サイコアナリティカル英文学論叢
Online ISSN : 1884-6386
Print ISSN : 0386-6009
2000 巻, 21 号
選択された号の論文の4件中1~4を表示しています
  • 水田 真紀子
    2000 年 2000 巻 21 号 p. 1-15
    発行日: 2000年
    公開日: 2011/03/11
    ジャーナル フリー
    An analysis based upon Lacanian theories enables us to gain a deeper insight into the meaning of the climax and the elaborate organization of "Odour of Chrysanthemums. "Confronted with the death of her husband, Elizabeth recognizes the truth about human existenceman exists in the realms of the Imaginary, the Symbolic and the Real; and yet, the Real is utterly impossible to grasp. She goes through "the disappearance of the subject" and the rebirth into the realm of the Symbolic where man's existence becomes meaningful. The notion of absence implied at the outset slowly but steadily exposes its close connection with death, which works upon the reader through the rhythm of the fort-da. While encouraging the reader to share Elizabeth's point of view; the text, however, gradually manifests "the uncertainty of the subject" in Elizabeth. In fact, the text is carefully organized to make the reader share Elizabeth's knowledge and experience of death.
  • 飯田 啓治朗
    2000 年 2000 巻 21 号 p. 16-30
    発行日: 2000年
    公開日: 2011/03/11
    ジャーナル フリー
    "Eros" and "Thanatos" mean "love" and "death" respectively in Greek. In Beyond the Pleasure Principle (1920), Sigmund Freud employed the ideas of "Eros" and the "death instinct" (which is generally called "Thanatos") as psychological concepts. "Eros, " the libidinal, sexual or life instinct, aims to form living substances into ever greater unities. "Thanatos" leads the living creatures to death and manifests itself as destructive or aggressive impulses. Romeo and Juliet dramatizes the romantic love and tragic death of the two young lovers. However, as the opening of scene 1, Act 1indicates, this drama is full of bawdy or sexual words, representing "Eros. " M. M. Mahood suggests that "the bawdy has always a dramatic function, " and this becomes clearer with reference to "Thanatos. " From the Prologue's first reference to "death-mark'd love, " this play abounds in the imageries of death, most of which are directed toward Romeo and Juliet. In addition these imageries are connected with the imageries of love. Freud first supposed a struggle between "Eros" and "Thanatos, "but in the course of time he allowed the fusion of these two instincts. In the final scenes where Romeo and Juliet kill themselves can be seen this fusion of "Eros" and "Thanatos. "
  • 八木 悦子
    2000 年 2000 巻 21 号 p. 31-43
    発行日: 2000年
    公開日: 2011/03/11
    ジャーナル フリー
    From Glimpses of Unfamiliar Japan, the first book after his arrival in Japan in 1890, through Japan: An Attempt at Interpretation, the last book of his life, Lafcadio Hearn admires Japan and the Japanese. In reality, however, he had many difficulties caused by living in a foreign country. Why did he continue to speak well of the Japanese in his writings? My aim in this paper is to look into this enigma psychoanalytically. The keys to solve this problem are a kind of analogy between Japan and Greece, and a theory of Nachtaglichkeit, `deferred action' in English, Freud's conception of psychical temporality and causality. At four years old he was separated from his mother, at seven from his father. As a result of this, he had a yearning affections especially for his mother. To Greece, his and his mother's native land, however, he had complex feelings because of his parents' unhappy relationship in his younger days. In his first few years after his arrival in Japan, he found Japan a fairy land, and also found many analogous points between the two countries. As a result, he reconstructed his Greece under the phenomenon of Freudian `deferred action'. Although the idea of the fairy land faded away in his later days, his reconstructed idea of Greece remained in his heart and supplied him with vitality for survival. It is not important whether his Japan was a real one or not. The 61significant fact is that he was able to reconstruct his idea of Greece with fresh experiences from his fairy land.
  • 関谷 有里子
    2000 年 2000 巻 21 号 p. 44-57
    発行日: 2000年
    公開日: 2011/03/11
    ジャーナル フリー
    Shakespeare's Sonnets has two parts; one is dedicated to the youth, and the other is to the lady who is known as a "dark lady". The latter part interests me, for there I can find the poet's swaying emotion. In that part, the poet expresses his love for the lady. It can be said that his love for her is one of things which his self consists of. At the same time, the poet's self has his love for the youth, as a factor which the poet's self consists of, for the poet writes love sonnets for the youth in the former part. Then, when the intimate relationship between the youth and the lady appears, the poet suffers a great deal. For the poet experiences two betrayals at one time; one is of the youth and the other is of the lady. The poet's love for the youth and the lady forms the poet's self mainly, so his self faces crisis because of the detection of the relationship between the youth and the lady. I see the divided self of the poet as a result of the great mental shock. The poet's self is divided into the body and the mind. Especially I recognize the division between the eyes and the mind. In this paper, I quote R. D. Laing, who uses his original words such as "embodied self' and "unembodied self" in The Divided Self, and I observe how the poet's self is divided in the latter part of Shakespeare's Sonnets.
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