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  1. 紀要論文
  2. 学部
  3. 国際英語学部
  4. 中京英文学
  5. 7

Twelfth NightにおけるDisguiseの二面性

https://chukyo-u.repo.nii.ac.jp/records/9916
https://chukyo-u.repo.nii.ac.jp/records/9916
3c2a3943-75ed-496c-82e9-ef93e50d0d36
名前 / ファイル ライセンス アクション
KJ00004530657.pdf KJ00004530657.pdf (1.3 MB)
Item type [ELS]紀要論文 / Departmental Bulletin Paper_02(1)
公開日 2016-11-14
タイトル
タイトル Twelfth NightにおけるDisguiseの二面性
言語 ja
タイトル
タイトル The Duality of Disguise in Twefth Night
言語 en
言語
言語 jpn
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
雑誌書誌ID
収録物識別子タイプ NCID
収録物識別子 AN00144391
著者 細川, 眞

× 細川, 眞

WEKO 12655

細川, 眞

ja-Kana ホソカワ, マコト

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HOSOKAWA, Makoto

× HOSOKAWA, Makoto

WEKO 12656

en HOSOKAWA, Makoto

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著者所属(日)
文学部
記事種別(日)
内容記述タイプ Other
内容記述 論文
記事種別(英)
内容記述タイプ Other
内容記述 Monograph
抄録(英)
内容記述タイプ Other
内容記述 If we see disguise as 'the substitution, overlaying or metamorphosis of dramatic identity, whereby one character sustains two roles' (M. C. Bradbrook), it can be said that in TN Malvolio as well as Viola who disguises herself in male costume disguises himself in the form of mental disguise, too, as he tries to assume a role of 'Count Malvolio' in spite of his reality as steward. Viola's disguise is thought to represent the androgyne while Malvolio's represents the difference between appearance and reality. Malvolio's later comical disguise in yellow stockings symbolises it well. The feature of both disguises lies in the duality. In the case of Viola it is related to the myth of Hermaphrodite and Salmacis in Ovid, where the androgyne has two opposite images-perfection and deformity-traditionally (W. E. Slights). Viola develops into a perfect woman hermaphroditically, acquiring masculinity thanks to male disguise as Rosalind does or Portia symbolises. But she, in contrast to them, is restrained and made monstrous by disguise, too. Viola/Cesario has attracted Olivia and Orsino homosexually, and moreover, she/he has become a hypocritical devil, confused with the twin Sebastian. All these confusions and ambivalences turn out to be indicative of liminality in initiation. On the other hand, the archetype of Malvolio's disguise would be regarded as the disguise of the serpent whose characteristic is deceit. He is a self-deceiver as seen from his discrepant role-playing. That fault is laughed at and punished by revellers in festive mood such as Sir Toby, Maria and Feste, who are also disguisers, but whose disguises are judged good, though their essence is deceit, too. Here we can find duality in the disguise of deception. But Malvolio's disguise has another aspect. It is one of the reversal of social standing. When we see Malvolio playing a role of 'Count Malvolio' attack the parasitic aristocrats home in a playlet (2. 5.), his disguise is found to be a symbol of social rebellion and revolution rather than a butt of laughter there. Thus it can be said that Malvolio's disguise itself has duality, too.
書誌情報 中京英文学
en : Chukyo English literature

巻 7, p. 15-44, 発行日 1986-12-25
表示順
内容記述タイプ Other
内容記述 6
アクセション番号
内容記述タイプ Other
内容記述 KJ00004530657
ISSN
収録物識別子タイプ ISSN
収録物識別子 02852039
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