@article{oai:chukyo-u.repo.nii.ac.jp:00009916,
 author = {細川, 眞 and HOSOKAWA, Makoto},
 journal = {中京英文学, Chukyo English literature},
 month = {Dec},
 note = {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., 6, KJ00004530657, 論文, Monograph},
 title = {Twelfth NightにおけるDisguiseの二面性},
 volume = {7},
 year = {1986},
 yomi = {ホソカワ, マコト}
}