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While all these banquets arereflected each other, they originate from Simonides\u02bcs banquet in ancient Greece, on which the principle oftraditional art of memory has been founded. The vanishing banquet (3.3.18\u201282) represented in The Tempest is the counterpart of the masque enactedby Prospero as an engagement ceremony (4.1.60\u2012158). 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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 | |
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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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× TAKIKAWA, Mutsumu |
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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 |
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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 |