Dreams were believed to come from outside to tell something to human beings. We can find such dreams in Homer's Ilvad, his Odysseus, and the Genesis. We also find them in Seneca's plays and A Mirror for Magistrates which Shakespeare may have consulted for the plots of some of his plays. On the other hand, there have been philosophical theories that dreams come from the dreamer's mind itself since the Greek and Roman classical period: Plato and Aristotle analysed dreams from this point of view. Since then, theories that dreams arise from external and internal stimuli have been developed and the theory of wish-fulfilment which the writer thinks contains much obvious truth was established by Sigmund Freud. After surveying literal and philosophical views of dreams chronologically, the writer analysed four dreams in Richard III mainly by means of S. Freud's theory. By this analysis the writer tried to reveal the dreamer's mental development, and how the providential power which has been said to form the driving force in Richard III, sinks into a character's inner world and exerts much influence on its mind and act.

抄録全体を表示

I analyzed a poem, The Blue Sky which is written in the book entitled Mountains and Rivers without End by Gary Snyder. I suspect that the archetypal journey is a main theme in it. It consists of three stages, that is, separation, initiation, and return. This title The BluE Sky symbolizes the unconscious world because Buddha called Master of Healing lives there, shining pure as lapis lazuli like the blue sky. This azure radiance (Yakushi) Buddha called Master of Healing is the saint, the perfectly enlightened one and the old man medicine Buddha. He is the lord of the lost paradise. That is why this Buddha symbolizes the key archetype image, old wise man. Other archetype images, shadow, India and great mother (maya) are used to make this key archetype image clear. At first stage we pray that we can see the old wise man (azure radiance Buddha). It is said that azure radiance medicine Buddha had twelve prayers in his bodhisattva-hood. Next stage we chant charms (true words) and see the old wise man (medicine Buddha) in our dream; then we feel at ease. Medicine Buddha (Yakushi tathagata)always has a medicine- bottle in his left hand and give it to us at our desire. Last stage we awake from the illusion which made us to forget medicine Buddha. Medicine Buddha and we are one in the lapis lazuli world. The archetype image (Buddha) transcend (the time and the space. He is ever changing to let us be enlightened) because he has many masks. He figures as Shakamuni Buddha, or as Yakushi 97Buddha, or as A m ita bha Buddha, and so on at our desire. We know that all of us are embraced by the Buddha's mother Maya (great mother) without end.

抄録全体を表示

Virginia Woolf makes a start as modern novelist by observing not the outer world but the inner world of human consciousness. Since the base of her novels is atoms of impression in a moment, time seems to be one of her main themes. The time consciousness in the novels of Virginia Woolf can be analized from the three different dimensions of time: flux, moment and cycle. It seems that the end of To the Lighthouse is more complete, more stable and more filled with life than any other novel of hers, because Virginia Woolf is succeeded in representing the nature of life and the nature of literature in the perspective of time.

抄録全体を表示

The supposed radicalism of Burke's treatise The Sublime and the Beautiful, toppling as it apparently does the orderly canons of Augustan decorum, has long been something of an embarrassment to critics sympathetic to the reactionary thrust of his Reflections on the Revolution in France. I have attempted to demonstrate that Burke's aesthetics are in fact structured by a psychoanalytical narrative that unites, rather than contrasts, them with his explicit politics. Psychoanalysis cannot, however, merely map its categories on to its object texts, for to do so is to abolish their specific materiality in a fit of theoretical idealism. I have therefore sought those moments of textual 'parapraxis'. those slippages of argument, points of selfcontradiction, elisions of key terms, or unresolved indeterminacies. at which a Freudian hermeneutic may be unreductively applied. Governed by an Oedipal structure that twists into incoherence the surface of its text, Burke's aesthetic of the Sublime turns out not to be a dallying with madness, but rather the very moment of its expulsion in the name of a cultural and political order he would defend more stridently in the Reflections.

抄録全体を表示