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『恋愛専科』と〈ローマ〉 －保守性、ローマの選択、魔女、ユダヤ性－
http://hdl.handle.net/10487/00016431
http://hdl.handle.net/10487/00016431739a9997-216a-4294-af21-c40b301f8f66
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
01 『恋愛専科』と〈ローマ〉 －保守性、ローマの選択、魔女、ユダヤ性－ (1.3 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2020-08-07 | |||||
| タイトル | ||||||
| タイトル | 『恋愛専科』と〈ローマ〉 －保守性、ローマの選択、魔女、ユダヤ性－ | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | Rome Adventure and “Rome” ： Conservatism, Choice of Rome, Sorceress, and Jewishness | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | representation | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Rome | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Rome Adventure | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | conservatism | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | sorceress | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Jewishness | |||||
| 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 | |||||
| 著者 |
鳥越, 輝昭
× 鳥越, 輝昭 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 34923 | |||||
| 姓名 | Torigoe, J. I. Teruaki | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | I have analyzed Rome Adventure, a 1962 popular film, from the perspectives of its conservatism, the choice of Rome as its background, its representation of sorcery, and the slight emergence of Jewishness in it. The filmʼs basic view, derived from Irving Finemanʼs 1933 novel Lovers Must Learn, holds that women are essentially different from men and their role is to anchor man and make him a responsible creator of society. This essentialism seems to be a result of a resonance between the conservatism of the Great Depression in which the novelwas written and the conservatism of the post-World War II era in which the film was shot. The conservative stance of the movie is shown in its approvalof its heroineʼs refusalto have premaritalsex, her pursuit of marriage, her continual sideways posture on a scooter backseat, and her alacrity in letting her lover order meals and drinks for her. In this film, the main background where the story unfolds itself has been changed to Rome from Paris in which the originalnovelwas set. There are presumably two reasons for this change. One possible reason is the success of two earlier films that incorporated the sightseeing of Rome as an important element: Roman Holiday（1953）and Three Coins in the Fountain（1954）．Rome Adventure surpasses these two works as a sightseeing film of the city. Another possible reason is the appropriateness of Rome as a city of what the picture regards as degeneration, namely an excessive freedom of love, rather than the Paris of the 1950s, which was often represented as a city of cultural refinement and vanguard movements. The filmʼs heroine, a young unmarried American who goes to Italy in order to know what love is in a place where she thinks it is best known, encounters in Rome some Americans who have been completely or partly imbued with its degeneracy as well as a Latin lover who is its representative, but succeeds in coming back to America unscathed. In the film, a female character steeped in the degeneracy of Rome fascinates and makes a foolof the hero, a young American student. This woman has acquired the character of the sorceress more conspicuously than her original in the novel. Interestingly, this sorceress in the film is ubiquitous in the form of a liquor bottle of Strega, which means “sorceress” in Italian. Another interesting phenomenon noticeable in this film is the modest manifestation of Jewishness both in its picture and music. This film features a candlestick similar to those used in a synagogue to symbolize integrity, shows a rare pentagram remindfulof a hexagram in connection with a Christian church, and incongruously inserts Solomonʼs judgment into an explanation of mural statues representing the life of Jesus. The film also incongruously plays Jewish klezmer in a scene that should be particularly Italian. This emergence of Jewishness might herald its full appearance that would occur in a few years starting with such films as The Graduate （1967）in American cinema, which had traditionally been developed mostly by the Jewish people. | |||||
| 言語 | en | |||||
| 書誌情報 |
ja : 人文研究 en : Studies in humanities 号 187, p. 1-32, 発行日 2015-12-25 |
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| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 0287-7074 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00123041 | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| 出版者 | ||||||
| 出版者 | 神奈川大学人文学会 | |||||
| 言語 | ja | |||||
| 出版者 | ||||||
| 出版者 | The Society of Humanities at Kanagawa University | |||||
| 言語 | en | |||||
