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The Reception of Women on the English Stage in the Renaissance and Restoration: A Comparative Study
Get PDFWhen the English theatres reopened in 1660 after their eighteen-year closure occasioned by the Civil War and Interregnum, a significant change occurred to theatrical practice; professional actresses were seen on the London stage for the first time. Although this was regarded as a major transformation of theatrical culture, performing women were not entirely new in the Restoration theatre. In recent studies, the advent of the professional actress in the Restoration has been considered to be a novelty, but it relied in large part on an already existing vibrant female performance culture in Renaissance England. This article will explore examples of women performers before 1642 and compare their reception with the response received by their counterparts after 1660. In order to understand the arrival of the professional actress on the Restoration stage, I argue, first of all, for the importance of the context of performing women in the Renaissance theatre. Then, exploring details of female performers in the Restoration, I claim that while the first actresses were undoubtedly sexualised, there is also substantial evidence that they were considered as professionals. One such example can be found in the case of Elizabeth Barry and the contract arrangements she made with the theatre company that employed her. In conclusion, I show that Barry could achieve a professional status in the Restoration theatre denied to the performing women who were her Renaissance counterparts
《Sanabilibus aegrotamus malis》：ルソー『エミール』のストア主義を巡る一視座（一）
Get PDFThe deep influences Stoicism and especially that of Seneca exerted on Rousseau’s though and his Émile often have been noted, In fact, the latter work not only begins with a citation from Seneca’s De Ira, but also seems to accept some important viewpoints underlined by Seneca and Stoicism. However, at the same time, our author doesn’t easily share their intellectualism, or rather their ideal as autonomous and self-controlled human beings. Our study shall focus on this dualism of Rousseau, Stoicism and anti-Stoicism eminent in his Émile, and proposes to show its significance to the original modernity of Rousseau’s Aesthetics.The first section tries to show the context of the Stoicism revival from the 16th century to the 18th century contemporary with Rousseau: European intellectuals found in the ancient philosophy an ideal of strong and autonomous modern subjectivity, while ecclesiastical criticism on Stoicism and Neo-Stoicism was growing severe, especially in France, with the rise of Jansenism. But there is an another point to be made clear, the exact meaning and implication of Seneca’s remark cited by the author of Émile, a remark inseparable from the Stoic thought of the passions, which are in principle curable, being sickness of reason. These preparatory sections permit us to examine fully in the following sections of our study the dualism of Rousseau’s attitude over Stoicism and Seneca in Émile, and the modernity of his Aesthetics, which are irreducible to the naive reception of their philosophy. These following sections are to appear in the next issue of this Bulletin.ルソーの思想への古代ストア派そして特にセネカの哲学からの重要な影響は知られている。事実、彼の主著『エミール』は、その冒頭でセネカの『怒りについて』からの引用を掲げるだけでなく、セネカと古代ストア派が主張した幾つかの論点を共有していると思われる。とは言え、ルソーは『エミール』で自律的人間観に基づく彼らの主知主義を必ずしも安易に肯定する訳ではない。本研究が焦点をあてるのはルソーの『エミール』におけるストア主義と反ストア主義というこの二重性であるが、これがルソーによる美学的思索の独自な現代性に繋がる可能性を示唆することを最終的に目指す。本論第一部では、16世紀からルソーの同時代の18世紀までの古代ストア派復興の両義的文脈、即ちこの古代哲学が西欧知識人に近代の自律的人間像の理想を示唆したこと、そしてその一方でジャンセニスムを中心に教会側からのストア派への批判が次第に激しなくなったこと、これを改めて強調する。また本論第二節では、『エミール』冒頭でラテン語引用されるセネカの「sanabilibus aegrotamus malis」という発言それ自体の正確な把握、特に情念を基本的に「治癒可能」とするストア派情念論とこの発言が不可分であることの意義を確認する。以上の準備作業を経た上で、ストア派の単なる受動的な受容では容易に説明できぬルソーにおける以下の論点を十全に検証することができる。ストア主義に対する『エミール』の立場の二重性の真の理由とその独自な美学的近代性である。そして、その検証が次号以後に掲載予定の本論後半部の目標となろう
再発見にかかる崇源院（二代将軍徳川秀忠夫人）墓石の碑文考
Get PDF表題の崇源院は江戸幕府二代将軍徳川秀忠の正室であった江（1573～1626）のことで、崇源院とは彼女の死後の贈名である。彼女は寛永3年（1626）に江戸城内で死去し、その遺骸は火葬に付され、増上寺に埋葬された。昭和33～35年（1958～60）に増上寺内で実施された発掘調査により、崇源院の墓石が地下から発掘された。この調査以後、彼女の墓石は行方不明となっていたが、最近の調査により山梨県甲州市にある古刹 恵林寺境内にあることが判明した。墓石の周囲には文字が刻まれており、従来はその解読が不十分であった。そこで今回の再発見を契機として、墓石碑文の解読とその現代語訳を試み、また、何故、彼女の墓石が地下に埋められたのか、その歴史的背景を明らかにすることを本稿の目的として設定した。Suugenin（崇源院1573～1626） was the shougun Tokugawa Hidetada’s （徳川秀忠） wife. In 1626 she died at Edo Castle. She was cremated and buried in Zojoji（増上寺）．The tomb of Suugenin was excavated by an excavation survey at Zojoji in 1958～1960. Later, her grave became missing. It turned out that it was in Erinji（恵林寺）．Her tomb is engraved with letters, but they were not legible in traditional research. Therefore, this paper aims to clarify the following two points: first of all, I will decipher the inscription and make a modern translation, secondly, I will discuss why the tomb was buried underground
天災を鎮めるためのルワンダの宮廷儀礼
Get PDFIn this article, I have translated and annotated the “Path of Drought （Inzira ya Rukungugu）”, the “Path of Inundation （Inzira ya Kivu）”, the “Path of Bees （Inzira y ’Iinzuki）”, and the “Path of Cattle Sickness （Inzira ya Muhekenyi）”, from the esoteric royal ritual code （ubwiru）, in which are prescribed the rituals curbing drought, inundation, honey bee swarming, and cattle sickness. These rituals are to purify the pollution caused by the natural calamity. The participation of the king is kept to the minimum and a drum made specially for the ritual is used in place of the royal drums, in order to safeguard the kingship against the pollution.本稿はルワンダの王朝秘典から「旱魃の道」（Inzira ya Rukungugu）、「洪水の道」（Inzira ya Kivu）、「蜜蜂の道」（Inzira y ’Iinzuki）、「牛疫の道」（Inzira ya Muhekenyi）に訳・注をつけた。これらの儀礼は穢れを浄化することによって災害を鎮めようとする。宮廷祭祀の中でも王の関与が最も少なく、「旱魃の道」「蜜蜂の道」「牛疫の道」では儀礼に特化した太鼓が作られる。これは恐らく王と王権太鼓を災害の穢れから離して温存するためあろう
中世東国文書に見られる音韻交替表記について
Get PDFThis study examines the phonological alternation in historical documents of the Tohoku and Kantou region.The results indicated that:1. there are notations of vowel gradations in historical documents of the Tohoku and Kantou region, such as alternation of “i” （い） and “e” （え）, “i” （い）and “u” （う）, “o” （お） and “u” （う）, “i” （い） and “ju” （ゆ）;2. there are notations of consonant alternations of contracted sound in Japanese such as small “yu” （ゅ） and “yo” （ょ） in historical documents of the Tohoku region;These are features of present-day Niigata, Shonai region in Yamagata and the north-eastern Nagano dialect;3. there are features of present-day Tohoku and Kantou dialect in historical documents of eastern Japan in the middle ages; the features of phonological alternation in it have been from the middle ages.本稿は、東北、関東地方の古文書に見られる音韻交替表記について分析を行い、以下のことを記述、考察した。1．母音の交替表記としてiとe、iとu、oとu、iとjuの交替表記などがそれぞれ見られた。2．子音の交替表記では、現在の新潟や山形の庄内地方、長野の東北端にのみ見られるウ段拗音とオ段拗音の交替表記などが東北地方の古文書に確認できた。3．現代の東北地方や関東地方の方言で確認されるような言語事象が、本稿の分析を通して中世の東国文書にも確認でき、中世からこのような音韻交替現象が東国文書の中に存在していた可能性を示している
韓国語の接続語尾「-고ko」と「-아서aseo/어서eoseo」の誤用と習得
Get PDFThe purpose of this research is to study why -고 and -아서/어서, which correspond to the Japanese て [te], are difficult for Japanese native speakers learning Korean. In this research, I will show the difficulties for Korean language learners and will consider better ways to teach. In Korean language textbooks from the beginner to intermediate levels, -고 and -아서/어서 appear many times. It is very important to use these words to make multiple sentences, but for learners it is difficult to distinguish between them, and they tend to make mistakes. In this paper, I researched the main precedent study on these connective endings and found out meaning and direction for applications and tested it to learners. From the result of the tests, I found out the usage it often happened for learners to make mistakes and also found out the case it is rare to be misuse. In the previous research, Korean connective endings such as -고 indicate parallel connection, and -아서/어서 have main meaning as CAUSE and REASON. Japanese speakers also tend to acquire them earlier then the other meanings. However when learners try to make sentences using these main meanings, it becomes vague for them to make judgement for some case which is not applicable to those main meanings. There are many meanings in each form, especially between Japanese て and Korean -아서/어서. For example, they can mean ANTECEDENCE, CAUSE or REASON. It makes complicate to use these words for learners. This paper also try to make suggestion for Korean teachers how to teach this issue in better way.この研究の目的は、日本語の「～て」に対応する韓国語の接続語尾-고と-아서/어서がなぜ日本語を母語とする韓国語学習者にとって難しいか、どのような用法が難しいかを探り、指導法も含めて考えるものである。韓国語の-고や-아서/어서は多くの教科書で初級の後半から中級にかけて登場し、複文に作る上で欠かせない重要項目だが、学習者にとっては非常に区別が難しく、間違いやすい部分である。本稿では、これらの文法項目に関する主要な先行研究を概観し、意味・用法を整理し、学習者にテストを実施した。テストの結果から特に誤用が起こりやすい用法、逆に起こりにくい用法を探り、意味・用法と照らし合わせて考察を行った。先行研究でも指摘されているように、韓国語の-고は「並列」、-아서・어서は「原因・理由」が中心的な意味であり、日本語を母語とする学習者もその中心的意味を先に習得するようだ。しかしその中心的意味を基準に作文しようとすると、意味的に周辺的なものに対しての判断が曖昧になりがちである。特に日本語の「～て」と韓国語の「-아서・어서」はそれぞれの形式において意味が多岐にわたっており、例えば「先行」なのか「原因・理由」なのか、判断しにくい例が存在する。そのことがさらに学習者の使い分けを難しくしているようだ。本稿では韓国語学習者の立場に沿った指導も含めて考える
