著者

浜野 志保

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.35, pp.55-73, 2005

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The history of spirit photography began when the movement of Spiritualism saw a shift in its focus from raps to materialization, from sound to vision. There were some noted spirit phographers. The most famous and first successful is William Mumler of Boston. Frederick Hudson, Samuel and Mrs. Guppy are said to have been the pioneers in England. Eugene Buguet took more artistic spirit photographs than those predecessors, some of which summoned celebrities' ghosts. After some years of stagnation, William Hope and his Crewe Circle revived this type of photography, and, beside the spiritualists like Arthur Conan Doyle, experts in conjuring like Harry Price and Harry Houdini got involved in the disputes about their authenticity. It is true that spirit photography was an inevitable by-product of Spiritualism more and more spectacularized in the postbellum period. But, taking a look at the early history of photography, we find two other contexts which gave rise to it. First, there were some attempts to overcome the limitations of photography as a visual medium, and spirit photography was one as it tried to catch the invisible. Second, spirit photography was a new kind of portrait photography that could represent their subjects' individualities, when photographic typology was being established through the spread of commercial photography.

著者

石原 万里

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.27, pp.5-18, 1997

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The untimely death of Mercutio, who is one of Shakespeare's original characters, makes me think that he was made to live and die by the dramatist in the process of writing Romeo and Juliet. The aim of this paper is to search for the meaning of the roles of Mercutio to both Romeo and Juliet and the play as a whole. First, Mercutio's lack of information is examined. Although he notices some change in Romeo, he is not informed that Romeo loves Juliet. He understands Romeo loves Rosaline. The more he teases Romeo about Rosaline using sexual metaphor, the more apparent the love of Romeo and Juliet becomes. Second, the relation between Mercutio and Romeo is compared with the relation between Romeo and Juliet. Even though there is no homosexuality between Mercutio and Romeo, Juliet can be regarded as Mercutio's rival because the advent of Juliet changes their male friendship. Finally, the meaning of Mercutio's death in the play is thought in the context of a comedy and a tragedy. The death of Mercutio, who contributes as a comical factor during his life, leads the play to the tragedy of Romeo and Juliet. His death is a starting point of the tragedy.

著者

吉原 令子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.39, pp.125-141, 2009-03-31

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The movement to legalize same-sex marriage was revitalized in the 1990s in the US. This paper examines the reasons for this revitalization and analyzes the movement in relation to feminism. Gays/Lesbians called for same-sex marriage rights in the 1990s because of the influence of the HIV/AIDS epidemic and a lesbian baby-boom in the 1980s. At the same time, NOW, a liberal feminist group in the US, officially declared support for same-sex marriage. One reason for solidarity between liberal feminists and gays/lesbians was that both groups shared liberal values, including the pursuit of freedom, equality, and justice through social reform and legal change. Both groups also resisted the conservative thinking expounded by the Moral Majority and Reagan supporters. These conservatives opposed same-sex marriage and attacked both gays/lesbians and feminists during the 1980s. However, queer theorists started to criticize this movement in the 2000s because the legalization of same-sex marriage leads to assimilation, normalization, and loss of sexual diversity. They also criticized activists for prioritizing legalization of same-sex marriage over issues of poverty and discrimination against lower class queers. I analyze their criticism of the same-sex marriage movement and explore the theoretical and practical dimensions of the movement.

著者

佐藤 治夫

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.38, pp.5-30, 2008-03-31

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The present paper reevaluated the significance of the Obscene Publications Act 1857(OPA), or Campbell's Law(An Act for more effectually preventing the Sale of Obscene Books, Pictures, Prints, and other Articles) from the view point of assessing the opposing forces in and out of the British Parliament that influenced the actual law-making process. In good contrast with the first hesitant approach before his submission of OPA, Lord Campbell, the propagator of OPA, is found quite straightforward in pressing his objective, widely supported by the public opinions outside the Houses, to his fellow members of the House, which might have unnecessarily provoked repulsive attitudes from some of them-probably best represented by Lord Lyndhurst, who openly made objections in the House of Lords, referring to the possibility of endangering the British literary works in the process of enforcing OPA. The verbal conflict between the two parties will well be summarised as that of maintaining the standard of decency in society as against the protection of national literature. It is quite noteworthy that the process of law-making itself only promoted the discussion of decency and moral integration, and not the protection of literature.

著者

牛山 通子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.49, pp.43-62, 2019-03-31 (Released:2019-09-11)

参考文献数

28

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Christina Rossetti (1830–94) is one of the most significant women poets of the Victorian era. When she was a child, she used to spend enjoyable times at her maternal grandfather’s cottage at Holmer Green in Buckinghamshire, where she communed with nature and gained practical knowledge about animals, plants and other natural phenomena. The experience in the countryside left an indelible memory in her life. Afterward Rossetti published Sing-Song:A Nursery Rhyme Book (1872) that reflected her pleasant memories. Even when she lived in London, she sought out the nature in urban life and observed various kinds of plants and animals she liked.Gilbert White’s The Natural History and Antiquities of Selborne 1789, was widely read in the Victorian era. Due to this influential book, Victorian natural history was no longer for professionals only but was also open to amateur naturalists who had an intellectual curiosity. Rossetti seems to be one of those people. Moreover she had two remarkable inspirations in her life that influenced her to write natural poems. One is Pre-Raphaelitism, the art movement that her brothers established with their art students, and the other is Christianity. When Rossetti was young, she took part in the Oxford Movement with her mother and sister. I will discuss the relationship between Victorian natural history and Christina Rossetti’s works from the perspective of the influence of Pre-Raphaelitism and Christianity.

著者

石原 万里

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.27, pp.5-18, 1997-03-31 (Released:2017-06-20)

---

The untimely death of Mercutio, who is one of Shakespeare's original characters, makes me think that he was made to live and die by the dramatist in the process of writing Romeo and Juliet. The aim of this paper is to search for the meaning of the roles of Mercutio to both Romeo and Juliet and the play as a whole. First, Mercutio's lack of information is examined. Although he notices some change in Romeo, he is not informed that Romeo loves Juliet. He understands Romeo loves Rosaline. The more he teases Romeo about Rosaline using sexual metaphor, the more apparent the love of Romeo and Juliet becomes. Second, the relation between Mercutio and Romeo is compared with the relation between Romeo and Juliet. Even though there is no homosexuality between Mercutio and Romeo, Juliet can be regarded as Mercutio's rival because the advent of Juliet changes their male friendship. Finally, the meaning of Mercutio's death in the play is thought in the context of a comedy and a tragedy. The death of Mercutio, who contributes as a comical factor during his life, leads the play to the tragedy of Romeo and Juliet. His death is a starting point of the tragedy.

著者

越智 敏之

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.43, pp.87-107, 2013-03-31 (Released:2017-06-20)

---

'Gentrification' is a process in which a working-class or a vacant area of a city center transforms into middle-class residential or commercial district. The middle-class people who have migrated to those areas are called 'gentrifiers'. In the 80s, because it came to be widely understood that this process contributed to the rise in rents and the displacement of low-income residents, the resistance against 'gentrification' grew in intensity. East Village, the setting of Rent, was very famous for this resistance. There is, however, interesting difference between the resistance in Rent and that of East Village. Jonathan Larson, the author, does not depict, as a main character, local people in this musical, who were, of course, leading players in the actual resistance. The participants in his version of the resistance were only so called 'pioneer gentriflers'. At the early stage of 'gentrification', 'pioneer gentrifiers' move into deteriorated areas. The influx of these people makes socially, culturally mixed and exciting communities. At the same time, though, it can cause the upward pressure on rents, and then, full-scale gentrification begins, which, in turn, displaces not only local people but also lower income 'pioneer gentrifiers'. In this thesis, I will consider what the author really wants to represent in this musical. He does not try to depict the resistance against the East Village gentrification itself. What he wants to depict is his ideal version of gentrification, which would make communities more energetic and exciting.

著者

吉田 真理子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.36, pp.89-110, 2006-03-31

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In Making Mark Twain Work in the Classroom, Twain's scholars and educators introduce different ways of promoting the students' motivations to approach Twain's works. However, they do not discuss how the students' experience of watching the dramatized versions of his works on stage would affect the students' interest in reading his works. In his interview on the significance of children's appreciation of theatre as the audience, Asaya Fujita, a playwright and director, points out that children's seeing plays on stage is crucial to their human development. "Watching a play helps you find out about yourself," Fujita says. In this paper, I would like to examine the Deaf West Theatre production of Big River, a muscial adaptation of Twain's Adventures of Huckleberry Finn, first performed in October, 2002. I would discuss how their theatrical work would inspire the students' imagination on Twain's literary world and would enhance students' better understanding of art, literature and intercultural communication.

著者

吉原 令子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.30, pp.79-99, 2000-03-31

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In writing about her childhood along the Texas-Mexico border, Gloria Anzaldua describes the experience of being caught between two cultures, as being an alien in both. The actual physical borderland that Anzaldua describes in Borderlands/La Frontera: The New Mestiza is the Texas-U.S. Southwest/Mexican border, but the "borderlands" she refers to are something more psychological, sexual, and spiritual. These Borderlands are present wherever two or more cultures confront each other, where people of different races occupy the same territory, where all socio-economic classes touch, and where the confusion of sexual and gender identity exists. Her preoccupations with the inner life of the Self, and with the struggle of that Self in the borderlands provide the unique positioning consciousness. The quest for one's identity based on race, gender, sexuality, class, nation, etc., ends up in the system of binary oppositions. In my view, in this book Anzaldua criticizes an absolute despot duality that says we are able to be only one or the other and insists that the Self is plural, transformative, and performative. She searches for a way of balancing, and mitigating the system of binary oppositions through knowing and learning the history of oppression. Anzaldua suggests that we should accept our differences and that our differences should open political lines of affiliation with other groups to challenge the specific forms of domination that we share in common.

著者

越智 敏之

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.41, pp.51-63, 2011-03-31

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Not only called 'fish' by other characters such as Trinculo and Stephano, but also, by the magic of Ariel, soaked into pickle-like filthy water as if he were salted fish under the curing process, Caliban is metaphorically described as fish. Abstinence lay at the core of Christianity, and fish was a preferred food for fast days, or 'fish days' in Christendom. In the thirteenth century, on more than half the days of the year, Christians ate fish for religious reasons. Then why could fish possibly be used as a metaphor to describe this monstrous slave in the New World? The nature of fish days began to change after the Reformation in England which had adopted Protestantism. Catholic doctrines, including dietary teachings, came to be no longer strictly followed, but ironically the government had to enforce the observance of fish days for nonreligious reasons; they needed to encourage the fishing industry in order to feed people, especially the increasing urban poor, and to stimulate the building of ships as a safeguard against possible Spanish attacks. And salted fish, which came to be supplied increasingly from the New World fishing banks, became vital staples not only for the poor but for soldiers and sailors in the days of religious wars and exploding international commerce. Although, with people more and more disregarding the old rules of the Church, salted fish, the metaphor for Caliban, was not a favored food, it supported the social and economic system of England and helped its expansion into the New World.

著者

菊地 幸子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.39, pp.95-107, 2009-03-31

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Brian Friel founded Field Day Theatre Company in 1980 and tried to offer the responses to the Northern Ireland problem through art. Friel's preoccupation with defining Irishness is presented through politics, history and language especially in Translations and Making History, which were performed by Field Day. However, Dancing at Lughnasa and Wonderful Tennessee, which were both written for the Abbey Theatre and premiered in the early 1990s, move away from the historical and political dimensions and they give quite different impressions from the plays written for Field Day. Both Dancing at Lughnasa and Wonderful Tennessee are set in modern Ireland and they examine the private lives of the characters in relations to the family. Hence it seems that Friel changed his approach. Therefore, in this paper I will study these two plays and find if Friel's search for Irishness continues in them.

著者

冨川 多佳子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.51, pp.37-53, 2021

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<p>This paper examines the purpose of missionary work to "Gypsies" by "domestic evangelical groups" who carried out evangelical missionary activities in England in the early 19th century. The home missionary society criticized the imprisonment of the Gypsies as "vagrants" and argued that in order to change their nature of wandering, it was necessary for them to live a civilized life and not be imprisoned. It was hoped that this method of missionary activities could be tried in the United States. However, Sarah Nicolasso, who studied the transition of the legal definition of "vagrants", notes that the specific "race" group "Gypsy" was stipulated as "Vagrant" in the "Vagrant" Control Law. She points out that it worked effectively as a means to create a "racist" yet conceptually flexible, judicial-controlled space in the colonial United States. Since the 16th century, Gypsies had been legally categorized into a comprehensive definition of "homeless", and the "racial" characteristic of Gypsies had been used to justify policies and the like. In the early 19th century, the missionary work on Gypsies was justified as a method of denying this vague definition.</p>

著者

閑田 朋子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.51, pp.79-96, 2021-03-31 (Released:2021-04-21)

参考文献数

34

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This paper considers cultural translations and adaptations in Meiji-era Japan. It places the focus on San’yūtei Enchō’s Ezonishiki Kokyō no Iezuto (Foreign Brocade as a Souvenir of Ezo-region, 1886–87) based on Wilkie Collins’ The New Magdalen (1872–73). Ezonishiki is a story of Rakugo, a type of traditional one-person oral storytelling, adapted by Enchō, who was the principal Rakugo performer and author of his day. He is still well known as the father of the modern Japanese language due to the impact of his spoken style on the Vernacular Movement.Reflecting the general socio-cultural trend towards Westernization, adaptations of Western fiction found their way into the Japanese publishing sphere. They modified the foreign to fit domestic sensibilities, often changing Western characters and settings into Japanese. Enchō adapted various Western literary works to suit his audience’s narrative appetites. He transformed Collins’ original story about Victorian social discrimination against a fallen woman into a story about those who were against the Hinin class, which consisted of actors, beggars, and others regarded by feudal Japan as the most socially inferior. This paper also enquires into the following questions: how English-illiterate Enchō learned the original story, what kind of role Enchō took in popularizing Western literature, and what he thought about the Westernization policy promoted by the Meiji government.

著者

閑田 朋子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.50, pp.31-48, 2020-03-31 (Released:2020-06-10)

参考文献数

13

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Eliza Meteyard (1816–79) is a significant but neglected nineteenth-century British woman writer and social reformer. She was supported by well-known contemporary writers, including Charles Darwin, Samuel Smiles (famous for his best selling Self-Help), William Lovett, the Chartist, and William Gladstone who served as the Prime Minister. Meteyard adopted the elegant pseudonym ‘Silverpen’ to advocate social reforms through her writing. The seeming mismatch symbolizes the sharp contrast between her admiration of beauty and the extremely severe subjects she wrote on such as juvenile depravity, crime, prostitution and poverty. By the 1870s, she had established herself not only as the author of The Life of Josiah Wedgwood (1865–66), but also as a writer of social problem narratives, in which beautiful flowers often appear in acute contrast with nauseating scenes of social miseries. This paper focuses on one of such stories, “The Flint and Hart Matronship” (1847), to consider how two weeds mentioned in it, “the dock and nettle,” and a profusion of flowers are presented to advocate workhouse reform. This paper sheds a small light on her stance as a social reformer associated with her views on nature and civilization.

著者

森本 峰子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.30, pp.141-159, 2000

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While attempts were being made in Europe to discover the "Terra Australis Incognita" (unknown southern land), imaginary land which had long been thought to exist at the bottom of the earth since the times of Greek geographer, Ptolemy, Japan was under National Isolation Policy. It was not until Captain Cook's explorations that precise maps of Australia and New Zealand were drawn. Captain Cook also found that the legendary land which had been thought to occupy the whole bottom of the earth did not exist. In Japan, however, cartographers kept on producing out-dated maps. The shape of some land masses especially that of Australia differed according to Buddhists, Confucianists, and those Japanese Dutch scholars who were so-called positivists. It was a Japanese feudal government officer, Kageyasu Takahashi, who finally drew the first correct map. Though the Japanese government publicly acknowledged Confucianism to be the "orthodox" ideology, they on the other hand pursued European knowledge. However, this knowledge was restricted to themselves. That is why private scholars were behind the times. In this essay, three styles of maps of Australia during the Edo Period are described along with the discussion as to why such lack of unity occurred

著者

安山 秀盛

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.46, pp.77-94, 2016-03-31 (Released:2017-05-08)

参考文献数

20

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This study investigated how two types of reading activity―silent reading and oral reading―facilitate English language learners' listening comprehension. 83 university students were assigned to the silent reading group (n=37) and the oral reading group (n=46). Each group was also divided into higher and lower groups according to the level of their listening comprehension. The pre-and post-test were conducted before and after the 10-week training session for each group.The results of a t test indicated that the silent reading group had significantly higher listening comprehension, while no significant differences were found in the score of the oral reading group.A possible explanation for the better performance of the silent reading group over the oral group is that reading silently not only helped reduce the cognitive load of the students but facilitated the sentence comprehension, whereas the oral reading group paid more attention to reading the words rather than comprehending the actual content. The results also suggest that the silent reading group may have adopted top-down processing where they were given the opportunity to comprehend the sentences at their own pace.

著者

吉原令子

出版者

英米文化学会

雑誌

英米文化

巻号頁・発行日

no.30, 2000-03-31

著者

佐藤 治夫 須田 理恵

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.37, pp.5-23, 2007-03-31

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The authors tried to show that the economical improvements followed by the successful publication and sales of Lady Chatterley's Lover lead to the gradual and important change in D.H. Lawrence's attitude towards his own economical conditions, which may even partly account for his slightly shifted world view, as seen in his later works. Mention is also made to the unpublished memos Memoranda Book, which distinctively shows how Lawrence struggled with the incoming flow of money by the sales of his most notorious novel of his day. His newly expanded income brought about significant changes to his life. Even his exodus from Britain, after the long-term confinement in the United Kingdom because of WWI, would have been impossible without additional income from his various literary activities. The change is quite well illustrated in his Pansies published in 1929, which appearstobe scatteredwithso many uses ofthe word,'money'and itsclosely relatedwords andphrasesinmanyofthepoemscontained. Someofsuchpoemsapparentlyshowthetrail of his thoughts which was changing from contemptuous to condescending ones, especially to people of all classes in the British society in his times. Contrary to the general evaluation of Pansies, the poems are found to be of great value to Lawrencian scholarship especially in the fields of his biographical incidence and poetic works.

著者

越智 敏之

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.43, pp.87-107, 2013-03-31

---

'Gentrification' is a process in which a working-class or a vacant area of a city center transforms into middle-class residential or commercial district. The middle-class people who have migrated to those areas are called 'gentrifiers'. In the 80s, because it came to be widely understood that this process contributed to the rise in rents and the displacement of low-income residents, the resistance against 'gentrification' grew in intensity. East Village, the setting of Rent, was very famous for this resistance. There is, however, interesting difference between the resistance in Rent and that of East Village. Jonathan Larson, the author, does not depict, as a main character, local people in this musical, who were, of course, leading players in the actual resistance. The participants in his version of the resistance were only so called 'pioneer gentriflers'. At the early stage of 'gentrification', 'pioneer gentrifiers' move into deteriorated areas. The influx of these people makes socially, culturally mixed and exciting communities. At the same time, though, it can cause the upward pressure on rents, and then, full-scale gentrification begins, which, in turn, displaces not only local people but also lower income 'pioneer gentrifiers'. In this thesis, I will consider what the author really wants to represent in this musical. He does not try to depict the resistance against the East Village gentrification itself. What he wants to depict is his ideal version of gentrification, which would make communities more energetic and exciting.

著者

原田 昂

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.46, pp.39-53, 2016