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AN10030060-20010331-0001  
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タイトル
タイトル シェイマス・ヒーニー : ポリフォニーの中の実在  
カナ シェイマス ヒーニー : ポリフォニー ノ ナカ ノ ジツザイ  
ローマ字 Sheimasu Hini : porifoni no naka no jitsuzai  
別タイトル
名前 Seamus Heaney : the reality in polyphony  
カナ  
ローマ字  
著者
名前 広本, 勝也  
カナ ヒロモト, カツヤ  
ローマ字 Hiromoto, Katsuya  
所属  
所属(翻訳)  
役割  
外部リンク  
 
出版地
横浜  
出版者
名前 慶應義塾大学日吉紀要刊行委員会  
カナ ケイオウ ギジュク ダイガク ヒヨシ キヨウ カンコウ イインカイ  
ローマ字 Keio gijuku daigaku hiyoshi kiyo kanko iinkai  
日付
出版年(from:yyyy) 2001  
出版年(to:yyyy)  
作成日(yyyy-mm-dd)  
更新日(yyyy-mm-dd)  
記録日(yyyy-mm-dd)  
形態
 
上位タイトル
名前 慶應義塾大学日吉紀要. 英語英米文学  
翻訳  
 
38  
2001  
3  
開始ページ 1  
終了ページ 15  
ISSN
 
ISBN
 
DOI
URI
JaLCDOI
NII論文ID
 
医中誌ID
 
その他ID
103801  
博士論文情報
学位授与番号  
学位授与年月日  
学位名  
学位授与機関  
抄録
Seamus Heaney makes extensive use of language from Anglo-Saxon literature to his indigenous Irish culture so that his poems can be made into the art of polyphonic resonance. In this article I would like to explore the characteristics and core ideas of his poetry.  Concerning the poem titled "Digging," which seems to be the mani-festo of his literary career, people may consider that the word "gun" isn't well connected to the imagery of the rest of the poem, which describes the work on the potato field and the bogland. Yet, in fact, his father uses a tool which he refers to as "the bright edge" and his grandfather is seen "nicking and slicing" with "the curt cuts of an edge,/Through living roots." Giving a unifying imagery to the poem, these tools are symbolic of the weapons they wield for livelihood, and in the eyes of Heaney as a small boy his father and grandfather were identified as semi-heroes. Using the "pen" as his means to make a living and to articulate in society, the grown-up poet lives his life in different circumstances from those familiar to his ancestors. Although using different implements, the poet hopes to achieve something heroic by digging the field of literature in order that he may live up to the models,i.e. his father and grandfather whom he used to find heroic in his early days.  As in this work, the word "bogland" presents us with a key to understand another poem called "Act of Union." The poet gives us a picture of Ireland's situation after the law (Act of Union) was introduced in 1800 by England. Not only topographically but politically he depicts the stormy landscape, which gives us an insight into the agony of the Irish people. We can note that his use of language is sensuous, in portraying the political predicament of his home country in a kind of sexual metaphor.  In connection with politics the elegy "The Strand at Lough Beg" claims our particular attention in the way it deals with death in daily life involving the political conflicts. Like Milton's Lycidas this poem asks a question about God's will and justice, and finally leads to the rebirth of hope and life. However, in `Part VIII' of "Station Island" in Station Island his late cousin Colum McCartney's ghost calls in question the value of the conventional elegy, accusing the poet for the way he composed "The Strand at Lough Beg." It reminds us of the comments about Milton's Lycidas by Dr. Johnson, who blamed him for creating fiction and lacking in grief.  Considering the above, one can see that Heaney debates within himself and combines the vernacular with the English language. In this way he attempts to redress the imbalance of the actual world, which culminates in the polyphonic use of the language and reveals reality in accordance with "auditory imagination."
 
目次

 
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言語
日本語  
資源タイプ
text  
ジャンル
Departmental Bulletin Paper  
著者版フラグ
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最終更新日
Nov 27, 2022 07:25:15  
作成日
Apr 27, 2007 12:52:12  
所有者
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更新履歴
 
インデックス
/ Public / 日吉紀要 / 英語英米文学 / 38 (2001)
 
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