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『リア王』におけるジャンル標識について
http://hdl.handle.net/10295/913
http://hdl.handle.net/10295/9132661a865-d3c1-4c62-bb8d-d3da8c383bdc
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
sasaki4.pdf (621.0 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2008-07-10 | |||||||||
| タイトル | ||||||||||
| タイトル | 『リア王』におけるジャンル標識について | |||||||||
| その他のタイトル | ||||||||||
| その他のタイトル | Generic Signals In King Lear | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | King Lear | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | リア王 | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Shakespeare | |||||||||
| 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 | |||||||||
| 作成者 |
佐々木, 和貴
× 佐々木, 和貴
× SASAKI, Kazuki
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| 内容記述 | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | The Tate's King Lear (1681) has been notorious for its comic adaptation. But reading the original detachedly and carefully, we will find that it had already involved the incitements to such a comic adaptataion. Then the purpose of this thesis is to indicate how the comic generic expectations are evoked in this great tragedy. And to objectify them clearly we notice the generic signals, that is, the marks with which the playwrite suggests the genre of his play to the audience. The analysis is mainly focused on Act I Scene i in which the generic signals should appear frequently, and the following topics are discussed. First, Gloucester as "lewd old man" and Lear as "enraged old man" evoke the generic expectation toward the farce as well as the molarity play. Secondly, Lear's comparison of daughters' affections suggests the happy ending because of the fairytale-like structure of this episode, and the courtship of King of France hints the same on account of his Petrarchan diction which was characteristic of the contemporary sonnet sequences. Thirdly, the terrible conversation between Goneril and Regan about Lear may have the possibility that the audience should (mis)understand it as the comic generic signal because the topic is the alternation of generations which chiefly belongs to comedies in Shakespeare. In conclusion we try to prove that in Li. the comic generic signals consistently act against the tragic tone and that during the scene the audience must hesitate to decide how to accept the play. And moreover, such generic signals often appear ever afterwards. Therefore we may assume that the audience of King Lear has always to be conscious of the gap between the tragic story and the embedded comic generic signals and can't easily decide the genre of the play till the end. And in the final section this seemingly peculiar dramaturgy is analysed and our hypothetical view is proposed that it is not only strategic but essential for this play and the playwrite. |
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| 出版タイプ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| 書誌情報 |
秋田大学教育学部研究紀要 人文科学・社会科学 en : Memoirs of the College of Education, Akita University. The humanities & the social sciences 巻 44, p. 11-18, 発行日 1993-01-29 |
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| ISSN | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 03870103 | |||||||||
| NCID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AN00010293 | |||||||||
| 出版者 | ||||||||||
| 出版者 | 秋田大学教育学部 | |||||||||
