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persona
A persona (plural personae or personas), in the word's everyday usage, is a social role or a character played by an actor. The word is derived from Latin, where it originally referred to a theatrical mask. The Latin word probably derived from the Etruscan word "phersu", with the same meaning, and that from the Greek πρόσωπον (''prosōpon''). Its meaning in the latter Roman period changed to indicate a "character" of a theatrical performance or court of law, when it became apparent that different individuals could assume the same role, and legal attributes such as rights, powers, and duties followed the role. The same individuals as actors could play different roles, each with its own legal attributes, sometimes even in the same court appearance. According to other sources, which also admit that the origin of the term is not completely clear, ''persona'' could possible be related to the latin verb ''per-sonare'', literally: ''sounding through'', with an obvious link to the above-mentioned theatrical mask.
==In literature==
In literature the term has become associated with the work of two modern poets, Ezra Pound and T.S. Eliot, and the writer Luigi Pirandello. They understood the term slightly differently and derived its use and meaning from different traditions. Eliot had taken over and developed Laforgue's ironic "I", whereas Pound worked from Robert Browning's dramatic monologues. Eliot's personae were Prufrock and Sweeney, Pound's were Cino, Bertran de Born, Propertius, and Mauberley. Whereas Eliot used "masks" to distance himself from aspects of modern life which he found degrading and repulsive, Pound's personae were poets and could be considered in good part alter-egos who are to be dissociated from "characters" like Malatesta, John Adams, Confucius, or Thomas Jefferson that we find in Pound's later poetry, ''The Cantos''. For Pound, the personae were a way of working through a specific poetic problem. In this sense, the persona is a transparent mask, wearing the traits of two poets and responding to two situations, old and new, which are similar and overlapping.
In ''Homage to Sextus Propertius'', for example, Pound "translated" parts of Propertius's elegies and by means of various modernizations of diction, drew attention to parallelisms existing between Propertius's situation and Pound's own, especially the pressures of living in an empire at war and Pound's desire to cease writing shorter lyrical poems and start on longer epic structures. Pound at that time (1917) had written his first three ''Cantos'' but was doubtful of their value. In writing the ''Homage'' he worked through his anxieties of whether the epic was compatible with modernity or worth writing at all, given the political and social statement of the genre. Pound at that time had no political education, which he would start to acquire only after the end of WWI with C.H. Douglas and A.R. Orage in the offices of ''The New Age''.
Assuming personae was a Greek and Roman tradition abandoned during the Medieval period. Instead of wearing masks the actors assumed their characters' personality. As part of a teaching strategy, teachers in the US state of Iowa have adopted this method to teach their students Shakespeare. The students were asked to become the character to reduce their alienation from the text and to assist them to reflect on the character's beliefs, values and motivations. This experiment achieved a few goals: 1) The students are able to connect to the concepts and context. 2) They are able to construct meaning. 3) Allows students to choose whether to like or dislike Shakespearean text.〔Burnett, Rebecca E. and Elizabeth Foster. '' 'The ROLE'S the Thing': The Power of Persona in Shakespeare". The English Journal, Vol. 82, No. 6 , pp. 69-73. National Council of Teachers of English (Oct., 1993)〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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