The Influence and Function of Medieval and Renaissance Iconology in English and American Literature

我们研究小组的研究人员试图揭示“中世纪和文艺复兴时期图像学在英美文学研究中的影响和作用”的各个方面，特别是在中世纪和文艺复兴时期文学和戏剧中使用视觉图像和符号处理哲学，宗教，社会和政治主题方面。吉川教授，谁主要集中在惊奇的诗歌他的注意力，研究如何密切的宗教和政治方案的17世纪英格兰交织在他的每首诗的纹理，以及如何成功地适用图像分析是缠结的意象，支配他的诗歌。山田教授调查了伊尼戈·琼斯与本·琼森合作制作斯图亚特宫廷面具的案例。他讨论了琼斯是如何热衷于制作一个面具，以吸引观众的视觉感，通过就业的视觉元素的重新 ...更多信息 出生的艺术和建筑，并通过使用意大利服装和舞台设置。研究欧洲文艺复兴对殖民地时期美国文化影响的山楂学者入子教授对文艺复兴时期的忧郁观念进行了研究，并说明了这种影响对山楂浪漫小说的各个方面。Imanishi教授的理论是，他们在某种程度上基本上是古典古代寺庙和剧院的重生或再生，研究了莎士比亚舞台空间的图像性质，并考察了莎士比亚在他的剧院中成功地制作他最后的戏剧或浪漫的方式，他能够自由地与观众对神秘和宇宙的敏感性进行谈判。首席调查员藤田一直与上述每一位成员保持联系，以尽可能保持他们各自调查对象的统一性，并将研究重点放在位于哥伦布地球仪剧院开放舞台左右两侧的古典柱子的图像质量和功能上。Monobe教授是一位哲学家和美学家，他一丝不苟地为每位研究者提供了有关图像学的必要学术信息。他自己的研究集中在Sehen（看到）和Dingge（一件事）之间的美学关系。他的兴趣集中在这样一个事实上，即科学或技术上可识别的东西与通过感官，特别是通过视觉可感知的东西绝不是同一个。少

The investigators of our research group have tried to reveal various aspects about "the influence and function of medieval and Renaissance iconology in the study of English and American literature," especially in connection with the use of visual images and symbols in their treatment of philosophical, religious, social and political themes in medieval and Renaissance literature and drama. Professor Yoshikawa, who mainly focuses his attention on Marvel's poetry, examines how closely the religious and political programs of 17th century England are intertwined in the texture of each of his poems and how successfully applicable iconographical analysis is to the tangles imagery that governs his poetry. Professor Yamada investigates the case of Inigo Jones' collaboration with Ben Jonson in their production of Stuart court masques. He discusses how keenly interested Jones was in producing a masque so as to appeal to the audience's sense of sight through the employment of visual elements of Re … More naissance art and architecture and through the use of Italianate costume and stage setting. Professor Iriko, a Hawthorn scholar who has studied the influence of the European Renaissance on the American culture of the Colonial period, conducts research into the Renaissance idea of melancholy and illustrates various aspects of this influence on Hawthorn's romances. Professor Imanishi, whose theory about Elizabethan theaters is that they were in a way essentially a rebirth or regeneration of temples and theaters of classical antiquity, studies the iconographical nature of the Elizabethan stage space, and examines the way Shakespeare succeeded in producing his last plays or Romances in his theater where he was able freely to negotiate with the spectators' sensibility towards the mystic and the cosmic. The chief investigator, Fujita, has been in constant liaison with each of the above members in order to maintain as much as possible the unity of the subjects of their individual investigations, and focuses his study on the iconographical quality and function of the classical columns that stood on the right and left sides of the open stage in the Elizabethan Globe Theater. Professor Monobe, a philosopher and aesthetician, meticulously provided each investigator with necessary scholarly information concerning iconology. His own study focuses on the aesthetic relationship between Sehen (seeing) and Dinge (a thing). His interest centers on the fact that what is scientifically or technically recognizable is by no means one and the same with what is perceptible through the senses, especially through the sense of sight. Less