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第13巻 (2006) >

Please use this identifier to cite or link to this item: http://hdl.handle.net/10087/2442

Title: 奪われるジェイムズ・ホッグ : 『著者の人生の回想録』における書記行為
Other Titles: James Hogg Deprived : Writing in Memoir of the Author's Life
Authors: 小林, 徹
Issue Date: 31-Mar-2006
Publisher: 群馬大学社会情報学部
Citation: 群馬大学社会情報学部研究論集. 13, 51-65 (2006)
Abstract: James Hogg's Memoir of the Author's Life is an intriguing work of prose whose intended status was that of an introduction, as it was repeatedly published with and preceding his other poetry and prose in one volume. The work's principal issue is, then, where it should be situated along the historical line of a literary genre, the autobiography. Even though Hogg penned his introduction during the Romantic Age, there are several valid arguments to claim that it is in fact not a Romantic autobiography. For example, in it he is not as seriously focusing on the appearance of the inner self as Romantics, such as William Wordsworth and Thomas De Quincey, are. However, an analysis of his way of arguing for his identity leads to a different answer. In every version of Memoir, Hogg's main intention is to force readers to recognize Hogg as "a sort of natural songster." His wish was in vain. When interpreting Hogg's account of his life, the "natural songster" is revealed to be rooted in his early deprivation of the opportunity to study letters and their writing, and this also does much to explain his peculiar poetics. Since he knew himself to be poor at writing, his metrical composition was primarily completed in his mind, and then, as he boasts, he refused any revision once it was put to paper. It is in these characteristics that his writing undermines itself. At each opportunity, he constructs the narrative with the aim of establishing his identity, a "natural songster," using methods such as repetition and vivid description. In addition, both his careful treatment of other personal deprivations and his lines of revision, which he did frequently, are for the purpose of bolstering the songster identity. These in fact show Memoir to be a carefully designed artifact, which would seemingly contradict Hogg's assertion that he lacked in writing skills. In Memoir, language fails the author in his attempt to represent himself as he wishes, and this posits the work closer to other Romantic writings where the same linguistic mechanism works in signification. Though on the surface Hogg's prose does not belong to the Romantic category of autobiography, it entirely reveals itself to be Romantic in substance.
URI: http://hdl.handle.net/10087/2442
ISSN: 1346-8812
Appears in Collections:第13巻 (2006)

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