DSpace Collection: 2021-12-08
http://hdl.handle.net/2115/83531
2021-12-082024-03-28T19:51:32ZContents; [Back cover]
http://hdl.handle.net/2115/83554
Title: Contents; [Back cover]2021-12-07T15:00:00Z執筆者紹介; [奥付]
http://hdl.handle.net/2115/83553
Title: 執筆者紹介; [奥付]2021-12-07T15:00:00Z『思はぬ方にとまりする少将』注解
http://hdl.handle.net/2115/83552
Title: 『思はぬ方にとまりする少将』注解
Authors: 後藤, 康文2021-12-07T15:00:00Z後藤, 康文ひらがなの天使 : 谷川俊太郎におけるクレーとモーツァルト
http://hdl.handle.net/2115/83551
Title: ひらがなの天使 : 谷川俊太郎におけるクレーとモーツァルト
Authors: 中村, 三春2021-12-07T15:00:00Z中村, 三春北海道太平洋沿岸における津波浸水想定域の空間分析
http://hdl.handle.net/2115/83550
Title: 北海道太平洋沿岸における津波浸水想定域の空間分析
Authors: 橋本, 雄一2021-12-07T15:00:00Z橋本, 雄一『オブローモフ』と近代
http://hdl.handle.net/2115/83549
Title: 『オブローモフ』と近代
Authors: 大西, 郁夫2021-12-07T15:00:00Z大西, 郁夫Creating Infidelity and Jealousy from Nothing : Iagoʼs Rhetoric in Othello, 3.3.29-261
http://hdl.handle.net/2115/83548
Title: Creating Infidelity and Jealousy from Nothing : Iagoʼs Rhetoric in Othello, 3.3.29-261
Authors: Miyashita, Yayoi
Abstract: Iagoʼs intelligence may be best demonstrated in his ability to capture the characteristics of the surrounding people, to manage them to act as his wishes, and to arrange the course of events totally for his own purposes. His seduction of Othello in Act 3 Scene 3, however, shows his capability with no less ruling power. After he has seduced Othello, the general shows a different personality, losing all his dignity and steadfast love for Desdemona. Iagoʼs insinuating passage is composed of just 232 lines altogether (from the time when Iago and Othello appear on stage where Cassio asking for help from Desdemona, to the point when Othello leaves Iago), and it is performed within approximately ten minutes. It shows Iagoʼs incredible capability to control othersʼ minds with his words. The aim of this essay, therefore, is 1) to analyse Iagoʼs facility to delude Othelloʼs judgement with mere words, and, by doing so, to explain his fiendish, but also efficient, nature from the perspective of his skilful command of language; and 2) to show how the audience appreciates Iagoʼs malignant tactics by being given an advantageous viewpoint.
J. E. Tiles insists in “Logic and Rhetoric: An Introduction to Seductive Argument” that a “successful seducer need not lie: it may be sufficient to control selectively the seducedʼs attention in such a way that the victim connects the truth to a desired pattern,” and he gives Iagoʼs seduction of Othello as an example. Iago selects the truth for his end and lets “his victim draw the desired inference.” Tilesʼ view is very suggestive, capturing an important facet of Iagoʼs way of doing things: Iago never speaks of Desdemonaʼs unchastity explicitly, and he always makes Othello guess himself by giving clues. But if we scrutinise Iagoʼs concrete use of language, we will see that his tactics are much more complex and cunning than Tiles suggests.2021-12-07T15:00:00ZMiyashita, YayoiIagoʼs intelligence may be best demonstrated in his ability to capture the characteristics of the surrounding people, to manage them to act as his wishes, and to arrange the course of events totally for his own purposes. His seduction of Othello in Act 3 Scene 3, however, shows his capability with no less ruling power. After he has seduced Othello, the general shows a different personality, losing all his dignity and steadfast love for Desdemona. Iagoʼs insinuating passage is composed of just 232 lines altogether (from the time when Iago and Othello appear on stage where Cassio asking for help from Desdemona, to the point when Othello leaves Iago), and it is performed within approximately ten minutes. It shows Iagoʼs incredible capability to control othersʼ minds with his words. The aim of this essay, therefore, is 1) to analyse Iagoʼs facility to delude Othelloʼs judgement with mere words, and, by doing so, to explain his fiendish, but also efficient, nature from the perspective of his skilful command of language; and 2) to show how the audience appreciates Iagoʼs malignant tactics by being given an advantageous viewpoint.
J. E. Tiles insists in “Logic and Rhetoric: An Introduction to Seductive Argument” that a “successful seducer need not lie: it may be sufficient to control selectively the seducedʼs attention in such a way that the victim connects the truth to a desired pattern,” and he gives Iagoʼs seduction of Othello as an example. Iago selects the truth for his end and lets “his victim draw the desired inference.” Tilesʼ view is very suggestive, capturing an important facet of Iagoʼs way of doing things: Iago never speaks of Desdemonaʼs unchastity explicitly, and he always makes Othello guess himself by giving clues. But if we scrutinise Iagoʼs concrete use of language, we will see that his tactics are much more complex and cunning than Tiles suggests.比較宗教教典研究をどう立ち上げるかに関する覚書
http://hdl.handle.net/2115/83547
Title: 比較宗教教典研究をどう立ち上げるかに関する覚書
Authors: 戸田, 聡2021-12-07T15:00:00Z戸田, 聡ドイツ語から見たゲルマン語(6) : 人称代名詞,再帰代名詞,所有代名詞
http://hdl.handle.net/2115/83546
Title: ドイツ語から見たゲルマン語(6) : 人称代名詞,再帰代名詞,所有代名詞
Authors: 清水, 誠2021-12-07T15:00:00Z清水, 誠アイヌ語学の諸問題 : 近年の議論と関連して
http://hdl.handle.net/2115/83545
Title: アイヌ語学の諸問題 : 近年の議論と関連して
Authors: 佐藤, 知己2021-12-07T15:00:00Z佐藤, 知己