Title Author(s) 野田秀樹作品における言葉遊びと時間性の変遷 : ゼンダ城の虜 から オイル へ 黄, 資絜 Citation 待兼山論叢. 芸術学篇. 50 P.15-P.45 Issue Date 2016-12-26 Text Version publisher URL http://hdl.handle.net/11094/70046 DOI rights
15 NODA MAP 一 はじめに 1 NODA MAP
16 二 言葉遊びの形式と範囲 二 一 夢の遊眠社時期 2 1 1985 2 1982
17 3 3 4 1 1982 0 2 3 ABCD
18 二 二 言葉遊びの定義 5 6
19 7 8 1 2 三 ゼンダ城の虜 について 三 一 主題とポストモダン的手法
20 19861989
21 9 10 11 12
22 19 3 9 3 4 13 14
23 9 2 4 4 1 15
24 16 17 18 19
25 20 1 15 YES 21 22
26 三 二 八〇年代における遊戯と主体性 23 24
27 25 26 27 28 29
28 30 31 32 四 オイル について 四 一 主題 : アメリカに対する複雑な感情
29 33 34
30 35 36
31 四 二 古典作品の引用と構造の回復 13 37 5 4 3 1 7 5 1 34 32 34 34
32 38 39 40
33 41
34 42 15 3337 43
35 44 45 46 TABOO 1996
36 四 三 時間問題の出現と劇作家の姿勢の変化 47
37 48 1991 NODA MAP 2010 2016
38 49 50 Red Demon 51 52 53
39 54 55 56 57
40 五 まとめ 1 90 1998, p.54. 2 1992, pp. 60-68. 3 p. 68 40. 4 1982, pp.253-257. 5 1990, p.5. 6 p.5. 1979, pp.7-10.
41 7 2009, pp.162-163. 8 p.209. 9 2 1984, p.140. 10 pp.155-156. 11 p.150. 12 p.152. 13 p.88. 14 p.89. 15 1996, vol.106, p.104. 16 Yoshiko Fukushima. Manga Discourse in Japan Theatre: The Location of Nodu Hideki's No Yuminshu. Routledge, 2013, p.270. 17 p.269. 18 L 1987, p.147 19 2012, p.96. 20 p.19 p.43p.85 p.121pp.122-123 pp.126-129 21 1998 p.54. 22 p.54. 23 1977, p.43. 24 1998 pp.53-54. 25 2 p.64. 26 1993, p.471. 27 1984, p.44. 28 p.46. 29 p.53. 30 p.53. 31 p.69. 32 2 p.39. 33
42 2003, No.101, pp.56-59. 34 21 2007, pp.4-5. 35 2007 pp.115-116. 36 p.184. 37 38 2007 p.15. 39 pp.44-46. 40 p.47, p.58, p.62. 41 p.14. 42 p.49. 43 p.90. 44 2011, No.26, pp.55-68. 45 p.62. 46 p.64. 47 p.255. 48 1992, p.104. 49 1998 p.53. 50 p.53 51 2003 p.57. 52 p.200. 53 p.201. 54 21 2011, pp.6-7. 55 Stanley Hoffman Clash of Globalizations. The Clash of Civilizations: The Debate. James F. Hoge, Jr. Ed.. Council on Foreign Relations, 2010, pp.86-99. 56 p.90. 57 p.97.
43 1 1 11 2 16-17 3 22 4 27 5 34 6 41 7 82 8 86 1 2 X 1342 2 9 81 88 89 10 89 11 96 1342 12 100 13 101 1342 X X 14 15 117-118 1342 1 3 4 2 1 2 3 4 1 3 4 2 1 1 33 4 4 125-129 2 2 2 4 16 142 17 152 18 152 19 155 YES 2 1984
244 1 15-16 2 18 3 26 4 36 5 39 6 44-47 34 33 34 32 34 34 33 6 44-47 7 48 8 57 9 58 10 62 11 63 12 63 13 68-69 X 21 2007
45 SUMMARY Changes of Wordplay and the Problem of Time in Hideki Noda s Works: From The Prisoner of Zenda to Oil Tzu-Chieh HUANG Wordplay is one of the techniques which characterizes the writing of Hideki Noda, and it can be discovered from his early works to his recent ideological plays. This paper exams the changes of Noda s wordplay by connecting it with the important theme of his ideological plays: the problem of time. The paper contains three parts. In the first part, it summarizes linguistics studies, folklore studies, and previous researches about wordplay in Noda s 1980s works, trying to give a definition of wordplay. The scond part is an analysis of The Prisoner of Zenda: The Night of Our Moss-Covered Infants (1981), one of Noda s representative works in the 1980s. In this period, Noda s wordplay used postmodern strategies to avoid fixed meaning, making his wordplay have strong similarities with game theory. The last part of this essay is an analysis of Noda s ideological play, Oil (2003). In this play Noda s wordplay has two main contents: one is used to link the story with the ancient myth about establishing the state, while the other is adapted from Japanese traditional wordplay. Both of the two show a tight relationship between language and culture, and Noda names this relationship time in several ideological plays. The change of style form postmodern strategies to a reconnection with the Japanese tradition shows Noda s new attitude of endorsing multiculturalism, and this also reflects the impact of globalization on the contemporary Japanese society.