著者

徳田 勝一

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.10, pp.81-95, 2010-03

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This paper analyzes three memoirs written by David P. Conyngham, William Corby and St. Clair A. Mulholland who joined the Irish Brigade which served in the Union Army in order to investigate how the Irish immigrants memorized the Civil War. The Irish Brigade was authorized in September 1861 thanks to the assistance of the Irish community in New York, and originally consisted of the 63rd, 69th and 88th New York regiments comprised predominantly of Irish immigrants. Under the command of Thomas F. Meagher, one of the Young Ireland in exile, the Irish Brigade fought many fierce battles, but virtually ceased to operate as a brigade after the battle of Fredericksburg, where the unit suffered fearsome casualties, because of having trouble in enlisting recruits. // Conyngham intended to leave behind him the “correct memories” of the Irish Brigade, which were characterized by Irish soldiers’ supreme loyalty to the Union and the oblivion of the Emancipation Proclamation and the Draft Riots. Corby added the solidarity among all the Christian soldiers to Conyngham’s “correct memories” because he was concerned about the revival of nativism caused by floods of new immigrants in the late 19th century and the decline of Liberals in the Catholic Church and intended to appeal for religious tolerance. Mulholland added the memory of the solidarity between born Americans and immigrants in the battlefields because he intended to reveal the role of immigrants in the American society in order to resist nativism.

著者

冨田 晃正

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.10, pp.96-115, 2010-03

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Since 1980s, with the progress of economic globalization, the preference formation among domestic actors has been increasingly affected by the international economy. Thus, the effect which the progress of economic globalization has on domestic social groups and on preference formation among domestic actors major focus on IPE (International Political Economy). // This paper focuses on one such social group, AFL-CIO (American Federation of Labor and Congress of Industrial Organization) which has a presence in American Trade Policy as the biggest labor union. It has also emerged as an anti-globalization that has a strong impact on the IPE, as seem at the WTO (World Trade Organization) Seattle convention in 1999. To confirm how the globalization has affected AFL-CIO’s preference contents, this paper focuses on milestones in the history of American Trade Policy from the 1960s to the 1990s; Trade Expansion Act of 1962, Trade Act of 1974, Omnibus Trade and Competitiveness Act of 1988, and NAFTA (North American Free Trade Agreement). // The results clearly show that the preference contents of AFL-CIO are more diverse and complex, with the expansion of economic globalization

著者

富澤 達三

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.5, pp.31-40, 2005-03

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1. Kawaraban in the Edo Period In the last days of the Tokugawa Shogunate, many kinds of Kawaraban (used as News sources of the commonalty) were published in the metropolis like Edo and Osaka. In the past, it was said that the oldest Kawaraban prints were published in the days of the Osaka War (1615), but the recent research has brought a new theory that they were made in earlier period. Kawaraban had several distinctive features. * news were their main contents * people paid money to read them * instant prints* publisher was anonymous * no fixed format and low quality prints There were many kinds of news printed in the Kawaraban such as catastrophe (fire, earthquake and eruption), murder cases (Katakiuchi (vengeance) or Shinju (double suicide)), strange incidents (appearance of monster or ghost), and the arrival of the foreign ships called Kurofune. The Edo-bakufu strictly prohibited production and selling of the prints that dealt with such topics. But in the end of Edo-era, enormous amount of public prints were produced for the mass while the censorships by Edo-bakufu became nominal, and Kawaraban were published openly. In particular, big fires broke out frequently in Edo and the Kawaraban often reported their damages. The disaster information of the Kawaraban was relatively credible, and therefore served to calm people's fears and also transmitted the situations of the damages from Edo to provinces. 2. Kawaraban of Black Ships (Kurofune Kawaraban) In 1853 (Kaei-6), Admiral Perry voyaged to Uraga, and urged Japan to start commerce. Edo was thrown into an uproar, and hundreds of Kawaraban which informed this incident were produced. These ""Kurofune Kawaraban"" told the people the circumstance by the stereotypical images and some fultual information. The Kurofune Kawaraban were non-censored illegal prints, and many of them were one-sheet-type. It was rare that such printings containing political information were published in a large quantity and were purchased by the general public. In this paper, I will analyze the image of the Kurofune Kawaraban, and examine their roles in the public world.

著者

小島 尚人

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 (ISSN:13462989)

巻号頁・発行日

vol.10, pp.67-80, 2010-03

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This essay is an attempt to read Martin Eden, Jack Londonʼs autobiographical novel, in terms of the inextricable relationship between the author and the protagonist. Critics have often taken the unbalanced plot and the lack of ironic distance between narrator and character in Martin Eden as the technical weakness of London, but this paper argues that the achievement of this novel owes a great deal to the attachment of London to Martin. The unbalanced structure is a necessary product of the severe struggle of the author to kill his romantic alter ego. // Martin, who aspires to win Ruth Morse, tries to cross class boundaries by making a career of a writer. Even after realizing the emptiness of Ruth, who turns out to be nothing but a typical figure of the bourgeoisie, he somehow persists in loving her. The notion underlying here is that, for Martin, love, career and art are fundamentally inseparable. He objects to the aestheteʼs view of Brissenden on account of his separation of art from career. Martinʼs identity and life consist only in the triunity of love/career/art; the alternative is the repudiation of life. Thus, the unnatural delay of his disappointment in love can be regarded as Londonʼs strategy to set the suicide of Martin as the necessary consequence of the story. // By finishing the story and killing Martin, London finally detaches himself from Martin, reconstructs his self, and, unlike Martin, survives as a professional writer. In this sense, Martin Eden is a story about "writerʼs self-reconstruction."

著者

宮尾 大輔

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 (ISSN:13462989)

巻号頁・発行日

vol.2, pp.129-145, 2002-03

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米国無声映画界の日本人スター早川雪洲は、彼のスターダムを築いたジェシー。L・ラスキー映画会社との契約が切れるのを契機に、1918年3月、自らの映画製作会社、ハワース映画会社を設立した。ラスキー社での主演作品は、主に偏見に満ちた日本像を利用したものだったため、早川は米国内の日系人コミュニティーにおける自身の評判を気にかけていた。そのため、自社ハワースでは、まずそれまでの自身のスター・イメージを離れ、より「現実的で本物らしい」日本人を描く映画を製作することを宣言していた。しかし、一方、米国映画界において会社を経営する以上、早川は米国人観客からの人気を維持することも必要としていた。早川は、米国人を魅了するのと同時に、米国内の日系人に対し現実的な日本人像を提示しなければならなかったのである。つまり、ハワース社において、早川のスター・イメージは、少なくとも3つのグループの思惑や利害関係が交錯するなかで形成されていたと考えることができる。3つのグループとは、ハワース社のスターであり、なおかつ映画製作の責任を持つ早川自身、米国の映画観客、そして日系人社会である。本論文は、早川が提示した「日本」と米国観客が求める「日本」、そして米国在住及び日本の観客が求める「日本」とが、各々いかにハワース社における早川のスター・イメージを決定していく要因となったかを、人種主義およびネイティヴィズムが高まりを見せた第一次世界大戦期の米国社会の歴史的文脈の中で検討する。本論文は、まずロスアンゼルスの日系新聞「羅府新報』が早川についていかに論じたかを検討する。次に、ハワース社で製作された最初の2本の早川主演映画(「異郷の親』および「Banzai」)を精密に分析し、早川のスター・イメージがいかにして3つのグループの文化的な摩擦と交渉の結果形成されていったのか明らかにする。

著者

森本 あんり

出版者

東京大学大学院総合文化研究科附属グローバル地域研究機構アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.14, pp.154-159, 2014-03

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書評フォーラムBook Review Forum

著者

松田 春香

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.5, pp.135-152, 2005-03

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Outpost Countries'in East Asia, such as South Korea and Taiwan, proposed to make 'anticommunist'security pacts in order to get U.S. military support and strengthen their security since the international environment surrounding them had changed. They suggested making a 'Pacific Pact'in 1949, to be followed with 'The Asian People Anti-communist League (APACL)'after the Korean War. But South Korea and Taiwan could not reach a consensus on Japanese participation. That is why APACL, establisehd in 1954, could not get any support from the U.S., so became far from a collective security pact. On the other hand, the U.S. changed its policy and entered into bilateral security pacts with East Asian countries because it felt threatened by China. Furthermore, because it had become impossible for France to win in the First Indochina War in 1954, the U.S. asked other countries, including Japan, South Korea, and Taiwan, to cooperate in Indochina and tried to integrate this military cooperation into the collective security pacts. Eventually, the U.S. failed to develop a security pact among Japan, South Korea, and Taiwan due to worsening Japan-Korea relations. Consequently, the bilateral security pacts have been maintained and not been changed into a collective security pact in Northeast Asia. The proposals to make the collective security pacts by both 'Outpost Countries'in East Asia and U.S. had failed, but when the U.S. promoted close military relations among non-communist countries, the 'outpost countries'cooperated with them. APACL played a part in their cooperation.

著者

Kaufmann Peter

出版者

東京大学大学院総合文化研究科附属グローバル地域研究機構アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.16, pp.7-12, 2016-03

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特集 : 『渚にて』再訪 : 核・ハリウッド・オーストラリアSpecial Topic : Revisiting "On the Beach" : Nuclear Weapons, Hollywood, Australia

著者

中尾 秀博

出版者

東京大学大学院総合文化研究科附属グローバル地域研究機構アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.16, pp.13-22, 2016-03

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特集 : 『渚にて』再訪 : 核・ハリウッド・オーストラリアSpecial Topic : Revisiting "On the Beach" : Nuclear Weapons, Hollywood, Australia

著者

三浦 順子

出版者

東京大学大学院総合文化研究科附属グローバル地域研究機構アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.16, pp.93-110, 2016-03

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論文ArticlesThe phrase "the Mexican Problem" was invented in Texas during turn of the twentieth century, and it spread throughout the American political and social cultures through the 1910s and 1920s. The purpose of this paper is to investigate the creation of "the Mexican Problem" by focusing on the movement of changing social order in Texas during the 1910s. Since the turn of the twentieth century, Texas faced drastic social changes in its social, political, and economic structures. The rise of the political career of James E. Ferguson, governor of Texas, from 1914 to the middle of 1917 was seen as a symbol of those changes. Ferguson stated the importance of the Farming in Texas development and claimed to turn sharecroppers into independent capitalists. Also, he left the topic of prohibition out of political account and placed breweries that were mainly operated by German Americans in Texas urban areas, turning them into an industry that significantly contributed to the state's economic resources. On the other hand, Mexicans were treated as cheap laborers and temporary commuters working in Texas. Their numbers were huge, but they had limited functions as members of society. World War I institutionalized those Mexicans positioned in Texas during their Americanization program, and eventually they were spread throughout the entire country. Mexicans were identified and problematized, which had nothing to do with racial integration with Whites or their assimilation as immigrants; rather, it was a question of socially locating them as illegitimate citizens of American society.

著者

廣部 泉

出版者

東京大学大学院総合文化研究科附属グローバル地域研究機構アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.13, pp.14-21, 2013-03

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特集 : 太平洋関係のなかのアメリカと日本 : 歴史からの問いSpecial Topic : The U.S. and Japan in the Pacific Relations : Considering from Historical Perspectives

著者

鰐淵 秀一

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.15, pp.218-234, 2015-03

著者

鰐淵 秀一

出版者

東京大学大学院総合文化研究科附属グローバル地域研究機構アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.15, pp.218-234, 2015-03

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論文

著者

小長谷 英代

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 (ISSN:13462989)

巻号頁・発行日

vol.2, pp.113-127, 2002-03

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This paper argues that representations of taiko in an ethnic context allow Japanese and Japanese American youths to act out a form of resistance against dominant white American society. Their performance implicitly challenges the oppression of engendered relations that have historically represented Japanese or Asian men as inferior, weak, and feminine as opposed to superior, strong, masculine white men. During the rise of student activism in Japan and the Asian American movement in the United States in the 1960's, young Japanese and Japanese Americans redefined the folk tradition of taiko in such a way that it should empower their community as well as create their ethnic identity. In interpreting messages hidden in the guise of performance, this account examines the experience and social context of the individual taiko performer and group, and also the significance of taiko as it has been defined in Japanese and Japanese American history. My interpretation of taiko performance as a form of resistance includes observation of the typical costumes of the taiko performer, its association with the institution of class society in premodern Japan, the effect of modernization to working-class men, and the influences of popular culture. By further comparing the symbolism of taiko with an instance of African American folk expression of resistance, as well as a ritual form in a traditional Japanese community, the paper discusses the process by which Japanese and Japanese Americans construct their masculinity.

著者

Inoue Hiroyuki

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.16, pp.124-128, 2016-03

著者

中野 学而

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 (ISSN:13462989)

巻号頁・発行日

vol.10, pp.131-136, 2010-03

著者

江崎 聡子

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 (ISSN:13462989)

巻号頁・発行日

vol.3, pp.95-114, 2003-03

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This paper explores the significance of Mary Cassatt's tripartite mural, Modern Woman, which was installed in the hail of fame at the Woman's Building at the Chicago Exposition of 1893. It examines Cassatt's conception and the manner in which the painting was executed. The paper then focuses on the reception of the painting and the nature of criticism, and how the painting articulated changes regarding the role and place of women that were occurring in late nineteenth-century America. Bertha Palmer, the president of the Board of Lady Managers that governed the pavilion, commissioned the painting with the purpose of illuminating the advancement of contemporary American women. The mural presented scenes where women of different generations actively engaged in activities such as plucking the fruits of knowledge and artistic performances of music, dance, and the arts. By depicting women as strong and independent, Cassatt intended to create a portrait of the "New Woman" who sought autonomy and assertion of the right for a career, while rejecting conventional female roles that were common at the turn of the century. In this work, Cassatt employed a traditional vocabulary popular for that time: the use of an Arcadian setting, the symbol of the tree of knowledge, women in the orchards, and women as players of music and dance in nature. However, the work was not well received. Many critics rejected the painting because of the manner in which the subject was portrayed. They considered its wide ornamented frame, intense colors, and its realistic depiction of women as inappropriate and unacademic. Moreover, as the painting included many traditional motifs in its style, they could not read and interpret clearly what was "modern" in this work. The paper argues that Cassatt, in fact, transposed and modernized traditional motifs to transform a conventional narrative of woman as Muse and Eve into an allegory of the "New Woman" who served as the agent for new hopes and ambitions.

著者

高村 峰生

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 (ISSN:13462989)

巻号頁・発行日

vol.9, pp.95-111, 2009-03

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論文Articles本論は、1994 年に発表されたティム・オブライエンの In the Lake of theWoods において、ヴェトナム戦争のトラウマ的記憶が、父親の自死の記憶と撚り合わせられながら、主人公ジョンの人生の様々な局面で噴出するさまを読解し、トラウマと仮構された因果性、及びそれを言語的に構築するナラティブの関係について考察している。オブライエンはこの作品において湖(や、そのアナロジーとしての鏡)を主人公ジョンのトラウマを照射し、彼の世界像を構成するような暴力的な根源として描いているが、本論ではそのような湖=鏡の説話的機能に注目し、作品において示唆される主人公や主人公の妻の湖の方への失踪を反復脅迫的なものと捉えた。湖=鏡は現実を映す表象機能のアレゴリーともなっており、オブライエンは鏡の前で奇術をする行為をフィクションの執筆行為になぞらえている。同様に、ジョンは自分(たち)を狂気から守るために、しばしば得意とする奇術を戦場で披露することで、把握不可能な現実の暴力の巨大さに対し防衛的に額縁を設定し、偽の「理解可能な」暴力の因果性を築きあげようとした。父の自殺は、ジョンをして自殺した父を殺したいという矛盾した欲望を抱かしめる。父という近しい存在の内なる暴力性はジョンの世界観に深く根を張る見えない脅威となるのだ。彼の奇術への傾倒は、シンボリックに父親を殺す行為の想像的な反復であり、ジョンはそれを通じて偶発的で統御不可能な暴力を彼自身の小さな世界の内に閉じ込める。作品において可能性として提示されているジョンによる妻キャシーの殺害というプロットについては、ジョンによるキャシーと父の同一視という解釈を示した。 様々なナラティブによる言語複合体として構成されたこの作品を通じて、オブライエンはトラウマの異種混交性と、フィクションと「現実」の相互浸透性を表現したと言える。

著者

小島 尚人

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 (ISSN:13462989)

巻号頁・発行日

vol.10, pp.67-80, 2010-03

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This essay is an attempt to read Martin Eden, Jack Londonʼs autobiographical novel, in terms of the inextricable relationship between the author and the protagonist. Critics have often taken the unbalanced plot and the lack of ironic distance between narrator and character in Martin Eden as the technical weakness of London, but this paper argues that the achievement of this novel owes a great deal to the attachment of London to Martin. The unbalanced structure is a necessary product of the severe struggle of the author to kill his romantic alter ego. // Martin, who aspires to win Ruth Morse, tries to cross class boundaries by making a career of a writer. Even after realizing the emptiness of Ruth, who turns out to be nothing but a typical figure of the bourgeoisie, he somehow persists in loving her. The notion underlying here is that, for Martin, love, career and art are fundamentally inseparable. He objects to the aestheteʼs view of Brissenden on account of his separation of art from career. Martinʼs identity and life consist only in the triunity of love/career/art; the alternative is the repudiation of life. Thus, the unnatural delay of his disappointment in love can be regarded as Londonʼs strategy to set the suicide of Martin as the necessary consequence of the story. // By finishing the story and killing Martin, London finally detaches himself from Martin, reconstructs his self, and, unlike Martin, survives as a professional writer. In this sense, Martin Eden is a story about “writerʼs self-reconstruction.”

著者

天野 由莉

出版者

東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター

雑誌

アメリカ太平洋研究 = Pacific and American studies (ISSN:13462989)

巻号頁・発行日

vol.14, pp.95-108, 2014-03