@article{oai:nagoya.repo.nii.ac.jp:00012668,
 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 = {This paper is intended as an investigation of the cultural moment in which the banquet scene (Act 3, Scene 4) in Macbeth was first enacted, focusing upon the two occurrences: Macbeth being pushed away from the throne by the emergence of the Ghost; the appearance of First Murderer at the banqueting hall. I n 1606, the stage constructed at Christ Church Hall, Oxford, where the perspective settings were introduced by Inigo Jones, made Lord Suffolk and other courtiers uneasy about the possibility that the art perspective could not make King James I as the cynosure of the royal spectacle, but that it might push the King away from the royal seat. It seems reasonable to suppose that the courtiers’ uneasiness was transformed into Macbeth’s fear that he would be pushed by the appearance of the Ghost from the throne. In the banquet scene in Macbeth, however, the “perspective” which upsets Macbeth turns out to be the trompe l’oeil, enacted by the Ghost. First Murderer constitutes another perspective alias anamorphosis in this banquet scene. As the “masterless man” featured in the early modern England, First Murderer is the doppelgänger of Macbeth. Macbeth, who murdered his “royal master” (2.3.80) Duncan, can be also regarded as a “masterless man,” and consequently he is to be pushed away from the royal seat and, just like First Murderer, expelled from the banquet itself.},
 pages = {1--14},
 title = {国王のスペクタクルとマスターレス・マン : Macbethにおける宴の場再考},
 volume = {57},
 year = {2011}
}