ケイト・ショパンの「一時間の物語」 : 『目覚め』との比較から浮上する「心臓病」の機能 (清宮剛先生 定年退任記念号)
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Abstract：Berkove is right in saying that the traditional interpretation of Louise Mallard as a repressed wife is based on extra-textual assumptions; this paper，nevertheless，attempts at a detailed analysis of the similarities between The Story of an Hour and The Awakening. Louise and Edna's awakenings begin prompted by the loss/absence of their binaly counterparts，h usbands; both are vague and nameless，haunted by imageries of nature and childhood，and，as Cunningham has shown，accompanied by sexual desire. If women were considered vessels for their husbands' children in the late nineteenth-century context，the careful control of female bodies，desire and even mind was essential; marriage，as the consummation of heterosexual love，played a substantial role in this picture. Chopin's contemplation upon women's oppression thus comes in a trinity: self-assertion，ownership of their bodies and desire，and liberation from marriage. The two works bear striking similitude，even to the final death，and this very fact attracts attention to the sole difference-how their protagonists die. To be sure，Louise's heart trouble is the preparation for the final irony. The economy of the work，however，brings into focus a possibility that Chopin，in order to avoid wordy descriptions and explanations，utilizes an extra-textual metaphor that draws a parallel between the conditions of having a heart trouble and being a woman. The story starts with a participial construction， Knowing， but its subject cannot be great care; who exactly knows and takes great care is actually left untold，which connotes it is everyone，or society as a whole. Based on their supposed frailty，patients of heart disease and women alike are constantly and paternalistically taken care of，forbidden，instructed，advised-in short，ruled-by others. Escaping one relationship thus amounts to nothing，which rationalizes the fate shared by Louise and Edna.
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