WEKO3
アイテム
Visible Passion and an Invisible Woman: Theatrical Oroonoko
https://doi.org/10.19000/0000007534
https://doi.org/10.19000/0000007534ebcdbded-00e0-4329-b8a4-7be8e6850d58
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
vol8_1.pdf (390.2 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2012-12-27 | |||||
| タイトル | ||||||
| タイトル | Visible Passion and an Invisible Woman: Theatrical Oroonoko | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | eng | |||||
| 資源タイプ | ||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||
| タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.19000/0000007534 | |||||
| ID登録タイプ | JaLC | |||||
| 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 |
Fukushi, Wataru
× Fukushi, Wataru |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | This paper aims to explain the dynamics behind the whitening of Imoinda in Thomas Southerne’s Oroonoko. We could argue that a particular mindset which involved the whitening of Imoinda can be detected by observing the theatricality of the play. The text of Oroonoko aims to visualize the inner passions of players through their motions, based on the acting theory of that time. Those passions were the key factor in bringing the audience and the players together. Through the interaction among the theatre company and the theatregoers, a white female body was required to share a ‘universal’ passion. |
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| 言語 | en | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | This paper is based on my oral presentation at the 48th Conference of The Shakespeare Society of Japan. Also, this work was supported by KAKENHI 21720085. |
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| bibliographic_information |
ja : 人間科学研究 巻 8, p. 1-23, 発行日 2012-03 |
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| 言語 | en | |||||
| 値 | publisher | |||||
| 出版者 | ||||||
| 出版者 | 北見工業大学 | |||||
| 言語 | ja | |||||
