徳島中央公園は明治39年(1906)に旧徳島藩主の居城跡に「徳島公園」として開設された我が国で二番目の西洋風近代公園であり，市の中心部に位置する総合公園として多くの人々に利用され親しまれてきた．徳島公園について設計の詳細に踏込んだ研究はこれまで行われてこなかったが，それは設立前後の公園の設計図や図面が残っていないことによる．演者らは明治38年(1905)の新聞紙上に徳島公園の設計図やその解説が掲載されていることを見いだし，それに基づいて徳島公園設計の意図や理念を探った． 徳島公園の設計を担当したのは，我が国初の西洋風近代公園として作られた日比谷公園の設計を担当した本多静六と弟子の本郷高徳である．徳島公園と日比谷公園の設計図の調査から，日本における初期の西洋風近代公園の特質を浮き彫りにした． また，本多は日比谷公園の設計にあたり，造園家マックス・ベルトラムによるドイツの公園の設計図集『造園設計図案』(Gärtnerisches Planzeichnen)を取り入れている．そこで，徳島公園の設計に際してもこれを参考にしている可能性があると考え，調査した結果，XXXII番の``Die Parkanlagen des Herrn Graf Brühl zu Seifersdorf bei Radeberg''と題された図が徳島公園と類似していることが分かった．この図はドイツのザクセン州ラーデベルク近くのザイファースドルフ(Seifersdorf)にある13世紀に作られたBrühl 伯爵の城である． また，林学者であった本多は，城山について「天然林として甚貴重すべきもの」とその価値を認め，「林木の伐採は道路の開鑿及び眺望を得るための他は之を避け」と述べているように，本丸跡の招魂碑と東二の丸跡の喫茶店の他に建築物は設けなかった．さらに彼は「徳島公園は公園としての資質を備ふる点に於て蓋し日本の各公園中第一位」と述べ，その理由を三つ挙げているが，いずれも城山に関係したものである．
宮崎 隆義 : The Mayor of Casterbridge における二重性の自己, 英語英文學研究, Vol.42, 33-44, 1998年.
(要約)
本論文は，HardyのThe Mayor of Casterbridgeについて，厭うべき過去を振り捨て新たに生まれ変わって町長にまで栄達した主人公の凋落の過程には，常に現在の自分に過去の自分の姿が重なり合うことによって，他者との関係に自己分裂を引き起こさざるを得ないことが関わっているのではないかと考察した．二つの自分の姿によって他者との関係が生まれ，同時に他者との関係が瓦解してゆくことによって，主人公は人間存在というものの孤独な姿を凝視し，Hardyはそれを冷徹に描き出しているのではないかと論じた．
This paper is part of the results from the social action activities financed by the Faculty of Integrated Arts and Sciences, and Tokushima University, 2015. The activities are mainly focused on the reevaluation by public lectures and other exhibitions of Wenceslau de Moraes 1854-1929, a Portugal naval officer and consul general who lived and died in Tokushima. This is also part of the outcomes of the Project Studies by Moraes's Studies Group launched on July 31, 2010.The members of Moraes's Studies Group, T. Miyazaki (English Literature, Comparative Literature), E. Ishikawa (German Literature, Comparative Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, Tokushima University, have been continuing to try to analyze Moraes's works and to approach new facets of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan and fell in love with Ó-Yoné, who died soon after the marriage. After her death, Moraes decided to live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 21. His life until his death in Tokushima was a kind of a hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published O ‟Bon-odori„ em Tokushima in 1916 after Ó-Yoné died, and Ó-Yoné é Ko-haru afterwards. In both works Moraes depicted Tokushima landscape and everyday things in general which his eyes caught through his keen sensitivity. He worshipped Japan's unique beautiful landscape, but he was disappointed at the rapidly westernized aspects of large cities like Kobe, Osaka and Tokyo. He had been, in a sense, allured and attracted by the old and beautiful landscape through the writings by his foregoing visitors to Japan. His choice of Tokushima as his residence for his remaining days might be considered to search for the old and traditional beautiful aspects of Japan that seemed to him to be remaining in a local city like Tokushima far away from the large cities. Moraes's sense of beauty through his eyes to Tokushima landscape may lead us Japanese to consider our identity in this now globalized society.
`What the Shepherd Saw' (1881) in A Changed Man, The Waiting Supper and Other Tales (1913) by Thomas Hardy (1840-1928) is kind of a Christmas story like Charles Dickens's well-known Christmas stories. This story is certainly a weird one about a scary murder committed and witnessed on some part of Wessex downs. With well-constructed structure and calculated foreshadowing, this story is an excellent one in terms of narrative techniques. Furthermore, this story contains some kind of humour in the tense scenes. Hardy is still now regarded rather fixedly as a writer of tragic and pessimistic novels, stories and poems. This conventional image of Hardy is put in doubt if we read this story carefully. Hardy started writing novels with an acute critical eye on the society of class consciousness and on Christian religion; therefore, his works are in a sense full of satirical and ironical treatment of the then society and its system, and the religious state of mind of the people at that time. One of his earliest novels, however, Under the Greenwood Tree (1872), whose title is from the song in the Wood of Arden in Shakespeare's comedy As You Like It (1599), is a pastoral novel with some tint of pathos and humour. Hardy was as an ambitious writer with a keen consciousness of narrative techniques and seems to have tried every mode of narratives including humour, which element is as it were an undercurrent even in the most tragic novels like Tess of the d'Urbervilles (1891) and Jude the Obscure (1896). Focusing on Hardy's sense of humour might lead us to be aware of the hidden quality of humour in his novels and stories, and would contribute to a reevaluation of his writings in general. In this paper, `What the Shepherd Saw' is discussed and analyzed from the point of Hardy's sense of humour and narrative techniques with the attention to linguistic characteristics in the story.
This paper and report is based on the oral presentation delivered on 29th, November 2014, as part of Symposium `Moraes in Kobe and Tokushima' held at the Faculty of Integrated Arts and Sciences, Tokushima University, in Tokushima. This is also part of the outcomes of the Project Studies by the activities in 2014 of Moraes's Studies Group launched on July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature, Comparative Literature), E. Ishikawa (German Literature, Comparative Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, Tokushima University, have been continuing to try to analyze Moraes's works and to explore new facets of Moraes's biographical facts. Moraes was fascinated by the far-east Japan and fell in love with Ó-Yoné, who died young at the age of 39 in Kobe. After her death, Moraes decided to leave Kobe and live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 21. He led his life until his death in Tokushima for 16 years as a kind of hermit, neglecting his fame as the Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with the post. Though Moraes is often regarded as a kind of hermit in Tokushima, we should pay more attention to and reevaluate his aspect of a diplomat and consul in Kobe days before coming to Tokushima. He was a very able diplomat and consul, and once actively involved with the 5th National Industrial Exhibition held in 1903. In Tokushima he wrote and published O Bon-odori em Tokushima and afterwards Ó-Yoné e Ko-haru. These works might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Comércio do Porto (Porto Commercial Newspaper) in Portugal. Concerning these works as such there seems to be an undercurrent of the image of garden, or paradise, which is strongly connected with the Exhibition he was concerned. In this paper, a tentative reevaluation of his works in Tokushima and the undercurrent of the image of garden related with the 5th National Industrial Exhibition he was involved with in Kobe days.
This paper is the sequel to the former one, ``Hardy's Humour Linguistic Characteristics in `The Distracted Preacher'(1) .'' `The Distracted Preacher' (1879) in Wessex Tales (1888) by Thomas Hardy (1840-1928) is quite an interesting `long short story' in terms of humour and narrative techniques. This story was welcomed as `capital trifle, light and amusing' and `irresistibly comic' when published. Hardy is still now regarded rather fixedly as a writer of tragic and pessimistic novels, stories and poems. This conventional image of Hardy is at once blown away if we read this comical story. Hardy started writing novels with an acute critical eye on the society of class consciousness, and, therefore, his works are in a sense full of satirical and ironical treatment of the then society and its system. One of his earliest novels, however, Under the Greenwood Tree (1872), whose title is from the song in the Wood of Arden in Shakespeare's comedy As You Like It (1599), is a pastoral novel with tint of pathos and humour. Hardy was as an ambitious writer with keen consciousness of narrative techniques and seems to have tried every mode of narrative including humour, which element is as it were an undercurrent even in tragic novels like Tess of the d'Urbervilles (1891) and Jude the Obscure (1896). Focusing on Hardy's humour might have the possibility of changing the quality of his novels and stories, and would contribute to a reevaluation of his writings in general. In this paper, `The Distracted Preacher' is discussed and analyzed from the point of humour and narrative technique with the attention to linguistic characteristics in the story.
This paper is an essay on Moraes's O Bon-odori em Tokushima and Ó-Yoné e Ko-haru, part of the outcomes of the Project Studies by the activities in 2013 of Moraes's Studies Group launched in July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature, Comparative Literature), E. Ishikawa (German Literature, Comparative Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, The University of Tokushima, have been continuing to try to analyze Moraes's works and to approach new facets of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan, and fell in love with Ó-Yoné, who died soon after the marriage. After her death Moraes decided to live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 21. His life until his death in Tokushima was a kind of hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published O Bon-odori em Tokushima in 1916 after Ó-Yoné died, and Ó-Yoné e Ko-haru afterwards. This work might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Comércio do Porto (Porto Commercial Newspaper) in Portugal. He consistently wrote these installment reports from Tokushima in the eyes of a stranger, putting some distance between him and the people in there. Everything seen in the eyes of Moraes wore some beautiful visional aspect because of his memory of Ó-Yoné. He expressed his thoughts on life and death throughout O Bon-odori em Tokushima and Ó-Yoné e Ko-haru with fragmentary memories of his own as objective correlatives for the readers of his writings. This paper is based on the presentation in the Symposium at the 49th Annual Conference of Japan Comparative Literature Association Kansai Branch held at the Faculty of Integrated Arts and Sciences, here in Tokushima.
`The Distracted Preacher' (1879) in Wessex Tales (1888) by Thomas Hardy (1840-1928) is quite an interesting `long short story' in terms of humour and narrative techniques. This story was received as `capital trifle, light and amusing' and `irresistibly comic' when published. Hardy is still now regarded rather fixedly as a writer of tragic and pessimistic novels, stories and poems. This conventional image of Hardy is at once blown away if we read this comical story. Hardy started writing novels with an acute critical eye on the society of class-consciousness, and therefore his works are in a sense full of satirical and ironical treatment of the then society and its system. One of his earliest novels, however, Under the Greenwood Tree (1872), whose title is from the song in the Wood of Arden in Shakespeare's comedy As You Like It (1599), is a pastoral novel with a tint of pathos and humour. Hardy was an ambitious writer with keen consciousness of narrative techniques and seems to have tried every mode of narrative including humour, which element is as it were an undercurrent even in tragic novels like Tess of the d'Urbervilles (1891) and Jude the Obscure (1896).13; Focusing on Hardy's humour might have the possibility of changing the quality of his novels and stories, and would contribute to reevaluation of his writings in general. In this paper `The Distracted Preacher' is discussed and analyzed from the point of humour and narrative technique with the attention to linguistic characteristics in the story.
This paper is an essay on Moraes's O Bon-odori em Tokushima, part of the outcomes of the Project Studies by the activities in 2012 of Moraes's Studies Group launched in July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, The University of Tokushima, have been continuing to try to analyze Moraes's works and to approach a new facet of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan, and fell in love with Ó-Yoné, who died soon after the marriage. After her death Moraes decided to live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 23. His life until his death in Tokushima was a kind of hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published O Bon-odori em Tokushima in 1916 after O-Yoné died. This work might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Comércio do Porto (Porto Commercial Newspaper) in Portugal. He consistently wrote these installment reports from Tokushima in the eyes of a stranger, putting some distance between him and the people in there. Everything seen in the eyes of Moraes wore some beautiful visional aspect because of his memory of Ó-Yoné. He expressed his distress at the attitudes of Tokushima people at some sections in this book; that is, he was seen as a`ke-tojin,'an alien. This discrepancy and distancing from the people among whom he lived as a hermit, he seemed to see the deep gap between him and the people he loved, leading to the pathetic outcry at the final part of his letters to Bento Carqueja, the editor. This tentative paper intends to open a new perspective in a rather fixed image of Moraes and studies about him.
`A Changed Man' (1913) by Thomas Hardy (1840-1928) is an interesting short story in terms of narrative techniques. A supposed omniscient narrator who illogically avoids the responsibility of telling the whole truth throughout the story by asserting that `the man in the oriel' solely gives all the facts tells this story. As a handy-capped man who cannot go out without a wheelchair, this man gets familiarized with the episodes prevalent in the small town in a very limited way through the talk with his friends. Through the eyes of `the man in the oriel' as a point-of-view person, we readers `see' the places whereon the drama between Laura and Captain Maumbry is played. With the fragmented information given by the omniscient narrator along with `the man in the oriel' who naturally enough acquires the information about Laura and Captain Maumbry from his friends, we are supposed to get together the fragments of information and reconstruct the whole aspect of the drama. This unique method seems to approach in a sense the modernity method in the twentieth century fiction. Along with this uniqueness of narrative, the sensationalistic climax in the story leads us readers to the ambivalence of `changed' in the title `A Changed Man'; that is, `a changed man' could be `a man who has changed,' or `a man who has been changed,' or even `a man who has changed others.' This ambiguity seems to deepen and widen the construing of this story. These techniques may be anticipating some aspect of the modernity novel in the 20th century. In this paper some aspects of modernity in `A Changed Man' are discussed in relation with the narrative techniques.
ヴェンセスラウ・デ・モラエス(Wenceslau de Moraes)は，親族や友人に頻繁に絵葉書や書簡を送った．これらのうち，ポルトガルから徳島市に寄贈されたモラエス館所蔵の609通は，1994年(平成6)には『モラエスの絵葉書書簡』として，2004年(平成16)には『モラエス絵葉書集I』~『〃 IV』として刊行された．また，ポルトガルのコレクターが集め，2004年に``Permanências e Errâncias no Japão''として刊行された420通の絵葉書集もある．本研究は，これらの中から風景絵葉書や各地の風物の絵葉書に注目し，モラエスの生活圏や旅行に関するデータをまとめ，神戸時代と徳島時代で比較した．その結果，モラエスは，神戸での外交官時代，休日に頻繁に各地に旅行に出かけていたが，徳島に移り住んでからは滅多に遠出をせず，墓参を日課とする隠遁生活を送ったことが確認できた．また，彼は頻繁に寺社に参詣に出かけており，絵葉書の文面から見て取れる日本の宗教に対する彼の本音を探ったところ，著作では触れられることのなかった神道への愛着を認めることができた． また，数少ないモラエスの写真の中に，神戸時代に撮影された彼が滝を背景にして写っている写真があり，従来それは「布引の滝」とされていた．しかし，絵葉書データを詳細に分析した結果，これは有馬の「皷ヶ瀧」(現 鼓ヶ滝)であることが判明した．
(キーワード)
モラエス絵葉書集 / モラエスの絵葉書書簡 / モラエス研究会 / Permanências e Errâncias no Japão / ヴェンセスラウ・デ・モラエス
This paper is an essay on Moraes's Tokushima no Bon-odori, part of the outcomes of the Project Studies by the activities in 2011 of Moraes's Studies Group launched in July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, The University of Tokushima, have been continuing to try to analyze Moraes's works and to approach a new facet of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan, and fell in love with Oyoné, who died soon after the marriage. After her death Moraes decided to live in Tokushima, which was Oyoné's hometown. He lived with Koharu, Oyoné's niece, for a while until she died from tuberculosis at the age of 23. His life until his death in Tokushima was a kind of hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published Tokushima no Bon-odori in 1913 after Oyoné died. This work might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Porto Commercial Newspaper in Portugal. His interest in Kino Tsurayuki's Tosa-Nikki (Tosa Diary), which was written in the persona of a woman, seems to be the key to understand the modification in the quality of Tokushima no Bon-odori. Though this work was written as a diary and an essay in the persona of alien people to Tokushima, the tone of this work was quite changed at the final part of his letters to Bento Carqueja, the editor. This tentative paper intends to open a new perspective in a rather fixed image of Moraes and studies about him.
宮崎 隆義 : `The Romantic Adventures of a Milkmaid'における語りの技巧について, 徳島大学総合科学部言語文化研究, Vol.20, 1-14, 2012年.
(要約)
'The Romantic Adventures of a Milkmaid' by Thomas Hardy (1840-1928) is ahighly elaborated short story in terms of romantic ideology. It is abundant in what iscalled romantic imagery implicated by the wording of the title itself. The title suggeststhat this story evolves around the complicated 'adventures' that a milkmaid, MargeryTucker, experiences with the mysterious dark gentleman of 'romance.' Margery, 'Nature'sown image' in the eyes of the Baron, gives him a refreshing impression andrelieving effect at the critical moment of his trying to commit suicide.The Baron takes Margery to a ball held at a certain manor house during the night,which is her only hope as a reward of saving his life. This experience affects Margeryas it opens her mind to the upper class. This story is somehow overlapped by thatfamous fairytale, Cinderella. Though Margery enjoys the dreamlike ball with theBaron for the whole night long, she is brought back again to her position as a milkmaid.Her mind goes through a little change by this experience; once she saw andexperienced the world of the upper class, she cannot be satisfied with her betrothed,James Hayward, a village youth.Hardy adopts a traditional story-telling technique in writing this story, as is oftenthe case with him. The assumed omniscient narrator asserts that his story is basedupon the 'the testimony' of his 'authority for the particulars of this story.' The narratorfurthermore introduces in the narrative the testimonies by Margery and James asthey are supposed to confirm the seeming truth. This technique juxtaposes in a sensethe past and the present in the narrative, which may be anticipating some aspect of themodern novel in the 20th century.In this paper romantic imagery and some aspects of modernity in 'The RomanticAdventures of a Milkmaid' are discussed in relation with the narrative technique.
`Old Mrs Chundle' by Thomas Hardy(1840-1928)was posthumously published in1929. Unlike other serious novels and short stories, this short story is unexpectdly andsurprisingly very comical in some of its climaxes. This comical aspect of many ofHardy's writings is perhaps a neglected one overshadowed by his other major tragic writings.In the story the new curate happens to know Old Mrs Chundle, who is hard of hearingand on this account has neglected to go to church for long years.She tells a lie to himthat she goes regularly to church for formality's sake. The curate later discovers her lieand tries hard to make this 'wicked' Old Mrs Chundle to come to his church. His ideasof setting up 'an ear-trumpet'and afterwards`a sound tube',especially for the sake ofOld Mrs Chundle, somehow moves her to attend church.His ordeal,however,during his his sermon caused by her fidgeting just under his pulpit and her stink breathings through thesound tube, discourages him to continue his sermon.His ordeal,the 'test' for the`discernment of actions as morally good, or indifferent', appears in the eyes of thepeople in the church as `miracle' or in fact a comedy.His goodwill heretofore for OldMrs Chundle quickly dwindles and he decidedly avoids meeting her.However hersudden death and her`will' full of her goodwill for him throws upon his soul a dark shadow.In this paper some ironic aspects of goodwill on both sides are discussed in relationwith narrative technique and psychological descriptions.
`Destiny and a Blue Cloak' (1874) was almost disregarded byThomas Hardy himself and was not included among any of his collectionsof short stories in his lifetime. This fact has tended to discourage criticsto analyze the story in its potentiality. Hardy wrote this story just beforeThe Hand of Ethelberta (1876) and he put it away as dispensable，because some points were， Hardy wrote，reproduced in The Hand ofEthelberta. Certainly enough，as R. L. Purdy points out，Old FarmerLovill seems to be a rough sketch or a prototype for Lord Mountclere.The marriage between Agatha Pollin and him can be regarded to bedeveloped into the marriage between Ethelberta and Lord Mountclere.If we see this story along the development of Hardy's career as apopular novelist at that time，he seems to have tried his hand at a certainkind of comedy，which was to be performed in The Hand of Ethelberta asits sub-title `Comedy in Chapters' shows. Comical aspects of Hardy'sworks are to be minutely discussed in other papers hereafter，but this storyseems to show vividly the delicate ballance of the`more sober' aspect andthe comical one in his story writing. This ballance might be reflected inthe title `Destiny and a Blue Cloak' itself.In the story Agatha Pollin is mistaken for a renowned beauty in thevillage，Frances Lovill，by Oswald Winwood. Through this mistake `acongenial channel' is confirmed between Agatha and Oswald who isafterwards informed of his mistake. Their attempt for marriage is to beslyly checked by Frances Lovell，who is to get married to Agatha's uncle，Humphrey，and becoming her aunt conspires to revenge herself on thembehind the scene as a kind of `femme fatale' or`destiny.Agatha's desperate attempt to build `a congenial channel' withOswald is baffled by her rival Frances，now her aunt . Ironically enoughtheir rivalry becomes an obstacle for their attempt to make `a congenialchannel' with Oswald and leads them to mismating severally; Agatha withOld Farmer Lovill，and Frances with Agatha's uncle as his second wife.In this paper`Destiny and a Blue Cloak' is analyzed from theviewpoint of the theme of hankering for `a congenial channel，' as part ofseries of studies of Thomas Hardy's short stories.
本論文は，HardyのJude the Obscureについて，その創作法が表面上初期の作品と同様の扇情小説の体裁を取りながら，不可逆的な時間の流れに沿って物語と登場人物の心理の進展がなされることに着目し，Hardyの時間に対する問題意識を考察した．主人公たち二人の生き様が過去の支配から逃れ自由になろうとする果敢な挑戦であったと同時にその敗北によって日陰的な人間の存在がヒーローになり得るのではないかと論じた．
宮崎 隆義 : ハーディの「鏡」, --- 'I Look Into My Glass' から ---, ハイペリオン, Vol.42, 33-42, 1995年.
(要約)
本論文は，HardyのWessex Poems and Other Verses(『ウェセックス詩集』)の掉尾を飾る詩を取り上げ，そこに典型的に見られる時間の問題を，時間に左右され翻弄される人間の肉体と内面との乖離の問題として論考した．特に「鏡」に着目し，「鏡」が持つイメージや象徴を神話や他の作品，さらに他の作家の作品に見られる「鏡」のイコンを比較傍証しながら，この詩がロマン的な雰囲気を漂わせながらもHardyらしいアイロニーに満ちた詩として，人間存在の深淵を窺わせるものであると論じた．
本論文は，A Group of Noble Dames(『貴婦人の群れ』)の中で，特にHardy的な問題を多く含んでいる「グリーブ家のバーバラ」を取り上げ，ひとつの解釈を試みた．この物語には象徴的な大理石の彫像の存在に加え，怪奇で加虐的な嗜好を示す場面などが絡み合って，より複雑な問題が提起されており，この物語に対する解釈を困難にしているが，本論文では，特に観念あるいは理性と感情の対立の問題を，象徴的な存在である大理石の彫像と「変化」との関連から考察した．
宮崎 隆義 : 閉ざされた部屋, --- George Eliot: Scenes of Clerical Life 論考 ---, 徳島大学教養部紀要(外国語·外国文学), Vol.2, 41-55, 1991年.
(要約)
本論文は，G. Eliotの処女作である3つの中篇を収めたScenes of Clerical Lifeについて考察を加えたもの．これら3つの中篇は，習作として見なされることが多く従って評価もそれほど高くないが，後の作品を考慮しながら眺めてみると，原型的な要素やテーマ，人物像が多く見出される．その意味ではむしろ重要な作品集といえるわけであるが，筆者は，その重要な要素のうち，「閉ざされた部屋」のイメージに着目して，3つの中篇を検討し，それぞれの作品についての新たな解釈を試みた．
(キーワード)
ジョージ エリオット / 牧師館物語 / 部屋 / 再評価 / 部屋 / 図像 / イメージ
39.
宮崎 隆義 : 窓辺の Anne Garland, --- The Trumpet-Major 再評価の試み ---, 徳島大学教養部紀要(外国語·外国文学), Vol.1, 37-51, 1990年.
本エッセイは，谷崎潤一郎がHardyの''Barbara of the House of Grebe"をヒントとして『春琴抄』を書いたとされていることについて，春琴の盲目のモチーフがなぜ生まれたのかを疑問とし，それがHardyのその作品において重要と考えられる視覚の問題と関わっているのではないかと考えた．Hardyのその作品に視覚に関わる言葉や表現を指摘し，二つの作品に窺うことのできる影響関係を示唆した．
短編集『人生の小さな皮肉』(Life's Little Ironies)に収められた「古びた人びと」(`A Few Crusted Characters')は，短編集『貴婦人の群れ』(A Group of Noble Dames)と同様のいわゆる枠物語であり，収められている話の数もほぼ10と共通の構成になっている．短編集『人生の皮肉』の中に収められた，いわばもうひとつの短編集という，入れ子細工のような様相を呈しているが，この作品を眺め直すことによって，広く長編小説にまで及ぶハーディの創作の秘密が透けて見えてきそうである．ひとりの帰郷者を軸に，過去に遡りやがてまた物語の現在に戻ってくるはっきりとした円環的な構造に，村の住民たちの悲喜劇が，明白な語り手によってペーソスやユーモアを交えて語られ，それによって過去の人びとが生き生きと我々の時空間に甦ってくる様は，ハーディの，短篇小説家としての技倆を余すことなく示していると考えてよい．「古風な」(crusted)という措辞で表された過去の村人たちが，馬車に乗り合わせた，今の村人たちによって語られることになるが，帰郷者にそうした「古びた人びと」の在りし日の姿を語り聞かせることには，「語り」の問題が関わっていると同時に，古めかしい伝統的な「語り」に即しながらもモダニズムに通ずる要素が垣間見られるように思われる．ひとりひとり語り手を変えながら，ロングパドル(Longpuddle)の人びとを描き出すというところに，ハーディらしい前衛的な試みが窺えると考えてよいかもしれない．
『塔上の二人』(Two on a Tower)において，コンスタンタイン夫人は，夫への鬱屈した気持ちを持て余しながら，偶然に知り合った10歳年下のスウィジンに関心を抱きやがて彼と結ばれることを願う．森の中にあって人の目には触れぬ，一種の閉ざされた楽園のような世界を作りだしている古い塔の中において，彼女とスウィジンとは歳の差を超えて愛の成就―結婚の実現を願う．しかしながら，「共感の通路」を求め合うその二人に対して，様々な「時間」のトリックが二人のその意図を挫こうとするのである．コンスタンタイン夫人の夫ブラント卿の死亡時期と秘密結婚の時期のずれ，遺書という過去からの束縛，年齢の差など，この作品には「時間」に関わる要素が様々にトリックのように働いて，やがては悲劇的な末路へとコンスタンタイン夫人を導いてゆく．現在という時間に存在しながらも過去に支配された二人は，いわば二重性を帯びた人間存在として，悲劇に至る過程を例証しているかのようである．宇宙の悠久な時間の流れに対し，いかにも矮小化された人間の時間の流れ，そしてその時間の対比によって冷徹に描かれた，年下の若いアドニスのようなスウィジンとの再会に，ショック死を迎える老醜を帯び始めたコンスタンタイン夫人の姿は，現在という時間の中に過去を内在化させている人間の二重性がもたらす悲劇のひとつの様相かもしれない．森の中に屹立する塔は，広大で凄みを帯びた宇宙に対して，卑小な人間の営みに流れるはかない希求を，その内部のらせん空間がイメージを与えているように，どこまでも表しているように思われる．そうした観点に基づき口頭発表を行った．
谷崎潤一郎の『春琴抄』がThomas Hardyの'Barbara of the House of Grebe'をヒントとして書かれたことは知られているが，驕慢な春琴の外面的な美を，佐助が自ら目を潰し盲目となることによって，闇の世界に永遠化したことを考えると，理想の女性，永遠の女性という点で，Hardyと谷崎との共通性がもう少し見えてくるかもしれない．Hardyの作品の中でもプラトン的なアイデアリズムが色濃く表れているThe Well-Belovedにおいて，彫刻家Pierstonは，自分の加齢を顧みることもなく愚のままに理想の女の幻"the well-beloved"を，3代にわたるAviceに求める．その姿は，ナオミを理想の女に仕立て上げようとしながらもやがて翻弄され支配されてゆく痴人譲治の姿を思い起こさせるといってもよいだろう．The Well-BelovedのAvice像と『痴人の愛』のナオミ像を比較検討しながら，Hardyと谷崎に見られる男女の繋がりの問題を考察した．
(キーワード)
トマス ハーディ / 恋の霊 / 美 / 共感の通路 / 谷崎 潤一郎 / 痴人の愛
9.
宮崎 隆義 : The Return of the Native における「故郷喪失」と「時」について, 日本英文学会中国四国支部第39回大会, 1986年10月.
(要約)
本発表は，HardyのThe Return of the Nativeについて，都会を捨てて故郷に戻ってくる主人公と故郷から都会に逃れたいと願う娘との恋愛と結婚，そして悲劇的な結末に，冒頭から大きな存在として登場している故郷そのものEgdon Heathが，象徴的な意味をたたえて関わっているのではないかと考察した．主人公と故郷との関係，主人公の妻となる娘と故郷との関係に見られる齟齬が，人間の土地に対する帰属意識の問題と時間の意識に関わる問題であると論じた．
This report is a record of the social action activities in 2015 of W. de Moraes financed by the Faculty of Integrated Arts and Sciences, Tokushima University. Moraes's Studies Group, launched on July 31, 2010, the members of which are Takayoshi Miyazaki (English Literature, Comparative Literature), Eisaku Ishikawa (German Literature, Comparative Literature), Masaya Satoh (Plant Physiology), Mtohiro Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, Tokushima University, has been continuing analytical research on Moraes's works and trying to open new facets of Moraes's biographical aspects, including the social action activities of organizing exhibitions and lectures on Moraes with other groups in Tokushima. As the basic activities, we have been organizing regular meetings every month or every two months, and have read Moraes's O Bon-odori em Tokushima, Ó-Yoné e Ko-Haru, and we are now reading Relance da Alma Japonesa. Our activities are further developing with the cooperation with other local groups in Tokushima, Kobe, Osaka and Tokyo; and also gaining connections with Portugal, after visiting Leiria, Coimbra and Lisbon in Portugal in March 2015.