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  1. A100 文学部/人文学研究科・文学研究科・国際言語文化研究科
  2. A100b 紀要
  3. 名古屋大学文学部研究論集.文学
  4. 63

シェイクスピア劇における宴の変容 : 『ハムレット』と『テンペスト』

https://doi.org/10.18999/joufll.63.15
61a1f778-1620-4861-9d11-af9a80db96d1
名前 / ファイル ライセンス アクション
joufll_63_15.pdf joufll_63_15.pdf (481.2 kB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2017-04-05
タイトル
タイトル シェイクスピア劇における宴の変容 : 『ハムレット』と『テンペスト』
その他のタイトル
その他のタイトル Shakespearean Transformation of Banquets : Hamlet and The Tempest
著者 滝川, 睦

× 滝川, 睦

WEKO 70345

滝川, 睦

Search repository
TAKIKAWA, Mutsumu

× TAKIKAWA, Mutsumu

WEKO 70346

TAKIKAWA, Mutsumu

Search repository
キーワード
主題Scheme Other
主題 『ハムレット』
キーワード
主題Scheme Other
主題 『テンペスト』
キーワード
主題Scheme Other
主題 宴
キーワード
主題Scheme Other
主題 記憶術
キーワード
主題Scheme Other
主題 ヴォイド
キーワード
主題Scheme Other
主題 Hamlet
キーワード
主題Scheme Other
主題 The Tempest
キーワード
主題Scheme Other
主題 banquets
キーワード
主題Scheme Other
主題 the art of memory
キーワード
主題Scheme Other
主題 the void
抄録
内容記述 本論の目的はシェイクスピア(William Shakespeare,1564‒1616)の『ハムレット』(Hamlet, 1601頃制作?)と『テンペスト』(The Tempest, 1611初演)において表象された「宴」(banquet, feast, revels, pageants)の変容について、前者に関しては記憶術との関連性に着目して、後者については宮廷仮面劇(the court masque,masques)との関連性に焦点を合わせて考察することである。This paper is intended as an investigation regarding the transformation of banquets represented inShakespeareʼs plays: Hamlet and The Tempest.In Hamlet, the four kinds of banquets are enacted: Claudiusʼs coronation and nuptial ceremony (1.2.1‒128);“the table of my [Hamletʼs] memory” and “My tables” (1.5.92‒112); Hamletʼs meditation on Yorickʼs skull atthe grave in a churchyard (5.1.174‒205); Claudiusʼs bloody banquet (5.2.202‒387). While all these banquets arereflected each other, they originate from Simonidesʼs banquet in ancient Greece, on which the principle oftraditional art of memory has been founded. The vanishing banquet (3.3.18‒82) represented in The Tempest is the counterpart of the masque enactedby Prospero as an engagement ceremony (4.1.60‒158). Both the harpyʼs banquet and Prosperoʼs masque are“the spectacles of strangeness” as well as “the rehearsal of cultures.” They are the cultural practices consumedcompletely as “voids,” and they also represent both the “self made void” and “the void of self” dubbed by Patricia Fumerton in her Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament.
内容記述タイプ Abstract
出版者
出版者 名古屋大学文学部
言語
言語 jpn
資源タイプ
資源 http://purl.org/coar/resource_type/c_6501
タイプ departmental bulletin paper
ID登録
ID登録 10.18999/joufll.63.15
ID登録タイプ JaLC
ISSN(print)
収録物識別子タイプ ISSN
収録物識別子 0469-4716
書誌情報 名古屋大学文学部研究論集. 文学

巻 63, p. 15-29, 発行日 2017-03-31
著者版フラグ
値 publisher
URI
識別子 http://hdl.handle.net/2237/25895
識別子タイプ HDL
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