著者

志保田 務/山田 忠彦 山田 忠彦 桃山学院大学経営学部/京都大学法学部図書室

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学総合研究所紀要 = ST.ANDREW'S UNIVERSITY BULLETIN OF THE RESEARCH INSTITUTE (ISSN:1346048X)

巻号頁・発行日

vol.28, no.2, pp.123-147, 2002-12-20

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Ryunosuke Akutagawa (1892-1927), one of the major novelists in modern Japan, is also famous as an adapter who learned from other writers in the inside and the outside. His works are considered bookish. Therefore, we assumed that he read many writers' works in his day, and we tried to prove the causality and we attempted to show how these works affected his own writing. In this work we would show some materials of the above facts consisting on the records of "A bibliography of writers who were read by Ryunosuke Akutagawa, based on "Akutagawa Ryunosuke Zenshu", published by Iwanami Shoten, Tokyo, 1977-1978, 12 volumes". Each entry in this index has three items: the writer's name, the title of the work, and the date when Ryunosuke Akutagawa would have read the work. Entries are ordered according to the writer's name in the Westerner syllabary this index.

著者

野尻 亘 Wataru Nojiri 桃山学院大学経済学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学人間科学 = HUMAN SCIENCES REVIEW, St. Andrew's University (ISSN:09170227)

巻号頁・発行日

no.37, pp.63-99, 2009-10-20

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Alfred Russel Wallace observed the distribution and boundaries of animals inhabiting the Malay Archipelago. The distribution of marsupials in the Australian region is a prominent feature of the area. In Borneo, however, the mammals do not include marsupials. The many parrots of the Australian region are rare in the Oriental region. The birds of the Oriental region do not migrate to Lombok Island, and these are not seen on Celebes or islands further to the east. The Lombok Strait were regarded as the dividing line between these two zoogeographic regions. The boundary between the zoogeographical regions, crossing the Lombok Strait indicated by Wallace was later to be called "Wallace's line" by Thomas Henry Huxley. Later, Mayr conducted further studies on Wallace's line, asserting that differences in the faunas of Bali and Lombok were not due to crustal movements in the Tertiary period, as Wallace had asserted, but rather to sea levels changes in the Pleistocene glacial epoch. During that time, sea levels were 70-100m lower, but because the Lombok Strait is a deepwater strait, the land on either side was not connected. In addition to this, Simpson points out that the eastern end of the Sunda shelf, which is the Asian continental shelf, is Wallace's line, while the West end of the Sahul shelf, which is the Australian continental shelf, is Lydekker's line. The area between these is known as the "Wallacea" transitional zone. Currently, "Wallacea" is believed to have been formed when the Australian continental crust broke off from the Antarctic at the end of the Cretaceous and collided with the southeastern border of the Eurasian continental crust during the mid Miocene. After the collision of these continental plates, there were violent movements in the crust and fault activity. Subsequently, the animals of the both continents migrated to islands, repeating cycles of either evolution or extinction, eventually creating today's diverse distribution of organisms. In other words, modern interpretation of Wallace's line differs greatly from past interpretation. Wallace and other traditional biogeographers believed that Wallace's line is the boundary created by isolation by geographical barriers. At the present time, Wallace's line is explained by collisions along the borders of the earth's plates. In other words, Wallace's line was the "frontier" where different types of species living on different plates were exposed to each other and interacted when the plates collided.

著者

小林 信彦 Nobuhiko KOBAYASHI 桃山学院大学文学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学総合研究所紀要 = ST.ANDREW'S UNIVERSITY BULLETIN OF THE RESEARCH INSTITUTE (ISSN:1346048X)

巻号頁・発行日

vol.26, no.3, pp.107-140, 2001-03-15

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Japanese kamis who hate sins get angry and bring about disasters when men do wrong. Without sins they are happy and do not cause disasters. Taking advantage of this behaviour, the Japanese framed the idea of kekwa They tried to soothe angry kamis by chanting sutras as magic formulae in order to stop disasters such as droughts and plagues. This is a new type of harahe and therefore repenting is not involved in spite of its name "kekwa" (to repent).

著者

軽部 恵子 Keiko Karube 桃山学院大学法学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学人間科学 = HUMAN SCIENCES REVIEW, St. Andrew's University (ISSN:09170227)

巻号頁・発行日

no.40, pp.211-267, 2011-03-30

著者

天本 哲史 Satoshi Amamoto 桃山学院大学法学部

出版者

桃山学院大学総合研究所

雑誌

桃山法学 (ISSN:13481312)

巻号頁・発行日

no.16, pp.29-52, 2010-11

著者

小林 信彦 Nobuhiko Kobayashi 桃山学院大学文学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学人間科学 = HUMAN SCIENCES REVIEW, St. Andrew's University (ISSN:09170227)

巻号頁・発行日

no.30, pp.99-128, 2006-01-15

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In a European folk tale called Saint Peter's Mother, an old woman, who was wicked in her life and fell to Hell, is pulled out of Hell with the aid of an onion. Other sinners in Hell take hold of her, so that they may be pulled out along with her. Noticing this, she kicks them. At that moment, the onion breaks, and all fall back into Hell. It is found that she is still mean, just as she was in her former life, and unworthy of being rescued from Hell. Many variants of this story are found all over the Christian world. And Henry F. Fullenwider proposes to add one more to the list of variants(Fullenwider, "The Onion and the Spiderweb: Paul Carus' Karma and Other Literary Variants of Grimms' Sankt Peters Mutter [Bolte/Polvka, num. 221]," Fabula 28, 1987, pp. 320-326). The story which he takes up as a new variant of Saint Peter's Mother is unique in that it is a Buddhist story composed by a European. It is The Spider Web of Paul Carus(1852-1919), who was born and educated in Germany, and immigrated to America to be an advocator of "religion of science" as editor of The Open Court. As Kayoko Nagao(長尾佳代子)points out in her paper(長尾,「芥川龍之介『蜘蛛の糸』原作の主題 -ポ-ル・ケ-ラスが『カルマ』で言おうとしたこと-」,『仏教文学』27, 京都, 2003, pp. 161-172), The Spider-web is based on an episode that is repeated in such collections of Buddhist narratives as the Avadnaataka and the Divyvadna. This ancient Buddhist episode consists of four parts: When Buddha appears on earth, he smiles and sheds light,* which reaches all places including Hell (1). Bathed in Buddha's light, sinners in Hell are cheered (2). Thereupon Buddha sends his proxy to Hell (3). And those sinners there seize the opportunity for deliverance in the distant future (4). Lon Feer's translation of the Avadnaataka had appeared two years before Carus published his Spider Web(Avadnaataka, cent lgendes buddhiques, traduites du sanskrit par M. Lon Feer, Annales du Muse Guimet 18, Paris, 1891). Carus had diligently studied Buddhism, read almost all translations of Buddhist scriptures then available in Europe, and written many books on Buddhism. So he was following the Buddhist tradition when he wrote The Spider Web, which runs as follows: A sinner called Kandata has been suffering tortures in Hell. When Buddha appears on earth, the light shed by him reaches Hell and sinners there soften. Buddha sends a spider as his proxy to Kandata, who takes hold of the web and begins to climb up. Soon he feels the thread trembling, for many sinners are climbing after him. Kandata becomes frightened and shouts, "Let go the cobweb. It is mine." At that moment, the spiderweb breaks, and all fall back into Hell. The meaning of this story is that it is essential to follow Buddha's teaching, according to which there exists no such thing as tman(self). Kandata falls back into Hell, because he has not thrown away the illusion of tman, saying that the cobweb is his alone. A memory of Saint Peter's Mother might have come to Carus, when he wrote the scene of falling again into Hell, but this is not the core of the story. The Spider Web is a failure story composed on the basis of the tradi-tional Buddhist episode. Being ignorant of this, Fullenwider misses the meaning of Carus' story, and he puts a special emphasis on the scene of falling back into Hell. The Spider Web of Paul Carus cannot be a variant of Saint Peter's Mother. *Here light is a symbol of Buddha's teaching.

著者

松田 聰子 Satoko Matsuda 桃山学院大学法学部

雑誌

桃山法学 = St. Andrew's University Law Review (ISSN:13481312)

巻号頁・発行日

no.7, pp.1-29, 2006-03-30

著者

野原 康弘 Yasuhiro Nohara 桃山学院大学経営学部

出版者

桃山学院大学総合研究所

雑誌

英米評論 = ENGLISH REVIEW (ISSN:09170200)

巻号頁・発行日

no.17, pp.49-78, 2002-12-20

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Traditionally people usually recognize adverbs by the commonest suffix -ly : absolutely, abruptly, absently, accurately, etc. There are many adverbs, however, which are not recognizable in this way : indeed, now, often, soon, etc. And there are also a lot of adjectives which have the same suffix -ly (which is called 'adjectival -ly'): brotherly, friendly, ugly, weekly, etc. And some adverbs have two forms, each of which has a different meaning : dear

著者

松村 昌廣 Masahiro Matsumura 桃山学院大学法学部

出版者

桃山学院大学総合研究所

雑誌

桃山法学 = St. Andrew's University Law Review (ISSN:13481312)

巻号頁・発行日

no.17, pp.87-102, 2011-03-15

著者

栄 セツコ Setsuko Sakae 桃山学院大学社会学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.39, no.2, pp.127-148, 2006-02

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The present study examined the association between professional behaviors in assessment process and professional activities for discovery of strengths of mentally ill individuals in the psychiatric social workers' practice. As a result, I found that `facilitation of client's self-determination' and `data collection concerning crisis intervention' in assessment practice were strongly associated with `improving client's strengths in an individual level,' `developing a sense of citizen rights in a community level,' `creating network in a community level,' and `developing appropriate environments among a client' in discovery activities. In addition, `observation of group work dynamics' `performing for creating trust with a clients' in assessment practice were associated with `forming mutual support among clients in a group level' in discovery activities.

著者

沖田 克夫 Katsuo Okita 桃山学院大学経営学研究科

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学環太平洋圏経営研究 (ISSN:13455214)

巻号頁・発行日

no.12, pp.23-62, 2011-03

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It is well known that the Kumon Method of education, which has attracted keen attention worldwide, has experienced two breakthroughs and has undergone continuous innovation. The first breakthrough produced the Kumon Method as a result of Toru Kumon's home training of his son, while the second breakthrough led to global expansion of the Kumon Method. The materials presented in this paper cover all of the discourses of the founder, Toku Kumon, for the period between 1954 and 1995. In addition to these materials, I have used the results of objective research conducted in four different fields (total quality control, history of modern education, cognitive psychology, business administration). Strategic innovation in the Kumon Method was ignited by the rediscovery of reading and was driven by the engine of a "just right" point.

著者

井上 敏 Satoshi Inoue 桃山学院大学経営学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学総合研究所紀要 = ST.ANDREW'S UNIVERSITY BULLETIN OF THE RESEARCH INSTITUTE (ISSN:1346048X)

巻号頁・発行日

vol.34, no.3, pp.85-95, 2009-03-18

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Present Japan is confronted with a grave economic crisis. Museums are being forced to streamline their management under pressure from the economic situation affecting Japanese society overall. But the legal system for museums in Japan is not prepared for optimal management of museums. What is needed is an open discussion on implementing a new system under the concept of "intellectual freedom" in museums. This paper will examine this concept by looking at two key themes. One of these is Dr. Juzo Arai's theory of museum studies. The other is the legal case of the Museum of Modern Art, Toyama. In his theses, Dr. Arai emphasized the importance of selfgoverned organization by gakugeiin ( Japanese Curator) of local museums. This suggestion was indeed used as factual evidence in the legal case of the Museum of Modern Art, Toyama (1986). In Japan's present museum system, little attention is given to the opinions of gakugeiin, creating the need to organize independently from local governments. The concept of "intellectual freedom" in museums must be discussed as a first step toward revising the Museum Act in Japan.

著者

軽部 恵子 Keiko Karube 桃山学院大学法学部

雑誌

桃山法学 = St. Andrew's University Law Review (ISSN:13481312)

巻号頁・発行日

no.9, pp.67-107, 2007-03-20

著者

沖浦 和光 Kazuteru Okiura 桃山学院大学文学部

雑誌

桃山学院大学キリスト教論集 = St. Andrew's University Journal of Christian Studies (ISSN:0286973X)

巻号頁・発行日

no.33, pp.123-147, 1997-03-15

著者

中井 紀明 Noriaki Nakai 桃山学院大学文学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学キリスト教論集 = St. Andrew's University Journal of Christian Studies (ISSN:0286973X)

巻号頁・発行日

no.41, pp.1-32, 2005-01-20

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Emily Dickinson left almost 1800 poems, many of them in bundles later called fascicles; they have been usually regarded as mss of poems chronologically bound just for preservation. Recently in the United States, however, some scholars find unity in fascicles without clarifying why only their particular fascicles have unity under the editor Dickinson. My hypotheses are: Franklin's "fascicles" are in fact distinct collections of Emily Dickinson's poetry, and his "sets" are groups of poems waiting for later inclusion in further fascicles. My project is to offer the poet a persistent reader taking her fascicles as collections of poems edited by the poet herself and as more than just chronological. My method of reading-thinking-fermenting-writing of/ about the fascicles was formed by Stanley Fish's Reader Response Criticism and has been the main engine in my analyses of Fascicles 1~4 and will take me as far as Fascicle 40. My experiment is to deliberately become me the first reader of her first "published" collection of her poems edited by the poet herself and to intentionally have the recent scholarship on Dickinson's poetry and fascicles stop intruding into my reading. The first reader is supposed to know nothing in terms of interpretations and commentary accumulated later. The only and main source of information on this "publication" is the collection itself, and the tradition of close reading from New Criticism to Reader Response Criticism will help me here. In Fascicle 1 Dickinson the editor juxtaposes nature and man in terms of time: nature rotates and overcomes time; man proceeds in a forward direction, dies and never returns. Fascicle 2 is not just a bundle of poems but an elaborately edited collection of poems, logically following Fascicle 1. In Fascicle 2, against the softening background of nature, are presented big themes like time, the human destiny of death, faith in Christ, and lastly the poet's scrupulous feelings about having faith which seem to be rooted in her own life. Although Fascicle 2 is breathlessly and daringly taking up big themes for only the second fascicle in a work of forty, it quite impressively binds these themes and reveals Emily Dickinson as a skillful editor. In Fascicle 3 Dickinson the editor intentionally repeats many words to bind this fascicle. Flowers are so abundant in this fascicle as to give solace to the reader facing the inevitability of dying. Days "die" into lingering yesterdays and a year "went up this evening", but for the first time in the first three fascicles substantial human deaths are treated. I discuss the eleventh, seventeenth, eighteenth, and the climactic twentythird poem, where, I suggest, the poet and the editor in her are engaged in not so much overcoming as outwitting the human destiny of death. This is the fourth article in my project of reading each of the forty fascicles as a distinct collection of poems chosen and edited by Dickinson. Literary texts are texts whose rhetorical intentions, deliberately and meticulously interwoven into the text by the author, are traceable through reader responses. Since we cannot expect Dickinson herself to deliver an oracle as to her real intentions in the fascicles, I have sought to experience the text of Fascicle 4 as a reader sensitive to the reading process. My conclusion is that, like the first three fascicles, it is a thematically united collection. Through the sixteen poems of Fascicle 4, Dickinson vividly depicts the stream of conflicting thoughts in the narrator's mind against the background of the Gospel According to St. John (King James Version). In the former part of the fascicle (poems #1 through #7), the narrator is at the same time pleased at the rebirth of the land in springtime (poems #1 and #3) and made gloomy by the contrast with the stark reality of human existence (poems #2 through #7). In poem #8, the turning point in the reasoning process of the fascicle, the narrator recapitulates her joy at the rebirth of Nature but reveals at the end of the poem that the fascicle's real concern is not with Nature but with human rebirth (3:5). In the latter part of the fascicle (poems #9 through #16), where death and human resurrection are discussed against the contrasting background of a cheerful description of Nature's rebirth in springtime (poems #10, #11, and #14), we discover the narrator's growing doubt as to the possibility of human resurrection because of the difficulty of maintaining the unconditional "faith" demanded by Jesus. According to Jesus, human resurrection is possible only for those with faith in him as the Son of God: "he that believeth on me shall never thirst"(6:35) and "he that believeth on me hath everlasting life."(6:47) The narrator, fearing that compared with the annual rebirth of Nature in springtime human resurrection is difficult, finds herself unable to respond to the message of St. John's Gospel, which gradually comes to weigh more and more heavily on her mind. For such a scrupulous narrator, to believe in Jesus as the Son of God without seeing for herself the miracles St. John claims for Him is problematic. Should we believe in things we have not seen? "Blessed are they that have not seen, and yet have believed"(20:29). If so, then the narrator, who has not seen and therefore cannot believe, is unblessed. She cannot face Jesus because she does not qualify to stand among those disciples chosen for their unshakeable belief in Him. She feels unqualified to be added to those selected for their trustworthiness as the Twelve Disciples, and finally turns herself into a humble daisy devoid of heart and mind and free from all demands (poem #12). At this point (poems #9, #13, #15, and #16) the narrator uncovers some graves. She learns that many of the dead, either because they are animals without minds or because they are without belief, are left abandoned in their graves even when springtime comes, while an exceptional woman, presumably being possessed of a firm faith, has been raised to Heaven immediately following her death in springtime. It is as if she has been resurrected not on this earth but in Heaven itself. Are we being pressured to accept the reality that God discriminates among the dead and favors those with faith in Jesus? The narrator's skepticism toward the possibility of human resurrection, which takes belief in Jesus as its key, and her nihilistic fear of being incapable of faith gradually pervade the fascicle. Are we doomed to wander in helpless anguish through this haphazard world, buffeted by Fate, waiting only to die? In this fascicle Dickinson is engaged in what I call"polemical reasoning". Each poem is an independent narrative but at the same time is contributing through "polemical reasoning" to the formation of the fascicle's overall narrative of the difficulty of human resurrection. Dickinson is referring the reader to the words of Jesus in St. John's Gospel that "I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live; and whosoever liveth and believeth in me shall never die". (11:25) Though enchanted and moved by this Gospel prophesy, the poet finds herself unable to respond to it. In the return of flowers in the springtime she sees human resurrection, yet she cannot hold on to the belief in Jesus as the Son of God. As we read the poems in this fascicle, we follow the theme of rebirth in Nature, which is simultaneously contrasted to the narrator's fear of the difficulty of human resurrection due to her increasingly shaky belief in Jesus. We will now trace how the narrative of each of the sixteen individual poems contributes to the fascicle's overall narrative of "polemical reasoning". The first line of each poem is shown in parentheses following the poem number. In Poem #1 ("Perhaps you'd like to buy a flower,") the narrator rejoices, confident of Nature's seasonal rebirth. In Poem #2 ("Water, is taught by thirst.") the narrator lets us know that there are both bright and dark sides to everything on this earth, and that we should admit that we recognize and appreciate things most deeply when we suffer from their lack. At the beginning of the poem we have the "water of life" whose lack leads to thirstiness; we must wait until the Nicodemus Mystery in poem #8 for "water" that does not lead to thirstiness (4:14) and that gives rebirth (3:5). It is said that love is most dearly felt when the loved one dies, but the stark reality is that dying means not returning to dwell on the earth. In Poem #3 ("Have you got a Brook in your little heart,") the flowers of poem #1 and the water of poem #2 are linked, and a new item, "life is " added. In the first and second stanzas we see how water gives life to flowers and to birds, but the same river, we learn in the third and the fourth stanzas, can also at times flood or dry up. That the narrator seeks to draw our attention to this harsh reality at the end of the poem is perhaps the result of her jealousy toward Nature's guaranteed annual rebirth, but probably also because she cannot bring herself to celebrate unreservedly the renewal of Nature thanks to her pessimistic view of the possibility of human resurrection. Poem #4 ("Flowers - Well - if anybody") provides readers with a puzzling problem of definition. Flowers, as the embodiment of Nature, give us "transport" with their return at their successive springtime, but at the same time "trouble" through the fact that the dead among us can never return. The "extasy" caused in us by this combination of "transport" and "trouble" humbles us. There is one more point that must be mentioned here in connection with the fascicle's overall narrative of "polemical reasoning." The narrator wants to find, even at the expense of a reward, someone who could truly claim to be represented by the following words of Jesus: "…but the water that I shall give him shall be in him a well of water springing up into everlasting life (my emphasis)."(4:14). Like Thomas the Apostle, she is not one of those "that have not seen, and yet have believed"(20:29) Unable to see what Jesus did with her own eyes, she cannot believe in Him. In Poem #5 ("Pigmy seraphs - gone astray -") the narrator, looking at the roses she has raised, cannot resist dwelling upon the limited opulence of human affairs: human splendors are nothing compared with the natural world around us. In Poem #6 ("Heart not so heavy as mine") the narrator, gloomy thanks probably to the stress on the harsh reality of human existence in poems #2 through #5, receives solace from a song she overhears. Poem #7 ("Soul, Wilt thou toss again?") describes another feature of harsh human reality which is dominated by haphazardness and lack of planning. In Poem #8 ("An altered look about the hills - ") the narrator recapitulates her concern with the seasonal rebirth of Nature, while in the last two lines her real concern with human resurrection is made clear. At the end of the poem the reader finally learns why flowers and the water that gives them life appear so repeatedly in poems #1 through #4. We also learn about "Nicodemus' Mystery" which, though concerned specifically with human resurrection, is here being applied to natural rebirth too. The reference comes from the passage in the Gospel According to St. John: "Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God"(3:5). We understand for the first time here that the theme of human resurrection is the main theme of this fascicle over and above that of natural rebirth. In the following poems the possibility of human resurrection is implicitly doubted because of its dependence on unwavering faith in Jesus. In Poem #9 ("Some, too fragile for winter winds") the narrator, after having rejoiced in the springtime rebirth of Nature, is trying to see into some graves to find out whether those buried there are also revived. The graves have protected those within - children, sparrows and lambs - from the winter. The words "unnoticed by the Father" deserve notice. What is happening here to those in the grave who, like the children, are too immature to profess "faith," or to those who, like the sparrows and lambs, have no mind that would enable them to have faith? Are they unnoticed by the Father simply because they don't have faith? Does being unnoticed by the Father mean that they must remain in the grave without the possibility of resurrection? In Poem #10 ("Whose are the little beds, - I asked") the narrator is watching the flowers revived in springtime and now enjoying sleep different in kind from that in the graves. . Poem #11 ("For every Bird a nest - ") presents, as in poem #10, flowers and birds making homes for themselves and enjoying their lives in springtime. Poem #12 ("'They have not chosen me,' he said,") is a crucial poem in the greater narrative of the fascicle, centering on the story of the Twelve Disciples. Jesus chooses the twelve for their "trustworthiness" or "promising nature"(15:16). Elsewhere Jesus tells them "I chose you" in the knowledge that one of them, Judas, would betray Him (6:70). Reading Jesus' thoughts at the moment of betrayal, the narrator is hesitant to be added to the twelve disciples chosen for their "promising" nature. Knowing that her faith is too unstable to live up to Jesus' expectations, she feels happier to be regarded by Jesus as no more than a roadside daisy, lacking in consciousness and consequently free from the demands of faith. Poem #13 ("She bore it till the simple veins") tells of a woman who died at the end of spring. This woman did not stay in the grave but went immediately to Heaven, presumably because her firm belief in Jesus had been recognized. She was resurrected, but not on the earth as flowers are. Are people with faith resurrected only in Heaven? Is going to Heaven the only way to be born again? Is God discriminating between the woman raised to Heaven in this poem and those remaining in their graves in poems #9, #15, and #16? Does lack of faith mean that we must remain in our grave deserted by God? Poem #14 ("We should not mind so small a flower") talks about the significance of a flower, symbol of the rebirth of the garden she lost, and the relative difficulty of human resurrection. "Faith", a keyword crucial to the "polemical reasoning" in this latter part of the fascicle, is repeated in this poem and the next. In Poem #15 ("This heart that broke so long ?") the narrator, uncertain of her faith, sympathizes with the dead left deserted in their graves. At the end of the first stanza she explains why this keyword "faith" has become so crucial: she had sought after Jesus as her Savior, but her search had been "in vain." In Poem #16 ("On such a night, or such a night,") the narrator's sympathy is with the small children laid so early in their tiny graves. Must they remain there forever because of their lack of faith?

著者

赤瀬 雅子 Masako AKASE 桃山学院大学文学部

雑誌

国際文化論集 = INTERCULTURAL STUDIES (ISSN:09170219)

巻号頁・発行日

no.14, pp.163-171, 1996-09-30

著者

道上 真有 Mayu Michigami 桃山学院大学経済学部兼任

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学経済経営論集 = ST. ANDREW'S UNIVERSITY ECONOMIC AND BUSINESS REVIEW (ISSN:02869721)

巻号頁・発行日

vol.49, no.2, pp.53-97, 2007-09-28

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The purpose of this paper is to analyze the Russian market economy, focused on the Russian housing market. The evolution of the housing privatization in Russia is described. The results of author's analysis are the following.1.The housing privatization is developed and its share is about 80%.2.The private dynamism has improved the housing quality, particularly since 2000.3.The housing affordability has improved since 1999.4.Russian economic development let the task of housing policy change from the housing supply to the improvement of housing quality.5.The reform of the utility system has started by increasing in utility rate since 2001.6.The Russian municipal authorities should consider the renewal of the real estate value. It will promote the mobility of housing market.7.The correlation between the share of Russian housing investment and the Russian economic development draws the inverse U curve. It shows that Russia has already been the developed economy.8.The appreciation of housing price in Russia's big cities is emerging. The disparity in housing price widens among regions in Russia.

著者

谷山 智彦 Tomohiko Taniyama 桃山学院大学文学研究科

出版者

桃山学院大学総合研究所

雑誌

英米評論 = English Review (ISSN:09170200)

巻号頁・発行日

no.24, pp.261-307, 2010-03-19

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Tess of the d'Urbervilles is undoubtedly the most famous novel of Thomas Hardy's numerous works. The novel's shocking representations of woman's sexuality made it controversial in Victorian society, which, in turn, made the author more well-known. Through its fierce representations of sexuality, however, the novel revealed problems in Victorian culture surrounding morality, sexuality and marriage. In Victorian culture, women were confined by strict codes of etiquette regarding proper manners, clothing and behavior. Those concerned with sexuality, especially, were most serious. Women were thought of as faithful and asexual beings like pure angels. In the novel, Hardy challenged this view of woman by attempting to depict the truth. In the strictness of Victorian society, however, strict censorship in publishing world made it quite difficult to honestly represent women's sexuality. Hardy, therefore, chose to use metaphorical representations to depict it indirectly. Tess of the d'Urbervilles is filled with metaphorical representations. Representations of light and darkness, particularly, which surround the body of the main character, hold the most important function in the novel. Employing chiaroscuro Hardy visually emphasizes the bodily presence of characters. Meanwhile, he also uses the technique to depicts their emotions about corporeal problems. Through such characteristic expressions, the complex consciousness on the body and sexuality is revealed to readers. The novel's narrative lies in revealing the life of Tess, the history of her love affairs, and growing awareness of her sexuality. She was a woman loved by two very different men, Alec D'Urberville and Angel Clare. Her relationships with the two men awaken her to both the sexuality within her body, something she had never known before, and awareness of the guilt surrounding that awakening. The light and darkness is often used to express her suffering and conflict connected with sexuality. Alec is portrayed as Tess's seducer. He holds strong sexual desire for her physically, and through his strong lust, tries to dominate her. As ways of showing his desire, Alec stimulates her physically using means such as continually touching her body as well as teaching her to whistle. With such curious practices and experiences, her sexual sense of pleasure is awakened, visually emphasized with shining light. Tess is perplexed regarding such unknown bodily enjoyment. Feeling such pleasure, she suffers, bound by a moral consciousness of having violated the something inviolable. Conflicted, she also anxiously desires to be dominated by such pleasure Alec offers. Inevitably this anxiety brings her consciousness to a crisis. To defend her soul from the crisis Alec has brought, she sinks her soul into an abyss of darkness, secluding her consciousness from her body. In this way, she attempts to resist Alec's lust. Whenever he expresses his desire for her, by forcing her awareness away from her from body, she strives to protect the peace within herself. Such movement of consciousness is represented quite visually, especially in the scene where Alec forces himself upon her. Dramatic scenes such as this, which surround her, are darkened, when her soul is separated from her body. The darkness acts to express the absence of her soul in her body, and her will to resist against Alec's domination. Through her experience of life with Alec, she comes to know the forbidden pleasure of her sexual self and an awareness of guilt surrounding such feelings. She suffers through this conflict on sexuality. After the parting from Alec, she meets Angel Clare, a man of very different qualities compared to Alec. Angel is intellectual and philosophical, and Tess gradually becomes more fascinated with him. Her soul feels sympathy for his soul. But Angel also attempts to dominate her, not by bodily lust but by his ideas of womanhood. Though he is welleducated man, his mind is confined by a quite conservative view of women. In this the Victorian view, he idealizes Tess as a pure angelic woman. His desire for her reflects to the scenery of the place where they rendezvous. She is surrounded by misty twilight, the somber space making her appear like a goddess. For Tess, who now has experienced the corporeal pleasure and its sins, this was quite unacceptable. She, therefore, refuses to be the divine female. Her refusal is also represented visually. When she denies Angel's idealized image of herself, her bodily presence is emphasized by light representing her refusal. But she cannot help being attracted to Angel. Aware of her guilt, she feels lust for him. The sexual urge, which Alec awakened in her, pushes her on. She secretly longs for bodily contacts with Angel. Like Tess, Angel is also gradually fascinated by her corporeal beauty. Through such bodily desires they become attracted to each other. As with Alec, the lust between Tess and Angel is also represented by shining light. Light emphasizes the presence of their bodies and their beauty, implying the secret pleasure between them. For both Tess, however, who experienced both love and violation with Alec, and Angel, with his conservative view of women, the pleasure they share inevitably makes them conscious of guilty and suffering. After Tess confesses her secret past, the conflict and suffering over sexuality become decisive. For Angel, Tess's body, which experienced such raw sexuality with Alec, becomes an object of fear. Her sexuality, overwhelming his mind, is expressed by visually by light. Ironically, Tess's experience with Alec becomes the cause of Angel's mental anguish. After this incident, Tess is filled with a growing desire to take responsibility by destroying her sexual self to make Angel suffer. She unconsciously longs for death, but cannot kill herself because she also knows how much she enjoys sexual pleasure. The pleasure prevent her from leaving the body easily, filling her with ambivalent emotions about her sexual body. As a way of resolving this crisis within, Tess idealizes the darkness as a place of rest. The darkness diminishes her bodily senses to a minimum, bringing her an experience of pseudodeath, a temporal rest of mind. The darkness becomes a symbolic expression of her rest and liberation from the body. The last scene expresses this well, where Stonehenge is shrouded in darkness as Angel and Tess meet for their last rendezvous. The darkness symbolizes her rest and liberation, but is quite transient. As time passes, light inevitably intrudes into the darkened space, making her body visible and aware of its presence. Even in the last scene, the light flows into the darkness. Her rest is inevitably broken, indicating the cruel fact that as long as she lives, she cannot escape from the presence of her sexual body. Throughout the history of her love affairs with the two men, the use of chiaroscuro indicates Tess's conflict of mind and emotion over her sexuality. Her sexual sense or desire is metaphorically represented with light. The light strengthens the presence of her sexual body and reveals her hidden sexual desire for men. But feeling such pleasure, Tess suffers a guilty conscience. She feels ambivalent emotions concerning her body. To liberate herself from such suffering, she seeks to destroy her body believing it to be the cause of her distress. As a way to destroy her physical self, she longs for darkness. The darkness temporarily makes her body invisible and diminishes her bodily senses, allowing her to briefly experience bodily liberation and oblivion. Consequently, this becomes a metaphor for her mental rest. Through his expression of visible light and darkness, Hardy expresses visually for reader the suffering that women endured under the strict moral code of the Victorian era. His novel also spotlights the absurdity and double standard of Victorian oppression of sexuality on women.

著者

佐々木 英哲 Eitetsu SASAKI 桃山学院大学文学部

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学人間科学 = HUMAN SCIENCES REVIEW, St. Andrew's University (ISSN:09170227)

巻号頁・発行日

no.22, pp.1-16, 2001-12-10

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Sacvan Bercovitch has clarified in The Rites of Assent that, in stark contrast to European individualism, which is likely to confront society, paradoxically, American individualism has had a share in consensus building and contributed to the Americanization of society. This process is called the American Way. Hester's struggle to multiply the meaning of the letter A in The Scarlet Letter (1850) -from the initial Adultery to Angel and Admirable-does not interfere with the American Way. On the supposition that the nineteenth-century domesticity and gender ideology has stealthily slipped into the seventeenth-century setting of the story, I investigate how Chillingworth the cuckold and Dimmesdale the paramour contribute together to the American Way. Chillingworth is denied the privileges, first, of creating an affectionate, patriarchic family, as evaluated in nineteenth-century America, second, of occupying a patriarchic position, and third, of establishing a male patriarchal gender identity (which he becomes obsessed with retrieving). He becomes all the more sensitive to his own impotency and Abject physique when he sees Pearl, the child of Hester and Dimmesdale. As a "living hieroglyphic," not the Alphabet of the letter A that could be decoded, Pearl is a mere infant-an infant whose etymology is 'incapable of speech'; not the suitable object to be appropriated by the learned man in a prerogative position like Chillingworth, the manipulator of the Language/Logos in the so-called Symbolic of Lacanian psychoanalysis. The author lets the revengeful Chillingworth misuse the nineteenth-century domestic ideology that warned of the threat of that nameless horror represented by the bachelor, i. e., homosexual sex. Chillingworth gains support from this ideology, pretends to be a pious Christian, and takes advantage of the historical fact that the New England colonists were prone to compare men of political power to biblical figures. (For example, Winthrop the first Governor was compared to Moses and Nehemiah, and Cotton the minister was compared to Abraham, Joshuah, and John.) By actually living with minister Dimmesdale on the pretext of treating his psychosomatic condition, Chillingworth creates the sacrosanct family, insinuates domestic ideology, behaves within Dimmesdale's psyche as a sacred father, or punishing super-ego, and thus preys on Dimmesdale with the Oedipal sense of guilt. Psychologically, the old physician confronts the minister as if he were blaming the latter for committing a deed likely to rouse the homophobic, i. e., forming an immature umbilical relation with Hester, mother-goddess-like self-willed woman. To prevent the patriarchy he stands on from backsliding into the pre-Oedipal Eros, and to prevent the basis of patriarchy, i. e., the compulsory heterosexuality, from breaking down, Chillingworth acts as the Law enforcing/castrating father. However, the tactics Chillingworth employs are not flawless in terms of the gender stability he has to maintain. In his observing eyes, Dimmesdale appears to reside in an enviable patriarchic family-the family composed of the minister, Hester, and Pearl, the family exclusive of outsiders. According to Freud's theory of narcissism, Dimmesdale is, first, the model the physician wants to imitate, second, his opponent/persecutor, and third, his homosexual lover. This means that the male gender-apparently based on Emersonian self-reliant man-becomes destabilized, and that the more closely Chillingworth approaches his former state of patriarch, the more difficult it becomes for him to reach his ultimate goal of regaining his masculinity, the gender identity supposedly established on the compulsory heterosexual norm. The author detected the common anxiety shared by the intelligent men of the seventeenth century like Chillingworth and the men of power of the nineteenth century like Hawthorne: the former were fearful of the antinomians who, like Hester, claimed thorough individualism and direct communication with God, and the latter were cautious against those who were influenced by the effect of revolutions in European countries around 1848, and those who imbibed radical concepts of freedom, including proto-feminism and the dismantling of the family. The author lets Chillingworth protect the patriarchy and its foundation of the heterosexual norm and sexism-in a paradoxical way-by robbing him of heterosexuality, letting him remain a bachelor, and uniting him homosexually with Dimmesdale. Chillingworth's homosexual stance is not in conflict with the American Way, i. e., with the cause of preserving the androcentric society, because the heterosexual and the homosexual alike are prone to strive to maintain patriarchy. Punishing and loving the minister, and thus paradoxically placing himself in the American Way, i. e., the patriarchal consensus, Chillingworth barely finds his raison d'etre by forging the Oedipal space of the pseudo-patriarchal-family together with the minister.

著者

佐々木 英哲 Eitetsu Sasaki 桃山学院大学国際教養学部

雑誌

英米評論 = ENGLISH REVIEW (ISSN:09170200)

巻号頁・発行日

no.26, pp.47-71, 2012-03-29

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Sacvan Bercovitch has clarified in The Rites of Assent that American individualismhas had a share in consensus building and contributed to theAmericanization of society. This process is called the American Way. IfChillingworth the cuckold and Dimmesdale the paramour contribute together tothe American Way, why did the author hold an emotional and even a somewhatmorbid attachment to Chillingworth?The author lets the revengeful Chillingworth misuse the nineteenthcenturydomestic ideology that warned of the threat of that nameless horror representedby the bachelor, i.e., homosexual sex. Psychologically, the oldphysician confronts the minister as if he were blaming the latter for committinga deed likely to rouse the homophobic, i.e., forming an immature umbilical relationwith Hester, mother-goddess-like self-willed woman. To prevent the patriarchyhe stands on from backsliding into the pre-Oedipal Eros, and to preventthe basis of patriarchy, i.e., the compulsory heterosexuality, from breaking down,Chillingworth acts as the Law enforcing father. By actually living with the ministerDimmesdale on the pretext of treating his psychosomatic condition,Chillingworth creates the sacrosanct family, insinuates domestic ideology, behaveswithin Dimmesdale's psyche as a sacred father, or punishing super-ego,and thus preys on Dimmesdale with the Oedipal sense of guilt.In his observing eyes, however, Dimmesdale appears to reside in an enviablepatriarchic family-the family composed of the minister, Hester, and Pearl,the family exclusive of outsiders. According to Freud's theory of narcissism,Dimmesdale is, first, the model the physician wants to imitate, second, his opponent/ persecutor, and third, his homosexual lover. Chillingworth's homosexualstance is not, however, in conflict with the American Way, i.e., with the cause ofpreserving the androcentric society, because the heterosexual and the homosexualalike are prone to strive to maintain patriarchy.The author detected the common anxiety shared by the intelligent men ofthe seventeenth century like Chillingworth and the men of power of the nineteenthcentury like Hawthorne: the former were fearful of the antinomians who,like Hester, claimed thorough individualism and direct communication with God,and the latter were cautious against those who were influenced by the effect ofrevolutions in European countries around 1848, and those who imbibed radicalconcepts of freedom, including proto-feminism and the dismantling of the family.Therefore, the author lets Chillingworth protect the patriarchy and its foundationof the heterosexual norm and sexism-in a paradoxical way-by robbing him ofheterosexuality, letting him remain a bachelor, and uniting him homosexuallywith Dimmesdale.