詳細検索結果
以下の条件での結果を表示する:
全文: "女衒"
22件中 1-20の結果を表示しています
  • 荒井 貢次郎
    法制史研究
    1973年 1973 巻 23 号 231-232
    発行日: 1974/03/30
    公開日: 2009/12/16
    ジャーナル フリー
  • 木村 健治
    西洋古典学研究
    1989年 37 巻 78-90
    発行日: 1989/03/15
    公開日: 2017/05/23
    ジャーナル フリー
    This article attempts to consider the dramatic structures of Mercator and Rudens, both of which have similar dream-scenes, from the viewpoint of the audience rather than that of chronology-the approach pursued so far Mercator begins with the prologue spoken by a character whose name is Charinus The fact that the speaker of the prologue is a human being who is a character seems to be deeply related to the structure of the play and it means that he can only tell the story, past and present, through his own eyes Such a prologue inevitably differs very much from an impersonal prologue (eg Asin, Capt, Cas , Men, Poen, Ps, True, Vid) or a prologue spoken by a divine being (e g Amph, Aul, Cist, Rud, Trin) Therefore I think II _1 (225-254), which is the scene where Demipho tells his dream, functions as the second prologue, and supplements the limited information provided by the prologue proper As to the dream-allegory, it is only capra=Pasicompsa that Demipho and the audience can easily identify among the animals which appear in the dream Some intelligent members of an audience may conjecture that Channus is the haedus in the dream As for simia, however, neither Demipho nor the audience can understand who he is For the rest of the play the audience are supposed to see it, feeling suspense in identifying the other animals and in comparing the plotdevelopment of the play with the dream-scene Rudens also begins with a prologue, the speaker of which is, however, a divine being, Arcturus This means that with this prologue much more information about the past, the present and the future is to be imparted than with the prologue of Mercator The prologue in such a structure reduces the relative significance of the dreamscene (593-612) in Rudens The animals which appear in the dream of Daemones can be quite easily identified by the audience as well as by Daemones himself, so that the scene does not create so much suspense in the audience as the scene in Mercator Furthermore, the details depicted in the dream-scene in Rudens are not well co-ordinated with the rest of the play Thus we can conclude that the dream-scene is more deeply and elaborately built into the dramatic structure of Mercator than it is into the structure of Rudens
  • 垣花 秀武
    MACRO REVIEW
    1997年 9 巻 2 号 37-58
    発行日: 1997年
    公開日: 2009/08/07
    ジャーナル フリー
    [Present State of Science and Technology]At the present day, Science-Technology reveals increasingly its demerits, compared with its merits.
  • 木村 健治
    西洋古典学研究
    1977年 25 巻 78-90
    発行日: 1977/03/29
    公開日: 2017/05/23
    ジャーナル フリー
    Love affairs play an important role in the plots of Roman comedy, and that is one of the reasons when the origin of the Latin love elegy is argued, the reference to the amatory expressions of Plautus and Terence is not to be dismissed. Thispaper seeks to estimate the nuances of osculum and savium in Plautus as one of these amatory expressions, which I expect to lead to the comparative study of Roman comedy and the Latin love elegy in terms of their vocabulary and expression. Servius affords a commentary on Verg. Aen. I. 256 to the effect that osculum isof religio, savium of voluptas. This definition is most appropriate to the very passage, it is true, but cannot be valid for all the oscula(five times)in Vergil. Donatus(ad Ter. Eun. 456), on the other hand, gives another definition of the wordsfor kiss, in which osculum, basium, and savium are all mentioned, each of them, given its own separate meaning. But, as is well known, basium was not knwon in Rome at the time of Plautus and Terence, and is generally assumed to have been introduced by Catullus from Celtic. Therefore we cannot apply Donatus' definition to Plautus without reserve. The frequency of the words 'kiss' in Plautus is as follows: [table] The sheer number clearly shows that osculum and its derivatives are used more frequently than savium and its derivative, and that savium is not the principal word for kiss in Plautus, as some scholars think it is. Donatus says in his commentary that osculum is of officium, and we can apply it to such kisses as are found in Amph. 571, 800, where osculum is used with sahitare and manum prehendere. Similar greeting kisses are also found in Epid. 571-4. Savium, however, is not used in such a way as to suggest that it is of officium at all. The kisses between parent and child(Epid., Rud., Stick.) or between husband and wife(Ampk., Asin.) are all described with osculum and its derivative, which are not of voluptas or of libido-amor, but of officium or of pudicus affectus. In contrast to it, all savium are used exclusively between amatores. We have also several passages(e.g. Asin. 222-5; Cure. 51-6)which indicate that osculum and its derivatives are in a striking contrast to savium. The derivative osculari, however, obscures such a distinction in some cases (e.g. Mil. Gl.) , where it is used for kisses between amatores. Later history of the word for kiss in the poetic vocabulary is that of the exclusion of savium from it, with the exception of Catullus. Such a tendency even begins in Terence, who uses 'kiss' quite rarely(only twice). Catullus uses all osculum, basium, savium and their derivatives, and their distribution to the three groups testifies savium belongs to the vocabulary of epigrams. All the words for kiss in Tibullus, Propertius and Ovid are oscula(p1.) and osculor(Prop. IV. 3. 30), except only one savium(Prop. II. 29B. 29). Every kind of kiss, whether it is of officium or of libido-amor, is described with oscula by the Latin love elegists. Thus we can conclude that there was a clear distinction between osculum and savium in Plautus, but that as there was not known the verb saviari at the time of Plautus and Terence, osculari was used in some cases for its substitute. In the Latin love elegy savium and basium were excluded, because they were not regarded as so poetic, nor so appropriate as to enhance the Latin love elegy to a higher rank, but as colloquial and vulgar.
  • 宇佐美 ミサ子
    史学雑誌
    1988年 97 巻 5 号 720-723
    発行日: 1988/05/20
    公開日: 2017/11/29
    ジャーナル フリー
  • 吉田 泉
    日本フランス語フランス文学会中部支部研究報告集
    2005年 29 巻 9-18
    発行日: 2005年
    公開日: 2018/03/29
    ジャーナル フリー
  • 竹村 文彦
    HISPANICA / HISPÁNICA
    1990年 1990 巻 34 号 183-195
    発行日: 1990/12/01
    公開日: 2010/06/11
    ジャーナル フリー
    En la primera persona narrativa en general, el protagonista (el “yo” que actua en los episodios) y el narrador (el “yo” que los relata retrospectivamente) poseen puntos de vista distintos: el narrador, ya lejos de los sucesos que cuenta, puede mirarlos y valorarlos con cierta objetividad. Por eso, el mundo presentado por él tiende a ser relativamente estáble y estatico. En cambio, el protagonista se encuentra en el momento actual de los acontecimientos y tiene que percibirlos y juzgarlos con su propio criterio subjetivo. Necesariamente el mundo captado por él será ambiguo y oscilante como la vida rel.
    Algunos de los episodios del Lazarillo están presentados estrictamente a través de la percepcion y el juicio del protagonista. Por ejemplo, en el encuentro de Lázaro con el Escudero (Tractado 3), gracias a esta técnica narrativa, el lector también queda enganado por la apariencia noble del tercer amo de Lázaro, y al lado de éste va comprendiendo poco a poco su miserable realidad. El resultado es la sensación de hallarse frente a una persona real y compleja. El punto de vista del protagonista se acentúa mediante el uso del articulo indetermidado y frases como “mi amo se paro, y yo con él” o “topóme Dios con un escudero”, etc.
    Al contrario, en el Buscón predomina el punto de vista o la percepción del narrador. En la venta de Viveros (Libro I, Capitulo 4), el protagonista Pablos y don Diego quedan estafados por otros huéspedes, pero el narrador lo revela ya desde el principio del episodio ( “la siempre maldita venta de Viveros”), y descubre al lector el verdadero carácter de los personajes antes de que éste pueda juzgarlos por su propia cuenta. Esta manera de narrar los convierte en simples “figuras de guiñol” (F. Lázaro), faltos de complejidad humana, haciendo que los episodios carezcan de sorpresa.
  • 水野 義一
    現代英米研究
    1974年 9 巻 1-11
    発行日: 1974/07/01
    公開日: 2017/09/07
    ジャーナル フリー
  • 嶽本 新奈
    ジェンダー史学
    2011年 7 巻 43-53
    発行日: 2011年
    公開日: 2012/10/01
    ジャーナル フリー
    開国以降に海外へ出稼ぎに行った女性たちを「からゆき」と総称するが、「からゆき」の渡航に際してどのような人間が関わっていたのかを当時の九州メディアである『福岡日日新聞』、『門司新報』、『東洋日の出新聞』3紙を用い、主に「密航婦」検挙に関する記事から渡航幇助者を抽出したうえでジェンダーと役割を検討した。その結果、渡航幇助者の多面的なネットワークと、そこでの男女の役割の異同が明らかになったが、まず、渡航幇助の役割上では周旋業と国外就航船乗船までの宿泊場所提供に関しては男女の別なくどちらも役割を担っていた。一方、ジェンダー的役割に注目すると、「からゆきさんあがりの誘拐者」が自分の身をもって経済的に「成功」した実例とすることで渡航を促す役回りであったり、奉公口探しは主に同郷出身の同性に依頼するという縁故利用の習慣によって、女性という〈性〉が機能する役割があったことを確認できた。こうした属性は個々に独立したものではなく重なることもあり、女性たちが〈出稼ぎ〉目的の渡航をする際のネットワークの端緒にこのようなジェンダー的役割が組み込まれていたからこそ、数多くの女性たちが海を渡っていったといえる。
    このことは誘拐者とは男性であり加害者であり、「からゆき」とは女性であり被害者であるといった一面的な捉え方を排すが、同時に、女性がいかなる役回りで渡航幇助に関わっていたのかを見極める必要がある。女性もある種の加害性を帯びているのかに関しては、紙面の都合上、表象レベルにおいて新聞報道が男性幇助者と女性幇助者とでは異なり、とりわけ「からゆきさんあがりの誘拐者」は自身の過去を別の密航婦に引き継ぎしているに過ぎない受動的な主体として表象されており、その点で女性は女性の抑圧者になりきれていないことを指摘するに留めておく。
  • 伊藤 正義
    英文学研究
    1964年 40 巻 2 号 149-166
    発行日: 1964/03/31
    公開日: 2017/04/10
    ジャーナル フリー
    The medieval mind had an inclination for ransacking resemblances, equivalences and correspondences among things, which was a way of proving the order of the universe established by God. John Gower, a representative medieval man, seems to have possessed a strong sense of correspondence. All through his three major works he held a consistent idea that man is a little world, and on this principle of correspondence between macrocosm and microcosm he founded his social criticism, his earnest preaching on the individual responsibility for the chaos and degradation of the contemporary world. The author of Confessio Amantis was, however, not a mere social critic. In this work we perceive all aspects-religious, moral, scientific and poetic-of Gower unrolled, and in each of them his sense of correspondence is more or less discernible. Firstly, Gower was an advocate of such medieval sciences as alchemy and astronomy, which were both based on the principle of correspondence. In his ethics Gower insists on the theory of retribution, telling horrible examples of coincidence between sin and punishment. Gower's attitude toward mysterious phenomena, such as dream, omen and metamorphosis was more medieval than Chaucer whose dream psychology, for example, was astonishingly modern. Gower emphasizes the miraculous coincidences, resemblances and correspondences in those phenomena, showing how exactly God's plan works. Turning our attention to the structure of Confessio Amantis, two of the leading principls can also be stated in terms of correspondence. One is the correspondence between religion and love, that is, the application of the sermon of the Seven Deadly Sins to the matter of love, and the other is the correspondence between a moral and its exemplum. Now either of these principles carries with it some inevitable discrepancies or contradictions, but Gower's strong sense of correspondence yoked different or opposite things together. Lastly, and it is most interesting to us, the sense of correspondence finds expression in Gower's poetical or rhetorical devices. With the exception of a number of pregnant images, the imagery of Confessio Amantis is generally more logical than poetical. In many instances an image is nothing but a means of the author's analogical thinking, or often a cluster of images forms what is equivalent to an exemplum or a fable to be used for a didactic purpose. The frequent use of antithesis or parallelism is likewise noteworthy. It might be understood in connection with the metrical scheme of this work which is written in couplets of four-foot line, but probably it ultimately comes from his sense of correspondence. Although the sense of correspondence was a product of the age in which Gower lived, yet in Confessio Amantis the moral poet modified and developed it in his own way, making it a hidden unifying factor of this heterogeneous and voluminous work.
  • 山井 徳行
    日本フランス語フランス文学会中部支部研究報告集
    2008年 32 巻 61-74
    発行日: 2008年
    公開日: 2018/03/29
    ジャーナル フリー
  • 本田 誠二
    HISPANICA / HISPÁNICA
    1987年 1987 巻 31 号 17-33
    発行日: 1987/12/31
    公開日: 2010/06/11
    ジャーナル フリー
    En el Quijote hay un episodio conocido como la historia de Grisóstomo y Mercela (I. xii-xiv). Grisóstomo, desesperado por el desdén y desamor de Marcela, “murió de amores” de ella segün dicen. Sin embargo, antes de morir él había dejado una poesía en la que se quejaba de la crueldad de la mujer y expresaba la intención de matarse por su desesperación. De ahí que unos críticos pusieran en tela de juicio el modo verdadero de su muerte.
    ?Fue suicidio o muerte natural? Américo Castro dice que del contexto de la prosa “nadie saca la impresión de que el pastor obstinado se suicidó. ” Para dar plena explicación a la contradicción entre la prosa y la poesía en el contenido se han presentado varias interpretaciones tales como la de Castro, Luis Rosales y J.B. Avalle-Arce. A mí no me parece que ninguno de estos se diera buena cuenta de que había aun en la prosa unas alusiones al suicidio del Grisóstomo. Con esto se perderia la razón de por qué se discute la misma ambigüedad sobre su muerte. El autor, cuando describía al pastor perdido por el amor, intentó relevar otros personajes: Marcela y Don Quijote; los cuales persiguen el mismo camino hacia la virtud: La castidad para aquélla y la libertad del alma para éste.
    Cervantes, como solía hacer en sus obras para resolver el enredo de los amores, usó del suicidio como ültimo medio de solución. Con la muerte voluntaria del enamorado quiso el autor elogiar la libertad del alma y la fuerza del amor. Aunque el no aceptaba el suicidio como recurso para escapar de las dificultades, porque era buen cristiano, lo admitía sólo cuando se trataba de la libertad del amor. Según nuestra iinterpretación, Cervantes no buscaba ninguna ambigüedad con la muerte de Grisóstomo, sino la contraposición marcada de caracteres en el episodio: Grisóstomo por un lado, Marcela y Don Quijote por el otro.
  • 仲野(菊池) 組子
    労務理論学会研究年報
    1997年 6 巻
    発行日: 1997/04/28
    公開日: 2018/03/29
    会議録・要旨集 フリー
  • 早川 紀代
    国際女性
    1994年 8 巻 8 号 120-126
    発行日: 1994/11/30
    公開日: 2010/09/09
    ジャーナル フリー
  • 栗原 俊秀
    イタリア学会誌
    2011年 61 巻 123-146
    発行日: 2011/10/15
    公開日: 2017/04/05
    ジャーナル フリー

    In questo articolo si indagano caratteri ed effetti delle espressioni riferite al sesso nel Ragionamento di Pietro Aretino, opera che attira molti studiosi interessati alla cultura erotica del Cinquecento e che ha ricevuto particolare attenzione dagli anni ottanta negli "studi di pornografia". Il punto di vista che vede nel Ragionamento l'origine del testo pornografico e suggestivo, ma e inevitabile notare come gli studi che presentano questa ipotesi semplifichino i caratteri delle descrizioni sessuali aretiniane. Lo scopo di questo lavoro e riesaminare gli studi piu significativi allo scopo di offrire una base per gli studi futuri compensando eventuali lacune nella ricerca precedente. Il Ragionamento e un'opera dialogica che si svolge nell'arco di tre giorni. Nel primo capitolo le due protagoniste, Nanna e Antonia, parlano della vita delle monache. Le espressioni riferite alla sfera sessuale vengona presentate attraverso varie metafore. Nanna, la locutrice principale, non usa mai espressioni esplicite, perche sostiene che "l'onesta' e bella in chiasso". Cosa dobbiamo intendere, tuttavia, con "onesta"? Allo scopo di comprendere le implicazioni di questo termine e opportuno fare riferimento al contesto cinquecentesco. Una utile chiave interpretativa ci viene offerta, in particolare, dal testo di Giorgio Vasari. Egli, se da una parte definisce "disonestissimi" i sonetti dei modi, l'altro capolovoro aretiniano, perche contenenti un lessico esplicito, dall'altra loda la Loggia di Psyche di Giovanni da Udine che include rappresentazioni di sesso, perche, afferma, il "capriccio e espresso con tanta grazia". Poiche in entrambe le opere si trovano contenuti di carattere sessuale, e giusto chiedersi da cosa derivi questa disparita di giudizio: la risposta e che la pittura di Giovanni da Udine utilizza metafore vegetali per esprimere contenuti sessuali. In altre parole, l'accettabilita o meno del contenuto dipende dal fatto che vi si fa riferimento senza esplicitarlo, in veste metaforica. L'"onesta" cui Nanna si riferisce e dunque un'astuzia ironica per evitare accuse di immoralita e far rientrare il discorso lussurioso in una veste di irreprensibilita. La seconda giornata, esposta nel secondo capitolo, ha forma boccaccesca ed include dieci episodi novellistici in cui si presentano donne sposate ma infedeli. Nell'incipit della giornata, l'Aurora, moglie di Titone, ha un'avventura con il Sole e suggerisce efficacemente il contenuto del dialogo. In questa giornata, inoltre, si possono individuare intenzioni polemiche nei confronti della dottrina di Pietro Bembo che nelle Prose aveva dichiarato il Decameron modello ideale di prosa volgare. Nanna, tuttavia, si oppone alla superiorita della lingua toscana e, senza tanti giri di parole, dichiara: "lo vo' porre dove mi fu insegnato dalla potta che mi caco". Per la verita, anche nella giornata precedente le due donne avevano parlato del Decameron e in quell'occasione la stessa Nanna aveva sostenuto che mentre le sue parole erano "vive", quelle del Boccaccio erano "dipinte". Per Nanna e importante usare "le parole come elle vengano" e la gravita e la grandezza cui Bembo attribuisce tanta importanza non giocano qui alcun ruolo. In questa giornata, dunque, utilizzando la forma del Decameron e il lessico sessuale, Aretino lancia una sfida al mondo raffinato espresso dalla lingua boccaccesca e petrarchesca. Nell'ultima giornata Nanna narra ad Antonia la vita delle prostitute, ma i lettori non vi incontrano espressioni legate al sesso come nelle giornate precedenti. Questa diminuizione delle espressioni legate all'erotismo riflette chiaramente il progetto dell'autore, poiche secondo Nanna "la lussuria e la minor voglia" che le prostitute possano

    (View PDF for the rest of the abstract.)

  • 志垣 嘉夫
    社会経済史学
    1977年 43 巻 2 号 109-144,226-22
    発行日: 1977/08/30
    公開日: 2017/07/22
    ジャーナル オープンアクセス
    Pour mieux comprendre la fonction reelle des justices criminelles des seigneurs dans le pays du Nord de la Bourgogne aux XVIIe et XVIIIe siecles, j'ai pour but de depouiller et analyser les archives judiciaires (principalement Serie B^2 des Archives Departementales de la Cote-d'Or) au point de vue de la criminalite. On a toujours jusqu'ici etudie la criminalite des justices royales (Bailliage, Presidial et Parlement) et municipales pour negliger les justices seigneuriales qui ont continue a fonctionner comme premiere instance malgre la competition et la difficulte avec les justices royals. J'ai choisi les seigneuries composees par les documents seriels; le comte de Charny, la baronnie de Gemeaux, le comte de Montigny-sur-Armancon, la baronnie de Talmay, l'abbaye de Saint-Benigne, l'abbaye de Citeaux et l'abbaye de Fontenay. En controlant en principe les sentences et les proctsverbaux, j'ai pu finalement aboutir a extraire 533 proces criminels. Ce sont les donnees de base. La repartition de ceux-ci est suivante: 209 proces (39.2%) entre 1661 et 1715(le temps de Louis XIV), 213 (40.0%) entre 1715 et 1772 (en 1772 Louis XV a publie l'Edit farmeux concernant la renvoie du proces criminel de la justice seigneuriale au Bailliage) et 111 (20.8%) entre l772 et 1790. Voici la conclusion principale. Premierement, en ce qui concerne le modele de P. Chaunu, "de la violence au vol", le volume des crimes reels a depasse entre l772 et 1790 celui des crimes pesonnels. Le crime des violences a ete le point capital des crimes au temps de Louis XIV et de Louis XV. Mais il a ete en decroissance et par contre le vol a augmente de volume d la veille de la Revolution. Il est certain que le changement de la structure sociale a donne lieu a l'inversion du volume des infractions. Secondairement en depouillant les archives seigneuriales, on peut analyser evidemment la repartition saisonnitre du crime, les, accuses (sexe, contumace, complicite, repartition socio-professionnelle),la victimologie et la peine. C'est que la justice seigneuriale a fonctionne plus ou moins jusqu'a la Revolution. Donc on doit porter pleinement l'attention sur l'activite de cette justice et ne pas negliger la criminalite au premier degre du systeme judiciaire dans le royaume. Mais afin de parfaire l'etude sur la justice seigneuriale, il me rest enoutre a etudier le systeme, la procedure et le frais du proces. Les resultats sur ces problbmes seront publiees bientot.
  • 金井 達雄
    交通史研究
    1995年 36 巻 1-26
    発行日: 1995/10/20
    公開日: 2017/10/01
    ジャーナル フリー
  • 徳田 武
    日本文学
    1979年 28 巻 7 号 63-69
    発行日: 1979/07/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 清水 純一
    イタリア学会誌
    1970年 18 巻 22-40
    発行日: 1970/01/20
    公開日: 2017/04/05
    ジャーナル フリー
    In quanto alla composizione temporale, il "Candelaio", uno dei primi scritti di G. Bruno, si divide in due parti. Ciascuna parte ci mostra il grado della meditazione bruniana sviluppata, cioe dal mondo di<<mutazione>>ad<<una eterna>>. Cio significa che il "Candelaio" e una opera significativa dal punto della vista storica nel svolgimento del pensiero bruniano. L'Autore vuol esaminare prima della composizione del "Candelaio", paragonandolo ai riferiti sctritti, poi della sua ambiente culturale, sopra di tutto di Napoli cinquecentesca, in cui Bruno doveva passase la sua eta giovanile ed accoglieva le materie della sua opera, per chiarire il motivo del sopradetto sviluppo nella mente di Bruno.
  • 阿部 雄一
    開智国際大学紀要
    2017年 16 巻 236-284
    発行日: 2017年
    公開日: 2017/11/20
    ジャーナル オープンアクセス
feedback
Top