@article{oai:kobe-c.repo.nii.ac.jp:00005651,
 author = {古村, 敏明 and KOMURA, Toshiaki},
 journal = {女性学評論, Women's Studies Forum},
 month = {Mar},
 note = {現代アメリカ詩は日常を描く文学である。しかし、そこで描かれる日常は見慣れたものばかりでなく、異形や幻想に満ちた空間でもある。詩においては、ふつうに「現実」と呼ばれているものが変容し幾層にも重なりあってゆく。歯医者の待合室にいる時間に溶け込んでくる未開地の原住民、調理中に切ってしまった指の傷から見えてくる流血の歴史、父親が入っているトイレを誤って開けたときに迷い込む青空へのヘアピンカーブの山道。私達が「今、ここ」を生きながらも誘われてしまう、日常と隣り合わせの様々な異界を描く、エリザベス・ビショップ、シルヴィア・プラス、シャロン・オールズの代表作品を幻想的写実主義の一つのかたちとして解析する。, Much of contemporary American poetry depicts matters of everyday life, but the life portrayed in it includes not only familiar mundanities but also fantastical, strange, otherworldly elements. In this paper, which has been adapted from a talk given as part of the Kobe College Women's Studies Institute lecture series, I examine three major poems from the latter half of the twentieth century: Elizabeth Bishop's "In the Waiting Room" ; Sylvia Plath's "Cut" ; and Sharon Olds's "Once." These poems enact various transformations and transpositions and of what we casually call reality: the unexplored geographies of the indigenous lives that encroach upon one's time in the waiting room at a dentist's office; the history of bloodshed that gushes out of one's thumb, accidentally sliced out of the domesticity of meal-cooking; the mountain road full of hairpin turns that one gets lured into when one mistakenly opens the door of a bathroom occupied by one's father. These poems enact a literary strategy that I call fantastical realism. where descriptive realism spills out of itself, turning into an imaginative gaze that reflects and reshapes the landscapes the landscapes before us.},
 pages = {21--40},
 title = {日常のそばにある「異界」：現代アメリカ詩の幻想的写実主義},
 volume = {33},
 year = {2019},
 yomi = {コムラ, トシアキ}
}