{"created":"2021-03-01T06:36:11.905327+00:00","id":28139,"links":{},"metadata":{"_buckets":{"deposit":"4b2ea73c-b7d4-4637-841d-63346ff3e607"},"_deposit":{"id":"28139","owners":[],"pid":{"revision_id":0,"type":"depid","value":"28139"},"status":"published"},"_oai":{"id":"oai:nagoya.repo.nii.ac.jp:00028139","sets":["326:521:2321:2411"]},"author_link":["91565","91566"],"item_1615768549627":{"attribute_name":"出版タイプ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_9_alternative_title_19":{"attribute_name":"その他のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"Fearless of Leaping : Sappho's Love, Suicide, and Gender","subitem_alternative_title_language":"en"}]},"item_9_biblio_info_6":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2013-11-30","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"22","bibliographicPageStart":"1","bibliographicVolumeNumber":"46","bibliographic_titles":[{"bibliographic_title":"IVY","bibliographic_titleLang":"en"}]}]},"item_9_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"The legendary leap of Sappho, the ancient Greek woman poet, has inspired various fictional accounts from ancient times to the present. This essay examines how the interpretation of Sappho's leap underwent changes in regard to love, suicide, and gender during the long eighteenth century. The story of Sappho taking a fatal leap from the rocks of Leucas into the sea for love of Phaon, a handsome boatman, had come down from Menander's comedy through Ovid's epistle \"Sappho to Phaon\" to modern times. Pope's translation of Ovid's poetry in 1712 contributed to making the image of Ovidian Sappho widely known. But it was Joseph Addison's academic or pseudo-academic articles in the Spectator, Nos. 223, 227, and 233 in 1711 that popularized Sappho's leap throughout Britain. Addison uses the French philosopher Pierre Bayle as his authority for saying that the place of Leucas was called \"Lovers-Leap\" since despairing lovers leaped from there for \"the Cure\" to stop the pains of lost love, and that Sappho was one of the leapers. Addison as well as Bayle also remarks that Sappho did not commit suicide but took a dangerous leap fearlessly in expectation of survival. According to one of the modern interpretations on Horace's Mascula Sappho, Bayle notes, she had such \"Courage\" that she was called \"masculine.\" Two other interpretations were that \"she was a Tribas [homosexual]\" and that she had an inclination \"for the Sciences, instead of handling the Spindle and Distaff.\" As time went by, Sappho gradually came to be the only leaper at Leucas. This was reflected in the change of spelling of the place of her death in the Spectator \"Lovers-Leap\" in the 1711 edition, \"Lovers Leap\" or \"Lover's Leap\" in mid-eighteenth-century editions, and \"Lover's Leap\" in most of the late century editions. In the meantime, ideas about Sappho's leap had changed. Whereas John Addison, an English translator of Sappho's poetry in 1835, followed the view of Joseph Addison that Sappho was heterosexual and leaped to cure her heartbreak, William King added notes to his 1736 edition of The Toast that Sappho was \"a famous Tribade,\" which tarnished her reputation as the \"Tenth Muse,\" and that as a punishment for her homosexuality, she \"killed herself at last for the Love of a Man.\" As far as I know, King's text was the earliest that presumed Sappho's leap to be for the sake of suicide. In late eighteenth century, English translators of Sappho also depicted her leap as suicide. But unlike King, they admired the heterosexual Sappho's \"masculine\" ability in composing poetry and her \"masculine\" suicide leap. In 1768, for instance, E. B. Greene distinguished clearly between other lovesick women who \"peaceably\" dispatched themselves \"by the noose, or the river\" (133) and the masculine Sappho who killed herself by leaping from a much higher precipice into the sea. In the1780s and 1790s, Sappho's suicide leap became a popular subject for literary works and paintings. This was probably influenced by the case of Thomas Chatterton's killing himself in 1770 and Goethe's popular novel The Sorrows of Young Werther (1774; first English trans. 1779). Although the attitude to suicide changed greatly from severe punishment to compassion in the eighteenth century, the debate on suicide was not monolithic. The translator of Goethe's novel (Werter and Charlotte, 1786), for instance, admired the similar sensibility of Chatterton and Werther: their feelings were \"too fine to support the load of accumulated distress.\" On the other hand, Charles Moore in A Full Enquiry into the Subject of Suicide (1790) criticized Werther's \"voluntarily\" suicide for \"an ungoverned passion,\" to distinguish it from Chatterton's \"involuntarily\" suicide for pecuniary difficulties. Sappho's suicide leap was in relation to two aspects of affliction of an unrequited lover and a poetic genius. But at the time when there were contrary reactions to suicide for love (admiration for \"too fine\" a sensibility and accusation against \"an ungoverned passion\"), it is little wonder that Sappho's leap took on various visages. The French Abbé Barthélmy in Travels of Anacharsis (1788; first English trans. 1791-92) reestimated Sappho as a great poet of sensibility, and presented her leap as a suicide for breaking away from cold Phaon on her own initiative. Drawing on Barthélmy, Mary Robinson went further in Sappho and Phaon (1796) to proclaim Sappho as the representative of all women poets in later ages. Robinson's Sappho repeatedly laments the death of \"Sappho\" (=her poetic self) while \"I\" (=her woman self) is held captive by love to Phaon, so that she decides to kill her woman self by bravely leaping at Leucas in order to be revived as the great \"Sappho\" in the future. Unlike Robinson, Robert Southey in \"Sappho\" (1797) portrays Sappho as still being attached to Phaon just before leaping. Southey's Sappho dies only to make Phaon regret what he has done, and to urge him to kill himself to join her in death. On the other hand, the Italian Alessandoro Verri in The Adventures of Sappho (1782; first English trans. 1789) depicts a Sappho who is fearful of leaping because of \"the timidity natural to the sex.\" Verri's Sappho is consequently killed and thrown down by Venus. The French Étienne François de Lantier in The Travels of Antenor in Greece and Asia (1797; first English trans. 1799) also presents the fearful-leaping Sappho, and turns her leaping moment into a sublime sight that the viewers regard \"with sympathetic horror.\" Such a horrid, sublime scene was also the subject of paintings such as Cipriani's \"Sappho Throwing Herself from the Rock\" (l782). As we moved into the nineteenth century, Sappho's leap moment became less popular. Women poets of the 1820s and 1830s, such as Letitia Elizabeth Landon and Felicia Hemans, were more interested in Sappho's last song sung just before her fatal leap. Their Sappho is Like Corinne, the heroine of the novel by Madame de Staël, who sang her last song before death. That Sappho lamentably sings that even though she has \"talents, riches, fame\" (Landon, \"Sappho,\" line 71) she cannot compensate for the loss of love. Landon and Hemans thus created a womanly and melancholic poet Sappho.","subitem_description_language":"en","subitem_description_type":"Abstract"}]},"item_9_description_5":{"attribute_name":"内容記述","attribute_value_mlt":[{"subitem_description":"本論は，名古屋大学英文学会第52回大会（2013年4月20日）における講演に基づき，修正を施したものである。なお，本論はJSPS科研費24520324の助成を受けている。","subitem_description_language":"ja","subitem_description_type":"Other"}]},"item_9_publisher_32":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"名古屋大学英文学会","subitem_publisher_language":"ja"},{"subitem_publisher":"The society of english literature and linguistics Nagoya University","subitem_publisher_language":"en"}]},"item_9_select_15":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_select_item":"publisher"}]},"item_9_source_id_7":{"attribute_name":"ISSN（print）","attribute_value_mlt":[{"subitem_source_identifier":"0914-2266","subitem_source_identifier_type":"PISSN"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"open access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_abf2"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"川津, 雅江","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"91565","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"Kawatsu, Masae","creatorNameLang":"en"}],"nameIdentifiers":[{"nameIdentifier":"91566","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2019-05-24"}],"displaytype":"detail","filename":"ivy_46_1.pdf","filesize":[{"value":"784.3 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"ivy_46_1.pdf","objectType":"fulltext","url":"https://nagoya.repo.nii.ac.jp/record/28139/files/ivy_46_1.pdf"},"version_id":"8be9225e-d234-4b48-9fdc-4d696d535a1f"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"飛ぶのは怖くない : サッポーの愛と自殺とジェンダー","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"飛ぶのは怖くない : サッポーの愛と自殺とジェンダー","subitem_title_language":"ja"}]},"item_type_id":"9","owner":"1","path":["2411"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2019-05-24"},"publish_date":"2019-05-24","publish_status":"0","recid":"28139","relation_version_is_last":true,"title":["飛ぶのは怖くない : サッポーの愛と自殺とジェンダー"],"weko_creator_id":"1","weko_shared_id":-1},"updated":"2023-01-16T04:20:28.274325+00:00"}