@article{oai:nara-edu.repo.nii.ac.jp:00013212,
 author = {門田, 守},
 issue = {1},
 journal = {奈良教育大学紀要. 人文・社会科学},
 month = {Mar},
 note = {This essay on George Gordon Byron’s sexual politics examines how the poet’s sexuality influences plot twists of his poems, where his political stances are thought to be drawn so conspicuously. Byron’s political radicalism, however, does not appear without receiving some transformation, which arguably can be ascribed to his bisexuality and also to his wavering political postures. British romantic poets show various signs of their sexuality. William Wordsworth fears to appear as a feminine poet in his attentiveness towards human sentiments and natural scenery. Robert Southey simply looks so happy to draw manly characters who accomplish great achievements with their physical and military power. Walter Scott represents a wavering hero whose life seems to be changed by his connection with female characters. Scot’s textual strategy is similar to Byron’s in that his hero lives under the strong influence of his female lovers. Scott, however, does not explore in detail his hero’s sexuality to the extent that we may sense some political message in connection with the hero’s love life. Byron’s male characters often become so feminized when they fail in achieving their original political intention, while his female characters take on a kind of masculinity when they try to participate in political activities and actually sometimes succeed in causing upheavals to their society. In dealing with some of the important passages, each fraught with their ambiguous connotations, of The Giaour, The Corsair, Don Juan, The Island among others, this essay tries to shed light on the connection of Byron’s sexuality and his radical politics.},
 pages = {161--170},
 title = {バイロンのセクシュアル・ポリティクス ─ 彼のヒーローの女性化について─},
 volume = {67},
 year = {2018}
}