| Project/Area Number |
11410119
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
英語・英米文学
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| Research Institution | Teikyo University (2001-2002)
Chiba University (1999-2000) |
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Principal Investigator |
TAMAIZUMI Yasuo Teikyo University, Faculty of Letters, Professor, 文学部, 教授 (80016360)
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| Co-Investigator(Kenkyū-buntansha) |
SHINOZAKI Minoru Chiba University, Faculty of Letters, Assistant Professor, 文学部, 助教授 (40170881)
SUMIMOTO Noriko Meisei University, Faculty of Humanities and Social Sciences, Professor, 人文学部, 教授 (10247174)
OZAWA Hiroshi Kwansei Gakuin University, School of Humanities, Professor, 文学部, 教授 (70169291)
SHIMIZU Tetsuro Ochanomizu University, Faculty of Letters and Education,As sistant Profe ssor, 文教育学部, 助教授 (60235653)
IDE Arata Ferris University, Faculty of Letters, Assistant Professor, 文学部, 助教授 (30193460)
由井 哲哉 東京工業大学, 外国語センター, 助教授 (50251335)
山田 雄三 大阪大学, 言語文化部, 講師 (10273715)
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| Project Period (FY) |
1999 – 2002
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| Project Status |
Completed (Fiscal Year 2002)
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| Budget Amount *help |
¥15,300,000 (Direct Cost: ¥15,300,000)
Fiscal Year 2002: ¥3,700,000 (Direct Cost: ¥3,700,000)
Fiscal Year 2001: ¥3,700,000 (Direct Cost: ¥3,700,000)
Fiscal Year 2000: ¥3,700,000 (Direct Cost: ¥3,700,000)
Fiscal Year 1999: ¥4,200,000 (Direct Cost: ¥4,200,000)
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| Keywords | watershed in the writer concept / the first public theatre built / acquisition of citizenship / asoiration to courtliness. / birth of popular culture / University Wits / 'mongrel' comedy / preparation for flourishing / 宗教改革 / 偶像破壊 / 北方の叛乱 / 擬似宗教としての演劇 / 旧教儀式の批判的再現 / 宮廷御用達 / 財政難 / 政治的干渉 / 余興の部分集合 / 近代的意匠と古い劇概念 / 不調和の調和が生む豊かさ / 変革の起爆剤としての劇場 / 腹話術的な働き / 作家の威信の確立と手稿文化 / 劇作家間の創造的影響関係 / 『スペイン悲劇』の政治的座標 / 前衛的手法と方法論的無自覚 / 暗い情念の理解とロマンスへの拘わり / リアルな散文と純度の高い散文の混淆 / さまざまな意匠と大学才人の宿命 / 分析書誌学によるダンターの仕事の解明 / 大衆性と芸術性の複雑な関係 / エリザベス朝演劇史の書きかえ / 演劇産業の隆昌化と封じこめの関係 / 教育・救済機関としての演劇の効用 / 予測と期待を裏切る作劇術 / 女王一座登場の意義 / 反劇場主義の実態 / アマチュア演劇の流入過程 / 演劇の民衆文化との離反 |
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| Research Abstract |
In the Middle Ages a dramatist is a mouthpiece for the collectively accepted ideal of his society. In the sixteenth century he has gradually become a man with something original to say through the medium of drama. In this respect the 1580s is a watershed. The first public playhouse has already been built, and the Queen's men are to be organized in this decade, which means popular drama's acquisition of so-called citizenship as an entertainment.
As the nation still aspires to courtliess, courtly plays are acceptable to both court and commons. But the inception of printing has enabled popular literature to come into existence. In a decade or two commons will assert themselves even in the entertainment. In that milieu tragedy, tyrant tragedy and victim tragedy alike, suddenly comes into full bloom with the emergence of the University Wits in the late 80s. It must have something to do with the jingoism prevalent in the society. Thus tempora mutantur, but comedy remains old-fashioned because the audience has preference for 'mongrel' romantic drama.
The 1580s in drama is the decade of preparation for the flourishing period of the 90s, involved in various crosscurrents such as new and old concept of a writer, courtly and popular culture, and classical and native dramatic tradition.
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