サイコアナリティカル英文学論叢

文藝の精神分析的アプローチHannsSachsの場合

島村馨

1989 年 1989 巻 13 号 p. 1-23
発行日: 1989年
公開日: 2011/03/11

DOIhttps://doi.org/10.11445/psell1978.1989.1

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Hans Sachs, the author of the books, Freud, Master and Friend (1945)and The Creative Conscious (1942), can be regarded as a pioneer psychoanalyst in the area of psychoanalytical studies of literature. This brief survey is an attempt at an introductory outline of his The Creative Conscious with an emphasis upon his theories of 'daydream'and its functions, of 'form' and of 'beauty' and 'art'. A member of the 'Seven Rings' around Sigmund Freud and editor of the Imago magazine, Sachs was a strict adherent with his ideas founded upon Freud and his ideas of id, ego and superego. In some places in his theoretical formulations of art Sachs has turned out pretty naive. However, in the historical perspective of psychoanalysis - oriented studies of literature Sachs is worth close attention as an exploring applied psychoanalysist in mid - 20th century.

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T.S.エリオットの救いとマンダラTheCocktailPartyを中心として

倉橋淑子

1989 年 1989 巻 13 号 p. 24-40
発行日: 1989年
公開日: 2011/03/11

DOIhttps://doi.org/10.11445/psell1978.1989.24

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In order to have the clear image of how T. S. Eliot gained his salvation, the following elements are discussed. First, the meaning of salvation for T. S. Eliot himself, secondly, the meaning of salvation in Buddhism, thirdly, the relationship between ' Mandala ' in Buddhism and C. G. Jung's ' Mandala ' as the alteration of his own soul. T. S. Eliot has been acknowledged that he has a deep interest in Indian philosophical systems and we can find these influences in his poems and plays. How Celia and Edward in The Cocktail Party could find their salvation is discussed in the latter part. By comparing Eliot's perceptions with 'Mandala' it seems that we can get the conclusion that Eliot's 'rose garden' and 'Mandala''point to one end', namely the salvation of human soul, Eliot's world of 'still point'.

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The Glass Menagerie の分析

小路華代

1989 年 1989 巻 13 号 p. 41-57
発行日: 1989年
公開日: 2011/03/11

DOIhttps://doi.org/10.11445/psell1978.1989.41

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The Glass Menagerie is an autobiographic work by Tennessee Williams. He describes Amanda as an image of his mother, Edwina and Laura as a model for his sister, Rose. The aspects of the Wingfields which are alive earnestly in spite of being separated from a realistic world, are similar to the ones of the Williams. They were afflicted with the mental conflict for sexual desire and the repression of it strictly. He was oppressed with the sense of sin as a homosexuality on his life, at the same time, and grieved over his sister who lost nomal consciousness on account of an operation for lobotomy. Therefore, the unicorn with a broken horn is symbolic of Tennessee Williams. He insists that this drama says " You ha ve your own separate world and your own separate standards of sanity to go with it. "

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ショーの家庭環境と作品『男やもめの長屋』の場合

新熊清

1989 年 1989 巻 13 号 p. 58-69
発行日: 1989年
公開日: 2011/03/11

DOIhttps://doi.org/10.11445/psell1978.1989.58

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In the plays of Bernard Shaw can be found many sons and daughters who have lost, or live apart from, their fathers or mothers, or sometimes both. These phenomena may be the result of the family circumstances of his early days. This paper will analyze his first play Widowers' Houses from the point of pathography and ascertain the relationship between his life and his plays.

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