@article{oai:nagoya.repo.nii.ac.jp:00028101,
 author = {内藤, 亮一 and Naito, Ryoichi},
 journal = {IVY},
 month = {Nov},
 note = {The aim of this paper is to investigate the representation of the gallants in the dramatic works of Shakespeare, Ben Jonson and J. Cooke and in Dekker's Gull's Horn-Book so as to clarify the meaning of gorgeous sartorial dress in Early Modern England. In this period, the word "gallant" means both "gorgeous in appearance" and "chivalrously brave" as well as "a man of fashion and pleasure." The gallant knights in Shakespeare's plays have some of these characteristics. Hotspur and Hal are mainly analyzed as typical gallant knights, who are gorgeous in appearance and chivalrously brave. Their gorgeous armor, which is similar to contemporary sartorial dress, represents their valor; clothing makes the man. But their gorgeous armor does not automatically prove their virtue; Hotspur is brave but too daring and out-dated; and Hal is clever in concealing his purpose and controlling the mystic power of the code of dress or glove. Although Shakespeare adds the meaning "chivalrously brave" to the word "gallant," the gallant knights in Shakespeare are elusive and not purely approved. Renaissance humanists and religious writers comment on apparel and how they should be dressed. They insist on modesty and reiterate that choosing the proper dress to one's own state and rank is important. They also say the man is judged by dress and even gorgeous dress shows vanity without virtue. Their ideas can be seen in the contemporary dramatists, and as they say gorgeous dress can deceive people and it is difficult to judge rightly. Since 1580, Elizabethan sartorial dress has been changed and many prodigal gallants appear in drama, especially in city comedies. Dekker's pamphlet satirically shows what the gallant is. For affected gallants, appearance is all, while knight gallants have their inwardness, even if not matching their appearance. Their identity is made by their dress, and they change themselves as fashion changes, as is shown in Ben Jonson's drama. When prodigal gallants spend all their money and must pretend their appearance, they recognize the gap between outward and inward; and regenerate themselves. There are many plays which feature these prodigals, a kind of prodigal son, who try to recover themselves and sometimes fall in love with ladies. J. Cooke's work is a good example of this kind of play, which also include interesting identity crisis constituted by the exchanged clothing of the master and the servant. The problem is solved by each character returning to an original state and rank. The heroine represents the idea of the humanist about the relationship between dress and identity. As a conclusion, gorgeous sartorial dress is a signifier that changes its meaning into anything depending on the situation; sometimes it is a mirror of inward virtue, sometimes a vanity, sometimes a trigger to make a gap between outward and inward recognizable. Clothing is a mirror of the wearer, but it is difficult to judge what he or she is. This tangled texture constitutes the culture of clothing of Early Modern England., 本稿は第49回名古屋大学英文学会シンポジウム「綾を読む : 近代初期英国文学と服飾文化」（2010年4月17日於名古屋大学）における発表をもとに加筆補足したものである。また文部科学省「人文学および社会科学における共同研究の整備の推進事業」支援による服飾文化共同研究拠点（文化ファッション研究機構・文化女子大学）の「服飾文化研究」共同研究番号20010「演劇論および身体論的視座からの近代初期英国における服飾文化に関する研究」（統括者，滝川睦）の平成22年度の成果の一部である。},
 pages = {1--22},
 title = {近代初期英国演劇におけるギャラントの系譜学 : 騎士から放蕩者へ},
 volume = {43},
 year = {2010}
}