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萩原, 里実 ; 望月, 博之 ; 村松, 礼子 ; 小山, 晴美 ; 小林, 徹 ; 坂本, なほ子 ; 滝沢, 琢己 ; 荒川, 浩一
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塩谷, 亜矢 ; 小林, 徹 ; 大木, 康史 ; 井上, 佳也 ; 森川, 昭廣 ; 鈴木, 尊裕 ; 吉澤, 幸弘 ; 小林, 富男 ; 名古, 靖
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application/pdf<br />Journal Article
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小林, 徹
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application/pdf<br />Departmental Bulletin Paper
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小林, 徹
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application/pdf<br />Departmental Bulletin Paper
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小林, 徹
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application/pdf<br />Departmental Bulletin Paper<br />James Hogg's Memoir of the Author's Life is an intriguing work of prose whose intended status was that of an introduction, as it was repeatedly published with and preceding his other
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poetry and prose in one volume. The work's principal issue is, then, where it should be situated along the historical line of a literary genre, the autobiography. Even though Hogg penned his introduction during the Romantic Age, there are several valid arguments to claim that it is in fact not a Romantic autobiography. For example, in it he is not as seriously focusing on the appearance of the inner self as Romantics, such as William Wordsworth and Thomas De Quincey, are. However, an analysis of his way of arguing for his identity leads to a different answer. In every version of Memoir, Hogg's main intention is to force readers to recognize Hogg as "a sort of natural songster." His wish was in vain. When interpreting Hogg's account of his life, the "natural songster" is revealed to be rooted in his early deprivation of the opportunity to study letters and their writing, and this also does much to explain his peculiar poetics. Since he knew himself to be poor at writing, his metrical composition was primarily completed in his mind, and then, as he boasts, he refused any revision once it was put to paper. It is in these characteristics that his writing undermines itself. At each opportunity, he constructs the narrative with the aim of establishing his identity, a "natural songster," using methods such as repetition and vivid description. In addition, both his careful treatment of other personal deprivations and his lines of revision, which he did frequently, are for the purpose of bolstering the songster identity. These in fact show Memoir to be a carefully designed artifact, which would seemingly contradict Hogg's assertion that he lacked in writing skills. In Memoir, language fails the author in his attempt to represent himself as he wishes, and this posits the work closer to other Romantic writings where the same linguistic mechanism works in signification. Though on the surface Hogg's prose does not belong to the Romantic category of autobiography, it entirely reveals itself to be Romantic in substance.
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小林, 徹
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application/pdf<br />Departmental Bulletin Paper<br />In Mary Wollstonecraft's The Wrongs of Woman there are two literary modes which are important for the work to be established as a discourse of feminism as the author originally
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plans. They are autobiography and Gothicism. In the novel Maria twice writes about her life with different reasons. These autobiographical texts attack the contemporary male-oriented society, and one of them presents an ideal figure of woman who possesses much sensibility but behaves with deliberation. Critical attention should be paid to the actual condition in the story for those feminist texts to have emerged. In each case it is the nonexistence of Maria's daughter, first apparent then literal, that forces or allows her mother to write in an autobiographical mode, and the child's disappearance itself is realized only through the agency of the Gothic mode which the author deliberately introduced in the work. Maria's husband has a vicious plot aiming for her legacy, from which she and her daughter suffer considerably, especially the young child who is separated from her mother to be allotted an eventual early death. The Wrongs of Woman demands, above all, the death of Maria's daughter in a Gothic fashion before her autobiographical narratives are to be read in a feminist way.
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小林, 徹 ; 井上, 佳也 ; 竹内, 一夫 ; 岡田, 恭典 ; 友政, 剛 ; 田村, 一志 ; 渡邊, 正之 ; 小林, 富男 ; 森川, 昭廣
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application/pdf<br />Journal Article
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小林, 徹
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application/pdf<br />Departmental Bulletin Paper<br />Because of its clear Scottish origination and religiously charged story, James Hogg's The Private Memoirs and Confessions of a Justified Sinner has been allotted fewer critical
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approaches with respect for the Romantic movement and various literary conventions. However, the work should not be considered totally divorced from those circumstances of the field of literature. It is not difficult to note in the Confessions two kinds of literary genre, Gothicism and autobiography, but their relationship is highly complicated. The Gothic feature is revealed in a devilish character Gil-Martin who seduces Robert Wringhim into killing his brother and others, and the peculiar structure of the work that consists of two narratives. The main narrative, the confessions, is by Robert who tells chronologically of his life, and in doing so he intends to establish his figure as a devout Christian. The other is the supplementary narrative by the editor whose apparent objective is to explain the origin of Robert's autobiographical writing and give more information as to the incidents described there, but he doubts the autobiographer's sanity and degrades the authenticity of his writing to be a fake. The editor's design seems to go well, which means that the Gothic invades the autobiographical mode to make it ineffective, but it eventually proves to be a partial success, because the Confessions paradoxically establishes itself as a quasi-Romantic autobiography by fully making use of its Gothic characteristics. First, the psychological interpretation declares Gil to be the double of Robert, and this is to show that Robert has been holding desires suppressed unknown to himself. Then, while writing about a series of his merciless adventures performed in direction of the devil, Robert unexpectedly came to be faced with his own incomprehensible self. Like many Romantic autobiographies, the Confessions taken as a whole has a function of representing the enigmatic figure of the modern self.
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小林, 徹
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application/pdf<br />Departmental Bulletin Paper<br />Put Ultraman Tiga (1996-97) on the actual scene of Japanese society in the years from 1995 to 1997. It was the memorable period in which some very significant incidents
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occurred, for example, a major earthquake in the Hanshin area, the fatal gas attack against the metropolis subway system and a junior high school student's killing of the young boy in Kobe. Japan was at that time of the horror entertainment boom with a best-selling novel named Parasite Eve at its peak. Ultraman Tiga is a fictional television program for children featuring a supernatural hero whose mission is to protect the earth against monsters or aliens from outer space. It might be easy to find those above-mentioned incidents reflected in the program but there is more to be argued about the historical significance the work has in terms of the information-oriented society. Analysis of the interactions between its main plot and these reflections shows that Ultraman Tiga had already depicted the fearful digital environment of today where individuals are unwittingly governed by a single computer system on the basis of their own personal information.
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小林, 徹
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application/pdf<br />Departmental Bulletin Paper<br />It would be true that talking critically of Coleridge's Biographia Literaria is almost equivalent to saying something about the relationships between the author and Wordsworth. It
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is also correct in thinking that the work is a kind of counterstatement to Wordsworth's writings. But these interpretations, which have been provided by many critics, are not enough to develop a comprehensive understanding. The Biographia exists based on Coleridge's multiple relations to the contemporary literary situation, himself, Wordsworth, and "oral cultures." Of those, the relationship between Coleridge and Wordsworthis central, but interrelationship of those four is more important because they cooperate to determine both the content and mode of the work. Through the analysis of these relations, especially those with Coleridge himself and "oral cultures," the Biographia appears to be different from a simple autobiography which concerns the public figure of the author or an earnest defense against censures from the literary circle. Considering its abundant characteristics stemming from "oral cultures" and the importance of Wordsworth as a counterpart of the author in the work, it presents itself as an autobiographical open letter to the poet. There Coleridge "talked." about himself to compete with Wordsworth, in the public field, as a philosophical literary critic. More importantly, then, this feature is where the work's significant originality derives from. The Biographia is not only an anti-Romantic autobiography, but also realizes an entirely new mode of the genre which represents a "private" figure of the author depending on the real personal relationship between himself and Wordsworth.
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