@article{oai:nagoya.repo.nii.ac.jp:02009957,
 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, from the viewpoint of dietetics in early modern England, as an investigation of coexistence between pastoralism and cannibalism in Shakespeare’s The Tempest (Tmp.). Caliban, whose name is an anagram of “cannibal,” cherishes “[w]ater with berries in’t” (1.2.335): He embodies and enacts carnivorousness as well as herbivority. In the conspiracy to murder Prospero, Caliban holds two positions concurrently: the part of Carnival’s confederate: that of herbivorous Lent. While Caliban, in Plautine New Comedic tradition, acts as a “subject” (2.2.122, 149) who has a voracious appetite, he also aspires to be free from “master” Prospero (2.2.180) by abstaining from worldly “trumpery” (4.1.186) ascetically. Caliban’s cannibalistic conspiracy to murder Prospero, Gonzalo’s utopia (2.1.144–69), the vanishing banquet (3.3.18–82), and the pastoral court masque staged by Prospero (4.1.60–138), are “spectacle of strange cultures” as well as “the rehearsal of cultures” (Mullaney 63, 69). They are the cultural practices which are “voids,” i.e. the ornamental sugar desserts, and at the same time, represent “self-estranged” subjectivity as well as “the void of self” (Fumerton 128). In Tmp. these “voids” are consumed cannibalistically, and moreover, Prospero’s “‘self’ as the achieved identity of privacy” (Fumerton 130) is melted into other’s by means of his sympathy.},
 pages = {113--127},
 title = {草食性カニバルとThe Tempest},
 volume = {7},
 year = {2024}
}