<原著>オフィーリアの狂気と死(II)
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概要
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The purpose of this paper is to study Ophelia's madness and death in the context of cultural phenomena and political thought in Shakespeare's day. Part I traces the history of representing Ophelia and clarifies the male-dominated culture. Part II focuses on three scenes : one is of Ophelia's madness, another is of her drowning and the other is of her burial. Feminist criticism tends to romanticize her madness as her complete liberation, but she is consistently treated as other. Part III studies the relation between the above three scenes and Shakespeare's audience, and particularly discusses the impact of the female-dressed boy actors on the audience in those days. Part IV considers Ophelia's burial scene in relation to patriarchal rule of sexuality. It is, after all, the scene to confirm male domination. The above is dealt in the last issue in 1995 and this issue covers Part V to Part VII. Part V treats the problem of madness and social order. Madness was thought to show a sign of disturbance and revolt in Shakespeare's day when a state was expressed in the image of a body, with a king as its head and people as its limbs. Part VI deals with the cultural context surrounding the plays, especially women's play-going and Ophelia's representation in Hamlet. Part VII pays attention to the relation between the central political power and marginal existences---mad people, the players and women. We will conclude that the complicated power relation in sexuality, gender and order of Shakespeare's day is condensed and expressed in Ophelia's madness and death.
- 1996-03-30