@article{oai:nagoya.repo.nii.ac.jp:02002352,
 author = {滝川, 睦 and Takikawa, Mutsumu},
 journal = {名古屋大学人文学研究論集, The Journal of Humanities, Nagoya University},
 month = {Mar},
 note = {This paper is intended as an investigation of the representation of Helen in Shakespeare’s All’s Well That Ends Well (AWW, 1604–05) as the cunning woman or wise woman, comparing her with both Judith Philips the “cunning woman” in a pamphlet (1595) and the Wise-woman in Thomas Heywood’s The Wise-woman of Hogsdon: A Comedy (1604). The cunning woman or wise woman, according to the definition of Jean E. Howard’s, is “a lower-class figure who makes her living by using her ‘special powers’ to perform services for her neighbors, services such as finding a missing or lost object, diagnosing illness, telling the future” (85) in early modern England. Helen in AWW can be regarded as a cunning woman in that she can not only cure the King’s “desperate languishings whereof / The King is rendered lost” (1.3.226–27) but also recover the lost goods or “lost object”, such as rings, Diana’s virginity, Helen’s own honour as Bertram’s wife, and most of all, King’s health. Nevertheless, Helen as the cunning woman offers a striking contrast to Judith Philips and the Wise-woman in Heywood’s play, because the dishonour to Bertram brought on by Helen’s “special powers” is far from the male characters’ shame brought on by other cunning women: the dishonour to Bertram, in terms of his equivocal response to his shame, does never lead to the world of “women on top” at the denouement of AWW.},
 pages = {13--28},
 title = {『終わりよければすべてよし』におけるカニング・ウーマン},
 volume = {5},
 year = {2022}
}