romeo and Juliet kill themselves can be seen this fusion of "Eros" and "Thanatos. "