@article{oai:kanagawa-u.repo.nii.ac.jp:00005952,
 author = {鳥越, 輝昭},
 issue = {46},
 journal = {人文学研究所報, Bulletin of the Institute for Humanities Research},
 month = {Oct},
 note = {Taking up a popular opera by Offenbach, Les Contes d' Hoffmann, I have attempted to shed a new light on the Act of Giulietta, the most important act, with regard to its relationship to Venice. I have made comparisons, when necessary, with the stories,“ Der Sandmann,”“ Die Geschichite vom Verlornen Spiegelbilde,” and“ Rad Krespel,” by E. T. A. Hoffmann, on which the Offenbach opera is based. Notable points found in my attempt are as follows: (1) Although this opera appears to be an enjoyable or romantic work at first sight, it deals in fact a much more serious theme: The Muse successfully tries to prevent the Devil from leading the protagonist, the poet Hoffmann, into damnation. In other words, the opera is about the most important theme for a human being. (2) Therefore, the Devil, the important antagonist in this opera, is presented with great care: Lindorf, who appears as a devil-like figure in the Prologue, transforms himself by way of Coppelius in the First Act into Dr. Miracle the Devil in the Second Act, finally developing into the Satan, Dapertutto, in the Third Act. In this Act of Giulietta, which should be performed after the Act of Antonia since it is the most important act in the opera, the Satan manipulates Giulietta, a witch who enamors Hoffmann, so that he could obtain his soul. (3) Whereas the original story for the Act of Giulietta,“ Die Geschichite vom Verlornen Spiegelbilde,” by E. T. A. Hoffmann, had Florence for its important background and had a Florentine courtesan for its heroine, Barbier & Carré, the librettists of Les Contes d, Hoffmann, changed Florence into Venice and the Florentine courtesan into a Venetian courtesan. These changes were made, probably based on the widely held traditional image about Venice as the city of courtesans. In the opera, the librettists, choice works effectively with the concurrent image of Venice as a city where the devil and the witch are rampant. (4) Also regarding the Act of Giulietta, both the Grand Canal in Venice and a diamond used as a reward for Giulietta constitute a chain of metaphors, together with the mirror in Giulietta,s boudoir and her eyes. All these four are things which scintillate. Here is a remarkable and effective development from the original story by E. T. A. Hoffmann, where there was only a metaphorical connection between Giulietta,s eyes and the mirror in her room., Departmental Bulletin Paper},
 pages = {19--33},
 title = {『ホフマン物語』のなかのヴェネツイア －悪魔と鏡},
 year = {2011}
}