@article{oai:kumadai.repo.nii.ac.jp:00034318,
 author = {Matsuoka, Hiroshi and 松岡, 浩史},
 journal = {人文科学論叢, Kumamoto journal of humanities},
 month = {Mar},
 note = {As long as the private paper written by the physician Stephen Bradwell is trustworthy, the form of exorcism performed for Mary Glover in 1602 bears close resemblance to today’s spectacle show with 'many beholders coming in and going out, sometimes by troupes of 8 or 10 at once.' The symptoms displayed by the demoniac gradually increased intensity, illustrating the theatricality and spectacle. In All's Well that Ends Well, surprised by the resurgent of Helen in the final scene, the French King expresses his dismay with the metaphor of exorcism: 'Is there no exorcist/ Beguiles the truer office of mine eyes?' An exorcist, previously represented as a charlatan before 1600, is now clearly portrayed as an illusionist in the later works of Shakespeare. This paper discusses when and how this shift occurred, focusing on the representations of exorcism in Shakespeare's dramatic works in the context of entertainment and spectacle made out of early modern curiosity.},
 pages = {113--125},
 title = {狂気のメタモルフォーシス : シェイクスピア作品におけるエクソシズム表象とその娯楽性},
 volume = {3},
 year = {2022},
 yomi = {マツオカ, ヒロシ}
}