@article{oai:nagoya.repo.nii.ac.jp:00011539,
 author = {滝川, 睦 and TAKIKAWA, Mutsumu},
 journal = {名古屋大学文学部研究論集. 文学},
 month = {Mar},
 note = {The purpose of this paper is to investigate the reason why Shakespeare named the anti-hero of The Two Gentlemen of Verona (TGV) as Proteus, and to elucidate the relationship between early modern English discourses on antitheatricality and TGV. The origin of Shakespearean Proteus is the sea god Proteus in Greek mythology, who, in early modern English polemics on antitheatricality, had been represented as the stage-player or the personification of drama itself, because of the god’s inconstant, ever-changing shapes. In this respect, we could apparently regard TGV as the play which might have been the target of the antitheatrical prejudice. Nevertheless, Shakespeare converted TGV into a defence of theatricality by making Julia enact the Renaissance ideal of emulation. Julia, disguising as a page, imitates as well as surpasses Proteus according to the early modern code of emulation. The discourse of love’s triumph, which also defends the theatricality, resonates on the stage in the denouement of TGV: “It is the lesser blot, modesty finds, / Women to change their shapes than men their minds” (5.4.107-08).},
 pages = {19--31},
 title = {近代初期英国における演劇反対論的言説とThe Two Gentlemen of Verona},
 volume = {56},
 year = {2010}
}