| Project/Area Number |
15K02334
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Literature in English
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| Research Institution | Tokyo University of Agriculture and Technology |
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Principal Investigator |
SATO Yoko 東京農工大学, 工学(系)研究科(研究院), 教授 (30162499)
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| Project Period (FY) |
2015-04-01 – 2018-03-31
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| Project Status |
Completed (Fiscal Year 2017)
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| Budget Amount *help |
¥1,950,000 (Direct Cost: ¥1,500,000、Indirect Cost: ¥450,000)
Fiscal Year 2017: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2016: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2015: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
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| Keywords | W. B. イェイツ / 能 / 狂言 / フォークロア / スピリチュアリズム / サウンド・シンボリズム / アイルランド演劇 / 笑い / 奇跡 / 自伝 |
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| Outline of Final Research Achievements |
The symbolic structure of the later dance plays of the Irish poet, playwright and visionary, W. B.Yeats is analyzed from the perspectives of Irish folklore and the idea of the Japanese Noh and Kyogen. A Full Moon in March is discussed with an emphasis on its unifying image, “a severed head” accompanied by choric voices of the Musicians. The Resurrection is examined in comparison with new Noh and Kyogen plays with Christian themes. Yeats’s flexible use of the Noh model in The Resurrection makes the play closer to Kyogen style, and an element of “laughter” in the play is closely connected with the miraculous appearance of the “daimon”at the end of the play.
In addition to the analysis of the later dance plays, as an important part of the research on Yeats and the Noh and Kyogen, Fenollosa’s manuscript of a translation of a Kyogen play, “Kikazu Zato” is transcribed and examined. Furthermore, Yeats’s first autobiography is analyzed from the perspective of Noh techniques.
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