著者

成田 興史

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.67, no.2, 1991

著者

成田 興史

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.75, no.2, pp.336-337, 1998

著者

前川 玲子

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.80, no.1, pp.67-71, 2003-09-30 (Released:2017-04-10)

著者

高橋 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.7, pp.229-236, 2015-01-20 (Released:2017-06-16)

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Moby-Dick has been considered to be the most masculine of Herman Melville's novels. However, few studies have extensively considered the masculinity of those on board the Pequod despite the possibility that Melville had worked hard to express masculinities that deviated from the norms of American society in the nineteenth century. This paper discusses Queequeg, a harpooner from the South Seas, as a character onto whom Melville projected a facet of his multiple ideas of masculinity, by examining his body and his behaviors. First, Queequeg's race and ethnicity are ambiguous, though he is introduced as a Pacific Islander. His tattooed body characterizes him as non-white, but at the same time he transgresses the color line with his phrenologically excellent skull. His tattoos do not reveal any ethic characteristics, though it is said that he is based on a real Maori chief. Additionally, Queequeg's sexuality and gender are also ambiguous. He has a cordial friendship with Ishmale, a common sailor and the narrator of the novel. However, their friendship often seems too sensual to presume that they are just friends: Queequeg caresses his friend many times and his actions anticipate the homoerotic ecstasy that Ishmael experiences later. There also seems to be indications that Queequeg is transgender: for instance, his affectionate huging of Ishmael and his rescue of Tashtego, another harpooner. Given these points, Queequeg seems to be portrayed as an amorphous man who transgresses the boundaries of race, ethnicity, sexuality, and gender. It is possible that his amorphous self is a projected image of what Melville regards as masculine.

著者

北村 紗衣

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.149-167, 2011-01-20 (Released:2017-06-16)

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In J.M. Coetzee's Waiting for the Barbarians, the barbarian girl, one of the main characters, suddenly begins to menstruate during the journey to the territory of her people, the barbarians. This scene of menstruation might seem irrelevant to the rest of the novel, which deals with the conflict between the Empire and the barbarians. Few critics have mentioned the menstruation in this novel, although Waiting for the Barbarians has been the subject of considerable commentary. However, if it is irrelevant to the novel's plot, why does Coetzee go out of his way to describe menstruation, even though literature seldom mentions it? In fact, some haunting images in Waiting for the Barbarians, such as children and blood, are closely linked to menstruation. This paper discusses how menstruation, a phenomenon that has many layers of meaning, works in this novel, focusing mainly on its physiological and symbolic meanings. On the physiological level of meaning, menstruation in Waiting for the Barbarians means that the barbarian girl is not pregnant; and it serves as a kind of foreshadowing of her clear break with the Magistrate, an officer of the Empire and the novel's narrator. After the Magistrate has sex with the barbarian girl, for a quick moment he dreams of making a family with her; but her menstruation shows that it is impossible for them to have children together. She leaves him and returns to her people just after menstruating. On the symbolic level of meaning, the barbarian girl's menstruation means that the "flow," which the Empire's control blocked, returns at the "margin," or the boundary, where the Empire's power intertwines with that of the barbarians. Under the Empire's control, blood is described as stagnant and clotted, and natural phenomena's flow is also disrupted. The flow, however, is visualized as menstruation when the barbarian girl reaches the boundary between the Empire and the barbarians' territory. Menstruation, the physiological phenomenon of blood leaking from a woman's body at its margin, symbolises boundary-crossing and overlaps with the act of geographic boundary-crossing, the barbarian girl's and the Magistrate's transition from the Empire to the barbarians' territory. Although both the Magistrate and the barbarian girl become boundary-crossers by being involved in geographic boundary-crossing and menstruation, the barbarian girl achieves greater fluidity than the Magistrate. This is because fluidity, a dangerous attribute, is traditionally ascribed to women in literature. In Waiting for the Barbarians, menstruation is used to symbolise the contrast between the Empire as a patriarchal, solid order and the margin where the Empire and the barbarians encounter each other, creating fluidity. It also symbolises the contrast between the woman who can achieve great fluidity, and the man who cannot escape from the Empire's solid order. Menstruation, which is fluid and cyclic, also symbolises the cycle of nature, especially reproduction, which the Empire hinders. In Waiting for the Barbarians, the Magistrate thinks that the Empire does not respect nature's cycle and that it deprives its people and its land of fertility. As Julia Kristeva points out in "Women's Time," the time of history is linear and often is ascribed to men, but the time of nature is cyclic and often is ascribed to women. The Magistrate feels antipathy toward the time of history of the Empire, and he hopes that the barbarian girl, who achieves great fluidity through menstruation, will have children and regain nature's cycle.

著者

深町 弘三

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.33, no.2, pp.267-287, 1957-03-30 (Released:2017-04-10)

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An attempt was made in this paper to elucidate some peculiarities of Swift's personal character by considering his relations with his female friends. The conclusions arrived at by the writer are, briefly, these: -that Swift sought for intellectual equals and companions of men in women; that 'friendship and esteem' was the theme he constantly harped upon to women, that in stead of the 'Prostitute' he tried to find in women, especially in Stella, the 'Mother' and the 'Child', and that in his delineation of Glumdalclitch in a Voyage to Brobdingnag of Gulliver's Travels we find unconsciously reflected his pathetic yearning after his beloved Stella.

著者

中村 紘一

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.86, pp.71-76, 2009-11-20 (Released:2017-04-10)

著者

山口 秀夫

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.53, no.1-2, pp.226-232, 1976-12-01 (Released:2017-04-10)

著者

酒井 善孝

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.21, no.2, pp.246-253, 1941-07-30 (Released:2017-04-10)

著者

大熊 栄

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.56, no.2, pp.390-394, 1979-12-01 (Released:2017-04-10)

著者

川島 健

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.86, pp.1-16, 2009

著者

中島 崇法

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.8, pp.57-59, 2016-01-20 (Released:2017-06-16)

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, 2018

著者

巽 孝之

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.67, no.1, pp.125-129, 1990-09-30 (Released:2017-04-10)

著者

駒村 利夫

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.46, no.2, pp.117-127, 1970

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<p>Robert Lee Frost (1874-1963) depicts like Hesiod's 'chaos' what we ourselves were in "Too Anxious for Rivers," and says that the universe' the world, we, and the mind are the same in roundness in "Build Soil." Chaos and roundness being seemingly contradictory, I feel Aristotle's or Emerson's circular philosophy, and Frost's 'soul-from-soul abyss' ("A Missive Missile"), and get conscious of the vacuity as if a halo seen frequently in Frost's poetry. But a sympathetic correspondence going forth and back through this vacancy often indicates Frost's dual trend rather than the inconsistency or shyness of his thought. It may be said that, in particular, though the metaphor of "Fire and Ice" looks incoherent at a glance, he succeeds in unifying it very intelligently. The hesitation of 'passive' Frost, who has momentarily been absorbed in the aphorism reminiscent of Heraclitus, changes into 'intentional' awakening accompanied with a supposition; to Frost, man is at once a circulating existence and there is a limit to time extention-this disillusionment makes me feel instantly Pascal's discontinuity pointed out by T. S. Eliot, but Frost does not reveal so earnest a desire to enter religion as to desert the self and says it is intention, purpose and design that let man near divinity. It may be mentioned, therefore, that his stumbling denotes a conflict between passive recognition and original response, as confined in 'a pair of dauntless wings ' ("Bond and Free"). This I call Frostian duality, which is not grasped in Emerson with whom Frost gives the impression of having agreed in circularity. Fire and ice here cannot be shifted to life and death immediately, but "Provide, Provide" has the same hypothetic construction: to Frost, life is carried out in the hypothesis of death which happens in the contingency of life. Prepared to admit that the contingency of life is inevitable, he tries to make this inevitability meaningful. But he does not by force, but sometimes shows daily experience, as in "'Out, Out-'" and "Home Burial," symmetrically constructed each. Besides, Frost, with more brutal apathy than in these two poems, deals with death in "The Death of the Hired Man," and his dialogue of the 'home' gives a deeper feeling than nostalgia. Such the dramatic construction of Frost, who offers how importan the 'home' is in life and death, develops a genuine insight into the resemblance of the position of the 'home' in daily life to the relationship of the 'soul' to the flesh. Frost expounds in "Kitty Hawk" that spirit enters flesh, and that it charges into earth, which may signify the 'underground' ("Hyla Brook") of the flesh, ever fresh and fresh, and suggests his 'evolution' ("Education by Poetry") or Bergson's 'creative evolution.' Thoreau's 'pond' symbolized the 'earth's eye,' and he, analogous to Emerson, saw the soul in the eye, but Frost squeezes the site of his 'soul' into man's brain and likens it to the micrographic picture of the 'tree' ("A Never Naught Song"), I think, and seems to approach science rather than religion. Having receded from such the so-called positivism, however, he lays emphasis upon the importance of metaphor, and appeals a mystic insight as Bergson or Blake. I perceive the dualism of a circular 'microcosm' in this 'tree' participating in the current of life, which, Frost says, renders nil the whole Yggdrasil. But 'something like' which controls the waves of life is a mystery; Frost's 'spirit' walking alone like Crabbe's dreamy world, of which he will not</p><p>(View PDF for the rest of the abstract.)</p>

著者

豊田 昌倫

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.47, no.2, pp.239-250, 1971

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In Iris Murdock's novel, A Severed Head, Chaps. 14 and 10, there occur the following sentences: She stared back evenly, unsmiling, but with a candour and a presence more telling than any smile. I gave her back a steady unsmiling stare, and felt pleasure at the idea of surprising her, rewarding her, with my better love. The comparison clearly indicates that the nominal construction, give a stare, and the full verb, stare, are in the 'associative' relationship, or the relationship of opposition, mutually exclusive in a given context. Thus the opposition between the nominal construction, consisting of give (have, make, take, etc.) +a noun, and the full verb, is indeed one of the verbal selective categories, and a speaker or writer is to make a 'binary choice' between the two possible expressions. With an adequate periphrasis, as is often pointed out, the nominal construction is able to meet any situation and is often observed to its advantage in present-day English. In his stimulating System der neuenglischen Syntax Max Deutschbein maintains that a tendency toward 'nominale Ausdruckweise' of English makes itself strongly felt in the sixteenth century, in contrast to Middle English whose 'innere Sprachform' is entirely 'zustandlich' and therewith 'verbal'. However, the analytic construction, which dates from Old English, is not of infrequent occurrence in Middle English and it performs its meaningful function, opposed to the full verb, as is shown by the quotations from Thomas Malory's The Book of Sir Tristram de Lyones: ...and ever that knyght made a dolefull complaynte as evir made knyght, and allways he complayned of La Beale Isode, the quene of Cornwayle...(X, 14.) '... so that ye woll kepe my counceyle and lette no creature have knowlech that I shall juste but yourself and suche as ye woll to kepe youre counceyle, my poure person shall [I] jouparte there for youre sake, that peradventure sir Palomydes shall know whan that I com.' (VIII, 9.) though in the case of the combination, make mencion, for instance, the corresponding full verb is really non-existent, thereby the construction being neutralized, so to speak. Apparently the employment of the nominal construction in Middle English is greatly affected by the corresponding French idiomatic usage and a number of constructions are in fact the mere 'calques' of French phrases. Despite Deutschbein's assertion, the nominal construction is thus significantly employed in Middle English, and in the modern period it is often used in preference to the full verb, since the construction is in accordance with the tendency of Modern English to place an operator before the word of higher semantic import.

著者

伊藤 章

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.89, pp.131-135, 2012-12-01 (Released:2017-04-10)

著者

塚田 雄一

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.185-202, 2011-01-20 (Released:2017-06-16)

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This paper examines how the notion of homosexuality was formed in late nineteenth-century England, and how Oscar Wilde contributed to its formation, through an analysis of the discourse of Victorian sexology, the trials of Oscar Wilde, and Wilde's novel, The Picture of Dorian Gray, while focusing particularly on the social and ideological background of the late Victorian period. In fin de siecle England, a growing fear of infectious diseases such as cholera and syphilis generated the idea that these diseases (and the people who carried them) needed to be purged in order to invigorate the British Empire, which was showing some indications of decline. Homosexuality, also known as "perverted sex," was listed among such diseases. The Victorian middle class believed that effeminate homosexuals were spreading corruption among "healthy" citizens and thereby debasing the masculine strength of the British Empire. The newly found science, Victorian sexology, provided a means to identify homosexuals in society by inventing new terms and theories to describe their sexuality, about which little was acutually known at that time. In this environment, Oscar Wilde was regarded as a poignant symbol of homosexuality, as he was significantly brought to trial and found guilty of gross indecency. The trials revealed how Wilde's sexuality threatened Victorian society. Wilde, with his homosexual activities, nullified two important boundaries that secured patriarchal society; not only did he threaten social distinctions by communicating with young men from the lower classes, but he also destroyed the barrier that safeguarded the Victorian household by committing a gross indecency while being the father of two sons. As such, the purge of Wilde the homosexual was significantly staged so as to maintain a "healthy" empire. Wilde's own writings echo the themes of his life. His novel, The Picture of Dorian Gray, demonstrates the infectious nature of homosexuality. Through the representation of Dorian as a musical instrument that the wise elder Lord Henry plays, the homosexual state of being "infected by the elder" and ultimately "infecting the younger" (for Dorian himself also corrupts the youth in the second part of the novel) is examined throughout the novel. Moreover, the fact that this novel was citied in the trials as evidence of Wilde's crime (corrupting the "healthy" youth) and that it later served as a handbook for homosexuals suggests that The Picture of Dorian Gray itself was indeed an infectious, replicating presence in the same way as homosexuals were considered to be in Victorian society. Wilde thought a great deal of his aesthetic sense, and believed that he was leading the life of a decadent artist, free from the affairs of the middle-class society that he so despised. However, ironically enough, Wilde was in fact contributing to the British social purity movement by providing and reinforcing the representation of Victorian homosexuality in his trials and his novel in a way that mirrored how Victorian sexology attempted to theoretically characterise homosexuals in order to cure the disease of the empire.

著者

加藤 孝

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 (ISSN:00393649)

巻号頁・発行日

vol.27, no.2, pp.153-178, 1951

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In 1841 Macaulay began to write his History of England, the plan of which had long been in his mind. He worked at it with great assiduity and delight, till in 1848 the first two, and in 1855 the next two volumes appeared. The work met instant applause of the reading public. The extraoridinary success of this history is chiefly due to the fact that it well suited the self-complacent mentality of the middle classes. The fundamental idea underlying History of England is this: the unprecedented power and prosperity of the 19th century England (and especially of the middle classes) is the direct outcome of the whig revolution of 1688, which established once for all the supremacy of the Commons over the Crown. Written from this viewpoint, his portaiture of historical figures is not always impartial, as in the case of Strafford. Contrary to his original intention, his history stopped at the death of William III. However, his various essays and speeches connected with English history clearly show that the subsequent development of English politics was viewed by him in the light of the unfolding and realisation of the whig principles. The culmination of this growth was to him the Reform Act of 1832. He was then the champion of the rising middle classes. Since 1832 he resolutely opposed any further suffrage extention as endangering the Constitution and the principle of property. Therein he was at one with conservatives of the time such as Carlyle. According to him the principle of property is the foundation of all civilisations. Hence his repugnance to Jacobinism as is shown in his criticism of the French Revolution, and hence also his opposition to the introduction of universal suffrage, as is shown in his speeches on the occasion of Chartist petitions. Hindered by this one-sided view of history, he completely failed to foresee the later growth of English democracy in the second half of the 19th century. His early surroundings were not necessarily whiggish, but his education at Cambridge and his connection with the Holland House and the Edinburgh Review determined his subsequent political outlook and made of him a great historian of the bourgeois classes.

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)