小林 正臣 (コバヤシ マサオミ)

Kobayashi Masaomi

写真a

職名

准教授

科研費研究者番号

30404552

現在の所属組織 【 表示 / 非表示

  • 専任   琉球大学   教育学部   学校教育教員養成課程   准教授  

取得学位 【 表示 / 非表示

  • ペンシルヴァニア州立インディアナ大学 -  Ph.D(英語)  英語

  • 専修大学 -  修士(文学)  文学

職歴 【 表示 / 非表示

  • 2005年04月
    -
    継続中

      琉球大学 教育学部 英語教育講座 准教授  

所属学会・委員会 【 表示 / 非表示

  • 1998年04月
    -
    継続中
     

    日本アメリカ文学会

  • 2005年10月
    -
    継続中
     

    沖縄外国文学会

  • 2014年04月
    -
    継続中
     

    日本英文学会

研究キーワード 【 表示 / 非表示

  • 米文学,批評理論

研究分野 【 表示 / 非表示

  • 人文・社会 / ヨーロッパ文学

主たる研究テーマ 【 表示 / 非表示

  • 仕事小説(Office Fiction)

  • ポストヒューマン研究

論文 【 表示 / 非表示

  • The Will to Matter: Captain Ahab, the Cyborg

    Masaomi Kobayashi

    Studies in English Literature ( 日本英文学会 )  61   21 - 35   2020年03月 [ 査読有り ]

    掲載種別: 研究論文(学術雑誌)

     概要を見る

    The present study aims to cast fresh light on the cyborg-fiction aspects of Herman Melville’s 1851 classic, Moby-Dick. In so doing, it presents the novel as archetypal of cyborg fiction featuring those with artificial limbs. A specific focus is placed on the will-to-matter embodied by Captain Ahab. His prosthetic leg made of a whalebone has more often than not been viewed as an external manifestation of his monomaniacal nature. While his hostile challenge to the white whale as an inscrutable object demonstrates how emotionally-driven he has become since his last voyage, it is an idiosyncratic challenge to the longstanding domination of spirit over matter. When it comes to this complex figure with an acute consciousness of the inorganic part of his organic body, overemphasizing the power of spirit leads to deemphasizing the will to matter. Ahab’s human battle with the great white whale is closely associated with his posthuman/transhuman desire for self-enhancement. This paradoxical desire finds expression in his cyborg manifesto in which he envisions himself as a complete man—an augmented being with an enlarged brain but no heart. Ahab’s body—both disabled and imagined—is thus suggestive of how deeply humanity is interwoven with technology. His will-to-matter that exemplifies humanity-as-technology manifests itself finally in the Pequod. If Ahab is a cyborg, this whaleship is also a cyborg as an amplified projection of himself. Among the most central subjects in cyborg fiction is the transcendence of the limits of corporeality, and Ahab meets his fate when he attempts to immortalize himself by becoming something other than himself, something of an Ahab. This other-directedness is where the cyborg diverges from other posthuman/transhuman entities. The cyborg is not an autonomous being, and neither is Ahab. Moby-Dick is ultimately about his fatal journey to live immortally as the other.

  • Bartlebys: Gothicizing Office Fiction

    Masaomi Kobayashi

    Palgrave Communications ( Palgrave Macmillan )  4   1 - 6   2018年11月 [ 査読有り ]

    掲載種別: 研究論文(学術雑誌)

    関連する研究費コード: JSPS KAKENHI Grant Number JP16K02496

     概要を見る

    Gothic fiction is in essence about the power of place, particularly of house. If this obsessive focus on the house is found in other genres of fiction, Gothic fiction can certainly expand its realm of representation; namely, the extensive capacity of this genre can be illustrated by unveiling the Gothic nature of the seemingly non-Gothic. Herein lies why special attention is given to the office as an idiosyncratic kind of house in office fiction: fiction featuring such characters as clerks, civil servants, and company employees. In Gothicizing office fiction, Herman Melville’s “Bartleby, the Scrivener: A Story of Wall-Street” draws parallels with Franz Kafka’s “The Metamorphosis.” These classics of nongenre fiction have hardly been considered the classics of office fiction. The primary emphasis of this study is on the international kinship between Melville’s Bartleby and Kafka’s Samsa: Bartleby’s occupation of the law office turns the place into a house, and Samsa’s transformation into the monstrous vermin turns his apartment into an office. These dual settings render each protagonist uncanny and ghostly. The discovery of parallels between the protagonists who embody work-life integration stems from incorporating not only elements typical of the Gothic, such as supernatural happenings and closed-room settings, but also other elements, especially work-life balance. This focus on work-life issues allows an exploration of another classic office-fiction story about an Asian Bartleby. Thus, cultivating an environment in which Bartleby’s transnational cousins are rediscovered as Bartlebys lends itself to extending the scope of the Gothic. After all, Gothic fiction is an expanding universe in which the walls come tumbling down between office and house, between work and life, and even between the Gothic and the non-Gothic. The findings of this study highlight how every sphere of life, including work life, is potentially Gothicized.

  • Do the Electric Things Have Their Lives, Too? Philip K. Dick on Post-Humanity

    Masaomi Kobayashi

    American Research Journal of English and Literature ( American Research Journals )  5 ( 1 ) 1 - 11   2019年08月 [ 査読有り ]

    掲載種別: 研究論文(学術雑誌)

    関連する研究費コード: JSPS KAKENHI Grant Number JP16K02496

     概要を見る

    What does it mean to be human? In his best-known novel, Do Androids Dream of Electric Sheep?, Philip K. Dick addresses this fundamental question through drawing parallels between natural and artificial beings. While conceiving humanity in relation to technology as an integral part of the posthuman condition embodied in human-machine relations, the novel sets in perspective the post-human condition under which post-modern technology actualizes viable machine-machine relations. Special attention is thus paid to the android characters, possibly including the bounty hunter protagonist, mass-produced by high-tech corporations as post-modern Prometheuses. With in mind the novel’s film adaptations that underscore its post-human aspects such as corporate personhood, this study affords insights into the author’s science fiction not only by providing an exploration of humanity, but also by expanding the universe of discourse of post-humanity

  • Bartlebys Diversified: Miss Lonelyhearts and Office Fiction

    Masaomi Kobayashi

    The Journal of the American Literature Society of Japan ( 日本アメリカ文学会 )  14   39 - 55   2016年03月

    掲載種別: 研究論文(学術雑誌)

  • What Is the Man of the Crowd? His Prefiguration

    Masaomi Kobayashi

    九州英文学研究 ( 日本英文学会 )  ( 35 ) 1 - 9   2018年01月 [ 査読有り ]

    掲載種別: 研究論文(学術雑誌)

    関連する研究費コード: JSPS KAKENHI Grant Number JP16K02496

     概要を見る

    The present study provides an exploration of Poe’s 1840 story, “The Man of the Crowd,” not by relying on the long-held view of the title character as the flâneur—the voyeuristic idler/stroller originally from mid-1830s Paris—but by answering an as-yet unasked question, “What—not who—is the man of the crowd?” This London-set semi-detective story is primarily characterized by its realistic reference to the street crowd as those with different jobs, and its most detailed description of clerks serves as a text within the text. Poe’s special interest in those office workers is thus addressed in close relation to Melville’s New York story, “Bartleby, the Scrivener: A Story of Wall-Street.” Drawing specific parallels between their protagonists reveals the man of the crowd as a literary cousin of Bartleby. The man’s looks, behavior, and sense of locality furnish the key to the question of what he is or what he used to be. Of equal import is that the narrator as an obsessive reader of the crowd overlaps with the dead letter clerk who detects the identity of the sender from an undeliverable letter. Given both the narrator’s attention like an epistolary detective’s and his subject’s action like an ex-dead letter clerk’s, “The Man of the Crowd” can be conceived as an earlier story relevant to the creation of Bartleby—Bartleby not at the law office but at the Dead Letter Office. Through this extension made backward, not forward (which is the usual direction in diversifying Bartleby), Poe’s main characters, including C. Auguste Dupin, are rediscovered as transatlantic and prototypic figures of Bartleby. Overall, an attempt is made to throw fresh light upon office fiction featuring office-worker characters as Bartlebys.

全件表示 >>

著書 【 表示 / 非表示

  • The Multiverse of Office Fiction: Bartlebys at Work

    Masaomi Kobayashi ( 担当: 単著 )

    Palgrave Macmillan  2022年11月 ( ページ数: 225 )

    関連する研究費コード: 20K00390

  • ユダヤ系文学の歴史と現在―女性作家、男性作家の視点から

    小林正臣 ( 担当: 単著 , 担当範囲: 自他をめぐる者たち―イーサン・ケイニンの世界 )

    大阪教育図書  2009年03月 ( 担当ページ: p.21 )

  • 応答力をつけるリーディング

    喜納育江・小林正臣・山城新 ( 担当: 共著 )

    英宝社  2009年01月 ( ページ数: 102 )

MISC(その他業績・査読無し論文等) 【 表示 / 非表示

学術関係受賞 【 表示 / 非表示

  • プロフェッサー・オブ・ザ・イヤー

    2014年   琉球大学  

    受賞者: その他の受賞者

科研費獲得情報 【 表示 / 非表示

  • エイハブたち:「ポストヒューマン」の諸相

    基盤研究(C)

    課題番号: 20K00390

    研究期間: 2020年04月  -  継続中 

    代表者: 小林 正臣 

    直接経費: 1,300,000(円)  間接経費: 390,000(円)  金額合計: 1,690,000(円)

     概要を見る

    本研究は以下の3点について明らかにする。 1)「ポストヒューマン」として提示される人類の多様な進化形に注目することで、それがどのようにエイハブという多義的な人物に体現されているのか。 2)「ポストヒューマン」としてのエイハブを元型とすることで、それがどのように〈エイハブたち〉として以後のアメリカ文学やポピュラー映画に出現しているのか。 3)「ポストヒューマン」の諸相を体系的かつ系統的に検討することで、それをどのようにポストヒューマニズムの問題と展望として提示できるのか。

  • バートルビーたち:「オフィス・フィクション」の諸相

    基盤研究(C)

    課題番号: 16K02496

    研究期間: 2016年  -  2020年03月 

    代表者: 小林 正臣 

    直接経費: 1,600,000(円)  間接経費: 480,000(円)  金額合計: 2,080,000(円)

  • 現代ユダヤ系アメリカ文学における「ポスト・ホロコースト」の諸相に関する基礎的研究

    若手研究(B)

    課題番号: 22720105

    研究期間: 2010年  -  2012年 

    代表者: 小林 正臣 

SDGs 【 表示 / 非表示

  • 仕事小説研究