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The power of genre is indispensable for the interpretation of text. As far as a genre is one f possible classifications, it is important to read a text in genres, not in a genre. Genres as intertextual discourses are ubiquitous in a text ; therefore the question of genre depends not on whether we can attribute a text to a genre but on whether we can utilize genre for interpretation. The Rape of the Lock undergoes the participation of lady à la mode. Belinda is a queen, an epic heroine, in the performative sense, and is also a butt of satire or a reprehensible sinner in the pedagogical sense of lady à la mode. However, the antinomy is not the privilege given to the mock-epic poetry, but is dependent on the de jure genre. Using the theory of genre, I attempt to interpret The Rape of the Lock. 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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. IVY
  4. 31

The Game of Intertextuality : With Special Reference to The Rape of the Lock

http://hdl.handle.net/2237/00030163
http://hdl.handle.net/2237/00030163
c6aea733-7a7b-40e0-8b09-884e17ed6922
名前 / ファイル ライセンス アクション
ivy_31_33.pdf ivy_31_33.pdf (1.0 MB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2019-05-10
タイトル
タイトル The Game of Intertextuality : With Special Reference to The Rape of the Lock
言語 en
著者 Fujita, Kenji

× Fujita, Kenji

WEKO 91116

en Fujita, Kenji

Search repository
アクセス権
アクセス権 open access
アクセス権URI http://purl.org/coar/access_right/c_abf2
抄録
内容記述 I do not need a genre as a panopticon, but as a useful device for interpreting texts. The power of genre is indispensable for the interpretation of text. As far as a genre is one f possible classifications, it is important to read a text in genres, not in a genre. Genres as intertextual discourses are ubiquitous in a text ; therefore the question of genre depends not on whether we can attribute a text to a genre but on whether we can utilize genre for interpretation. The Rape of the Lock undergoes the participation of lady à la mode. Belinda is a queen, an epic heroine, in the performative sense, and is also a butt of satire or a reprehensible sinner in the pedagogical sense of lady à la mode. However, the antinomy is not the privilege given to the mock-epic poetry, but is dependent on the de jure genre. Using the theory of genre, I attempt to interpret The Rape of the Lock. The point at issue is, as the title shows us, the term of "rape." In order to interrogate "why the Baron rapes the lock," why the plunder of the rock is depicted as a rape," and "what the rape is," I fabricate a kind of genre, the intertextual discourse of lady à la mode. Lady à la mode proves that the rape is a kind of moral sanction. Belinda commits the sin of deceit because of her excessive adornment which is against the virtue of physis. In the poems of lady à la mode, the quantitative problem of excess is related not only to the waste of materials but also to the moral virtue of female sexuality. Then, the Baron's attack fulfills a function of moral sanction against the lack of modesty in Belinda. Consequently, The Rape of the Lock is composed of the repressive power of discourse about female sexuality. Indeed, the actual models of Arabella Fermor and Lord Petre are replaced with the moral story about Belinda and the Baron. Through such a replacement, Arabella Fermor repressively becomes the sinner Belinda, and Lord Petre paradoxically becomes the heroic Baron. In this way, both the epic convention and the discourse about female sexuality function in The Rape of the Lock.
言語 en
内容記述タイプ Abstract
出版者
言語 ja
出版者 名古屋大学英文学会
出版者
言語 en
出版者 The society of english literature and linguistics Nagoya University
言語
言語 eng
資源タイプ
資源 http://purl.org/coar/resource_type/c_6501
タイプ departmental bulletin paper
出版タイプ
出版タイプ VoR
出版タイプResource http://purl.org/coar/version/c_970fb48d4fbd8a85
ISSN(print)
収録物識別子タイプ PISSN
収録物識別子 0914-2266
書誌情報 en : IVY

巻 31, p. 33-60, 発行日 1998-10-31
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