@article{oai:nagoya.repo.nii.ac.jp:00027980,
 author = {Fujita, Kenji},
 journal = {IVY},
 month = {Oct},
 note = {Mourning should work through some mechanisms, although the original experience of mourning has no story, history, or genre in itself. In that hypothesis, I attempt to describe the topos in which the work of mourning occurs and works mechanically by focusing on the literary devices of the elegiac and pastoral. The work of mourning is likely to develop on, more or less, a kind of pseudo-economic(al) place where the living and the dead exchange. I pursue the competing relation between the irreducible experience of mourning and the economy on mourning through Hamlet, then the one between the economy and the literary devices of the elegiac and pastoral through the myth of Apollo and Daphne. Finally I find the aspect of speculations in a case where the economy has something to do with one's own death by focusing on a document from Gentleman's Magazine and Gray's Elegy. The opening scene in Hamlet presents us Hamlet's opposition to Claudius and Gertrude over the economization of mourning. The economists Claudius and Gertrude want to reduce mourning to their calculations under the plausible cover of conventions, whereas the mourner Hamlet does not want his experience of mourning to be counted among convenient estimations. His mourning even attains to despair of his own being. The experience of mourning essentially has something that will collapse every kind of economy from conventions to the conatus for self-preservation. One should keep irreducible secrets beyond the economy in the experience of mourning, even though one would be aware of the possibility that one might fall into subreption or catachresis by expressing his mourning. Then I pay attention to how the irreducible experience of mourning appears to perform the work of mourning and participate in the economy. There are some tendencies in the economization of mourning which relate the elegiac discourse to the pastoral discourse. As the archetype structuring the relationship of love-death-vegetation, the myth of Apollo and Daphne, or Pan and Syrinx, suggests the thanato-fetishistic love in mourning. Apollo and Pan manage to detain Daphne and Syrinx by the fictitious effect of fetishism while pronouncing that they are dead. By suffering for the sorrow of parting, the irreparable loss, and the helpless passion, they win the substitution of vegetation in return. The figure of vegetation makes it easy to detain the lost, because the death often appears to be a chance to new life and rebirth in the pastoral world. The two conflicting procedures of sending and detaining put the economy of mourning into plausible equilibrium. In the end I focus on how one speculates on the posthumous economy, insofar as no one can avoid the economy on mourning completely. The cases of Underwood from Gentleman's Magazine and the poet from Elegy show vestiges of struggle for the posthumous controllable economy of mourning. Underwood attempts to avoid the economy itself by refusing mourning, especially from relatives who easily make the economy problematic, whereas the poet wants his successful control over the posthumous economy in which he cannot intervene directly. The speculative performance of mourning paradoxically manifests itself in the endorsement of the conatus for self-preservation. It should be a resistance to the disproportional economy of mourning.},
 pages = {1--33},
 title = {Mourning and the Literary Device of Pastoral Elegy : Through Hamlet, Apollo, and the Poet of Gray's Elegy},
 volume = {34},
 year = {2001}
}