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J.W.ウォーターハウスのオフィーリア作品における生への賛美 : 《オフィーリア》三部作を中心に
http://hdl.handle.net/10191/0002000242
http://hdl.handle.net/10191/000200024201aa1d09-7384-48a6-bd80-9f75da8c9cb7
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
74_71-88.pdf (918KB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2022-02-09 | |||||||||
| タイトル | ||||||||||
| タイトル | J.W.ウォーターハウスのオフィーリア作品における生への賛美 : 《オフィーリア》三部作を中心に | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | What J.W. Waterhouse represents in his three Ophelia | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | オフィーリア | |||||||||
| キーワード | ||||||||||
| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 視線 | |||||||||
| キーワード | ||||||||||
| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 存在 | |||||||||
| キーワード | ||||||||||
| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 共感 | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| アクセス権 | ||||||||||
| アクセス権 | open access | |||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
| 著者 |
小林, 聡子
× 小林, 聡子
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Ophelia, Shakespeare's heroine, has been painted in British and other countries from the 19th to the 20th century. The features of most of them are the water which will bury her and a glance which did not cross with the viewers. J.W. Waterhouse also painted Ophelia three times. In his pictures of Ophelia, Waterhouse did not paint the water, and the presence of Ophelia is more foregrounded than the water. Therefore, Ophelia leaves from the literary source in which she will drown, and is presented as the woman who has will. Moreover, Waterhouse painted Ophelia who communicates with viewers. One of the factors is a glance. Ophelia forces viewers to notice her by exchanging glances with each other or devote their attention to her by turning her eyes away from them and showing her concentration. As a result, Ophelia becomes a woman who has will and a sense of existence. While Ophelia is the existence who will drown by facing misfortune in literary sources, she becomes a woman who is living and acting in Waterhouse's paintings. Therefore, paintings of Ophelia by Waterhouse represent the praise of living. | |||||||||
| 言語 | en | |||||||||
| 書誌情報 |
ja : 現代社会文化研究 en : THE JOURNAL OF THE STUDY OF MODERN SOCIETY AND CULTURE 巻 74, p. 71-88, 発行日 2022-02 |
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| 出版者 | ||||||||||
| 出版者 | 新潟大学大学院現代社会文化研究科 | |||||||||
| 言語 | ja | |||||||||
| 出版者 | ||||||||||
| 出版者 | Graduate School of Modern Society and Culture, NIIGATA University | |||||||||
| 言語 | en | |||||||||
| ISSN | ||||||||||
| 収録物識別子タイプ | PISSN | |||||||||
| 収録物識別子 | 1345-8485 | |||||||||
| 書誌レコードID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AN1046766X | |||||||||
| 出版タイプ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
