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演技・逸脱・〈物語〉 : 久生十蘭「ハムレット」論
http://hdl.handle.net/10959/0002002518
http://hdl.handle.net/10959/0002002518ab8e9e31-36e9-403e-a610-372b3242b28e
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
jinbunkagaku_31_27_66.pdf
|
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2023-07-14 | |||||
| タイトル | ||||||
| タイトル | 演技・逸脱・〈物語〉 : 久生十蘭「ハムレット」論 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | エンギ イツダツ モノガタリ ヒサオ ジュウラン ハムレット ロン | |||||
| 言語 | ja-Kana | |||||
| タイトル | ||||||
| タイトル | Acting, Deviance, and Narrative: A study of Hisao Juran’s “Hamlet.” | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 久生十蘭 | |||||
| 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 | 刺客 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 演技 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 物語 | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
脇坂, 健介
× 脇坂, 健介 |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | This paper focuses on the latent strangeness in Hisao Juran’s “Hamlet,” published in 1946. “Hamlet” is a revised version of “Shikaku,” which was first published in 1936, but changed its content and form later. Both “Shikaku” and “Hamlet” are about Komatsu, who thinks he is Prince Hamlet, the hero of Shakespeare’s play “Hamlet,” and a character named Sohue, who observes him. However, while “Shikaku” is told in letters written by Sohue, who watches Komatsu, “Hamlet” is told in the form of Sohue himself telling the story. Additionally, in “Hamlet,” Sohue is portrayed as a trustworthy character, whereas in “Shikaku,” Sohue’s insanity is revealed in his last letter. Therefore, although Sohue seems to be a logical narrator in “Hamlet,” an analysis of the story reveals that he is so enamored with Komatsu that his bias makes him describe the other characters as villains. It is also possible that he compares the events that happened to Komatsu to Shakespeare’s “Hamlet,” which does not make him an impartial narrator. This kind of unreliable narration by Sohue resonated with the Japanese society at the time of publication. For example, Komatsu’s appearance recalled the major change in the social position of the emperor that occurred in 1946. In other words, “Hamlet,” a text full of mystery, resonates with the confusion of performance and reality occurring in Japan in 1946, and simultaneously brings into relief the secret that awaits there. | |||||
| 書誌情報 |
ja : 学習院大学人文科学論集 Gakushuin University studies in humanities 号 31, p. 27-66, 発行日 2022-10 |
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| 出版者 | ||||||
| 出版者 | 学習院大学大学院人文科学研究科 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 09190791 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10398283 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
