@article{oai:kumadai.repo.nii.ac.jp:02000358,
 author = {松岡, 浩史 and Hiroshi, Matsuoka},
 journal = {人文科学論叢, Kumamoto journal of humanities},
 month = {Mar},
 note = {The excavation of Richard III’s remains by the University of Leicester in 2012 revealed that Richard III’s physical deformity was not a mere exaggeration in Shakespeare’s works, but rather a factual embellishment. While Shakespeare in his own works further demonized the ‘disabled’ Richard portrayed in Thomas More’s ‘The History of King Richard the Thirde’, one wonders how the contemporaneous audience consumed this monstrosity attributed to Richard. In ‘Henry VI, Part 3’, Richard declares, ‘Proteus is not more flexible in shape-changing than I am.’ Records of performances at Bartholomew Fair by acrobats began to emerge in the 17th century, with a focus on bodily contortions as a central act. Acrobats, such as Joseph Clark who performed at Southwark Fair, were noted by diarist John Evelyn to have earned money by portraying a hunchbacked individual, and were praised for their Protean-like transformations. This paper points out that concepts like deformity and monstrosity were not only anatomical phenomena since Aristotle’s time, but also sources of the playwright’s imagination.},
 pages = {39--52},
 title = {『リチャード三世』における怪物の表象 : 娯楽文化史の視座から},
 volume = {5},
 year = {2024},
 yomi = {マツオカ, ヒロシ}
}