著者

吉田 純子

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.5, pp.211-225, 1998-10-01

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L. Frank Baum's The Wizard of Oz has been widely read since its first publication in 1900 and variously interpreted by critics. However, most interpretations have focused on Dorothy's journey to find her way back home, not on the journey of the male characters, ie., the Scarecrow, the Tin Woodman, and the Cowardly Lion. Unlike Dorothy's journey, which was accidentally started by the tornado, the males' journeys seem to have been started for reasons. These "males" think they have to meet the Wizard of Oz to ask him for a brain, a heart, and courage, respectively. The examination of the above motivations will lead us to consider that there are two types of journeys in the story.The two different types often have been confusingly discussed as though there were only a sigle journey. However, from the viewpoint of gender, we should discuss them separately. First, Dorothy's journey is forced on her by the tornado, not initiated through her own will, and her quest is closely related to the notion of female sphere, home. In addition, even while Dorothy is in Kansas in the opening pages, she is portrayed as an innocent child full of mirth, in contrast to her adopted family who are portrayed as exhausted and dried up due to the climate and their hard lives as pioneers. Meanwhile, the male characters think they lack essential elements in their personalities, which makes them less than whole. Their compulsive desire to become whole can be explained by their lots in the story: they eventually become rulers in society. Therefore, Dorothy as an innocent, fearless, joyful and thoughtful girl is dispatched to the imaginary land to help the uneasy males seek and establish their gender identity.As Neil Earle points out, the atmosphere in The Wizard of Oz reflects the prevailing unease in the proto-modern world of the 1890s of America. It was the period when rapid social and technological change was reaching epidemic proportions, and farmers and urban workers suffered from recurring economic depressions due to the unregulated system of capitalism.Seen from the perspective of gender, the ailing male characters embody the uneasiness of masculinity in modern patriarchal America at the turn of the century. The ideal manhood of early pioneers in the woodlands and later on the prairies which had been embodied by "American Adam" in the New World "Eden" was no longer wholesome because the rapid industrialization and urbanization caused a change in the conception of ideal masculinity. This masculinity crisis can be clearly seen in the complaints of the Scarecrow, the Tin Woodman, and the Cowardly Lion.During the same period, America was pursuing an expansionist policy on the international front because the American frontier had closed at home. In other words, the expansion of American territory and its economy heavily depended on the exploitation of ethnic and cultural "others" both inside and outside the country. It was no coincidence that the Colombian Exposition was held in Chicago in 1893. As was shown in the various glittering exhibitions in the urban wonderland called the "White City," this world fair was the landmark of the spreading American dream. Three years before the fair was the gruesome massacre of Native Americans of the Sioux tribe at Wounded Knee. Five years after the fair, America expanded its territory by defeating Spain in the Spanish-American War.Obviously, the manhood of the Wizard of Oz is closely connected with his domination over the Emerald City. In the same way, the "manhood" of the American empire was on display in the sparkling exhibitions of the Columbian Exposition. Taking America's exploitative and expansionist attitude toward "others" into consideration, the dazzling wonderland can be seen as "deceptive and illusionary" like the wizard's magic after all.As a journalist, Baum was naturally alert to both international and domestic affairs. Moreover, he had moved to Chicago just before the world fair. How he felt about American civilization can be easily imagined from the words of the Wizard of Oz when his identity is finally disclosed as a humbug. The Wizard apologetically said, "I am a good man, though I am a bad wizard." Baum as a liberal Easterner still believed, or tried to believe, in the manifest destiny of America, but he must have been beginning to feel uneasy about America's masculine identity.

著者

徐 載勝

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.18, pp.85-101, 2011

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This study investigates the case of 'Hiroshima Flower Festival (FF)' in Hiroshima city concerning the two following points: how regionality is shown in a festival using flowers as a theme and how the participants and visitors are integrated. Besides, this study also focuses on the continuity of the events and considers the necessity of 'regionality' of festivals based on the needs and interests of participants and visitors.The FF is one of the famous festivals of Hiroshima City in Japan and one of many festivals based on the theme of flower nationwide. The characteristic of the FF is that the material 'Flower' connotes the regionality of Hiroshima where the atomic bomb was dropped. This 'Flower' is not a general flower like in other localities but the flower involving the image of 'Peace'. Therefore, the FF stands not for simple flower viewing but for the installation of the event identity as a 'Celebration of Peace'. This identity strongly reflects the regionality of Hiroshima and furthermore, setting the themes of the festival each year in reference to regionality and planning programs that reflect this regionality clearly represent the same identity over a long time.Moreover, the FF well reflects the regionality in the identity of the event, place and theme of the festival, symbol, program contents, etc.. As a result, an image structure such as FF → 'Hiroshima regionality' = 'Peace' is installed by fusing together the identity of the event with regionality. This study showed that participants and visitors are feeling 'Hiroshima regionality' and 'Peace' at various occasions throughout the event.However, to encourage participation and attract more visitors recent management of the FF changed the contents of programs to emphasize exchange and enjoyment while at the same time it maintained the identity theme of 'Peace'. In other words, a too strong emphasis on regionality only limits the possibility to maintain the continuity of a festival. The contents of the event is required to change based on regionality by keeping the interests of participants and visitors in mind and adapting to changes over time consistently. To adjust contents and style of an event is considered an important task for the realization of continuity of a festival in conjunction with a consistent appeal of the regionality of the event.

著者

安西 信一

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.5, pp.1-20, 1998-10-01

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It is a commonplace in the histories of the garden that the Puritan Revolution (1642-60) was an era of complete destruction of gardens. This period produced, however, not only a considerable number of gardens, but also numerous books and tracts on gardening (in a broad sense). This paper focuses on these garden theories, especially those by the Hartlib circle, whose manuscripts have been newly published. It is the aurthor's conclusion that an important moment towards the English landscape garden, which emerged at the beginning of the 18th century with the opening up of the traditional 'enclosed garden' onto free nature, had already been posited during this very Revolution.Samuel Hartlib (c. 1600-62) was the epicentre of the Scientific Revolution then under way in Britain, leaving an unquestionable influence on Restoration (1660) science. He and his circle earnestly demanded actions towards social reformation intended for the public good, on the basis of 'civic humanism'. Accordingly, the traditional type of the 'enclosed garden' became a metaphor for the confinement into the exclusive pursuit of private interests and factionality. On the contrary, they insisted on 'opening' the garden towards the public good by making it a branch of profitable husbandry. Finally, their proposals for agricultural and horticultural improvement led to the millenarian demand that the whole of Britain should be actually restored as the second Eden or God's Paradise by expanding or annihilating the borders of every existant garden. In fact, at least one member of the circle, John Beale, advocated a kind of the landscape garden.But, their views had certain limits. Firstly, reacting against the communist Puritan radicals, they urged the 'enclosure' of waste land and the commons, with the result that they were almost indifferent to the aesthetic pleasure of open nature or wilderness itself; such pleasure was obviously incompatible with their 'Protestant work-ethic', and would not come to the fore until the advent of Restoration Epicurean rural literature. Secondly, with the collapse of Puritan hegemony itself, the main part of their ideas sank into oblivion.Nevertheless, the circle's legacy formed a strong undercurrent after the Restoration, helping to bring into reality the open landscape garden.

著者

塩田 弘

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.6, pp.139-150, 1999

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The objective of this paper is to examine Gary Snyder's views on love in Regarding Wave with special attention to his attitudes toward nature and his scientific thinking.In Regarding Wave, Snyder tries to locate the element of love within the conversion of energy through biological imagination. He observes the behavior of the human race, and he holds females, in great esteem as the source of the energy. Snyder's idea of love is not based on the traditional concept of love in the Western world, but it is an extension of the act of eating. For him, his partner and family are an energy network that supplies him with vitality. Love is the most important process of exchanging energy which is not privileged to humankind. Accordingly, Snyder extends the identity of human beings into the roles of other life forms on earth.This idea is supported by his detailed understanding of the-natural world. There are some scientific theories behind his literary imagination; the first is quantum mechanics, the fundamental theory used by 20th-century physicists to describe atomic and subatomic phenomena. According to the quantum theory, the conversion of energy is caused by wave patterns in the natural world, so on many occasions, Snyder uses waves metaphorically in the poems both in their contents and in their forms. Even more important is thermodynamics, the branch of physics that studies the transfer of heat and the interconversion of heat and work in various physical processes. Snyder's imagination is also transferred from the external energy according to the first law of thermodynamics. Therefore, his creative activities are located in the working of nature, and his poems store wave like energy which is transmitted to his readers.Love is an essential part of the flow of his scientific energy and the idea that one organism is linked to another, and then another is the most important part of his thought project. Snyder locates human beings as merely a part of the totality of the environment rather than at the center of the world.

著者

戸板 律子

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.1, pp.31-42, 1994-09-01

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Entre MADELEINE enregistré en public et MADELEINE enregistré au studio, il y a de la différence à deux endroits du texte. D'abord au 3e couplet, les 6e-7e vers et les 14e-15e vers sont permutés. Ensuite au 4e couplet, le 9e vers «Madeleine c'est mon espoir» devient «Madeleine c'est mon Noël»ce qui fait que le nom «Gaspard» à la fin du 12e vers est remplacé par «Joël» pour la rime.Il ne s'agit pas d'une simple inadvertance du chanteur, puisque Brel a chanté cette même "version en public" à l'Olympia en '61, '64 et '66. C'est qu'il a finalement adopté cette version.Cette adoptation est due à l'efficacité du texte mis à voix. La version "en public" est plus structurée que la version "studio", avec ces cinq éléments "lilas" "tram" "Eugène" "cinéma" "je t'aime" qui, grâce à la permutation des vers au 3e couplet, apparaissent juste aux mêmes endroits de chacun des quatre couplets. Au 3e couplet ces éléments qui devaient composer la soirée heureuse du héros avec Madeleine finissent par être inutiles successivement, de sorte que l'image du héros qui «reste avec ses "je t'aime"» impressionne fortement l'auditeur. En plus, le remplacement d' «espoir» et «Gaspard» par «Noël» et «Joël» au 4e couplet, c'est-à-dire par les mêmes mots qu'au 1er couplet, a pour effet de suggérer que cette histoire d'un garçon attendant Madeleine qui ne viendra jamais recommencera toujours. Par conséquent MADELEINE "en public" réussit comme chanson comique.Par contre si on lit, au lieu d'écouter, le texte de la version "studio", on voit qu'il correspond mieux à la réalité empirique et qu'il exprime mieux l'état d'âme de ce garçon. MADELEINE "studio" est plus narrative que comique, donc moins efficace que l'autre MADELEINE pour exprimer le sujet de cette chanson: l'absurdité de «l'acte d'attendre», selon l'expression de l'auteur lui-même.La différence entre ces deux versions aurait donc de la relation avec celle entre l'acte d'écrire et l'acte de chanter. "Ecrire", c'est un acte qui nous oblige à se faire isolés, introspectifs et analystiques, tandis que "chanter", c'est une communication face-à-face avec le public. Or une chanson ne dure que trois ou quatre minutes. Brel, pour qui la chanson est le moyen de s'exprimer, aurait été soucieux de bien communiquer en cette durée ce qu'il avait à exprimer, et pour cela aurait changé volontiers son texte.

著者

溝田 悟士

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.17, pp.63-78[含 英語文要旨], 2010

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This article is intended as an investigation of the absence of the "fleeing youth" story (Mark 14:51-52) in Matthew and Luke. Based on "Markan priority" that the Gospel of Mark is the first Gospel, we are forced to think that both Matthew and Luke omitted Mk. (1Iark) 14:51-52. Many scholars have come to accept this "mutual omission" by regarding this "fleeing youth" as the author Mark himself. However, some scholars question this theory. Meanwhile, since the 1950s, the relationship between the "fleeing youth" and the "youth in Jesus' empty tomb" (16:1-8) in Mark has been discussed. However, this theory cannot explain the "mutual omission" unless we modify the traditional interpretation of Mark. Therefore, we notice in Knox (1951) that a linen cloth ("sindon"), which the youth left in 14:51-52, is used as Jesus' burial outfit (Mk. 15:46). Basically, the "lexical cohesion" is not only the relationship between 14:51-52 and 15:46, but also between 14:51-52 and 16:5. When the other Gospels were not written, the readers of Mark regarded Jesus' outfit as the death itself that the youth left to save his life.Then, insofar as we base our reasoning on Markan priority, we cannot find any basis for regarding the youth of Mk. 16:5 as an angel.Moreover, if the youth of 14:51-52 is recognized as the youth of 16:5, the youth of 16:5 should be equally a disciple as in 14:51-52. In return for Jesus' death, the youth of Mk. 16:5 is a certain disciple who is resurrected from the death. Although Hamilton (1965) attempts to explain the empty tomb by the interpretation that people who rise from the dead are as angels that are in heaven in "the controversy with Sadducee" (Mk. 12:25), his opinion serves to explain the influence of the mutual omission of 14:51-52 in both Matthew and Luke. The author of Matthew added "the Saints' Resurrection" (27-51-53) immediately after Jesus' death. In Matthew, because both the "Saints' Resurrection" incident and "empty tomb" story mention earthquakes, the two stories have lexical cohesion. Readers realize that the resurrection of the youth identified with a disciple in Mk.l6:5 coincides with Jesus' death.Moreover the author rewrote Mark's "youth" in the empty tomb as "an angel of the Lord" (Mattew 28:2). The author of Luke rewrote Mark's youth in the empty tomb as "two men" (24: 4). In the "Emmaus" story (24: 13-35), two disciples tell Jesus that the women recognized "two men" as "angels: This fact leads readers to the recognition that the persons who rise from the death resemble "angels" through human eyes. In common, their alterations are premised on "the controversy with Sadducee" in each Gospel.

著者

熊谷 裕司

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.8, pp.33-41, 2001

著者

安西 信一

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.5, pp.1-20, 1998-10-01

---

It is a commonplace in the histories of the garden that the Puritan Revolution (1642-60) was an era of complete destruction of gardens. This period produced, however, not only a considerable number of gardens, but also numerous books and tracts on gardening (in a broad sense). This paper focuses on these garden theories, especially those by the Hartlib circle, whose manuscripts have been newly published. It is the aurthor's conclusion that an important moment towards the English landscape garden, which emerged at the beginning of the 18th century with the opening up of the traditional 'enclosed garden' onto free nature, had already been posited during this very Revolution.Samuel Hartlib (c. 1600-62) was the epicentre of the Scientific Revolution then under way in Britain, leaving an unquestionable influence on Restoration (1660) science. He and his circle earnestly demanded actions towards social reformation intended for the public good, on the basis of 'civic humanism'. Accordingly, the traditional type of the 'enclosed garden' became a metaphor for the confinement into the exclusive pursuit of private interests and factionality. On the contrary, they insisted on 'opening' the garden towards the public good by making it a branch of profitable husbandry. Finally, their proposals for agricultural and horticultural improvement led to the millenarian demand that the whole of Britain should be actually restored as the second Eden or God's Paradise by expanding or annihilating the borders of every existant garden. In fact, at least one member of the circle, John Beale, advocated a kind of the landscape garden.But, their views had certain limits. Firstly, reacting against the communist Puritan radicals, they urged the 'enclosure' of waste land and the commons, with the result that they were almost indifferent to the aesthetic pleasure of open nature or wilderness itself; such pleasure was obviously incompatible with their 'Protestant work-ethic', and would not come to the fore until the advent of Restoration Epicurean rural literature. Secondly, with the collapse of Puritan hegemony itself, the main part of their ideas sank into oblivion.Nevertheless, the circle's legacy formed a strong undercurrent after the Restoration, helping to bring into reality the open landscape garden.

著者

宇根 久実

出版者

広島大学大学院社会科学研究科国際社会論専攻

雑誌

欧米文化研究

巻号頁・発行日

no.7, pp.59-74, 2000-10-01

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Jahrzehntelang haben sich die Deutschen mit der eigenen Vergangenheit der NS-Zeit auseinandergesetzt. Jedoch passierte das anfangs nur stockend, denn immer noch kämpften Politiker mit ihren Ansichten, und somit schwankte auch die Art und Weise der Auseinandersetzung mit dem Krieg. Erst Ende der 60er Jahre, als die NS-Prozesse immer aktueller wurden, vertrat man die Meinung, das eigene Volk aufzuklären und die NS-Wirklichkeit endlich der ganzen Nation vor Augen zu halten. Durch Bestrebungen in den 70er und 80er Jahren sind jetzt zahlreiche Gedenkstätten, Mahnmale, Dokumentarfilme, Bücher usw. entstanden. Es kam zu immer kritischeren Diskussionen über die Verstrickungen einzelner in das NS-System und schließlich über die nationalsozialistische Prägung der deutschen Gesellschaft und ihrer Nachkriegskultur.Bernhard Schlink zeigt in seinem Buch Der Vorleser (1995), das von einer Liebesgeschichte, einem NS-Prozess und der moralischen Folge des HoIocausts gleichermaßen erzählt, das Dilemma der Nachgeborenen. Dabei wird eine schwer zu beantwortenden Frage aufgeworfen: „Was sollte und soll meine Generation der Nachlebenden eigentlich mit den Informationen über die Furchtbarkeiten der Vernichtung der Juden anfangen?" Die jüngere Generation sollte mit eigener Kraft der Gefahr der „Betäubung" und des „Verstummens" entkommen. Aber wie? Die Antwort ist dieses Buch, denn es wurde geschrieben, nicht nur um die Vergangenheit loszuwerden, sondern auch um sie zu registrieren und zu analysieren. Was den heutigen und zukünftigen Generationen bleibt, ist wohl dieser tiefe innerliche Konflikt. Die Literatur bietet anders als Rechtsprechung, Geschichtswissenschaft und Pädagogik den Vorteil, der neuen Generation noch gedanklichen Spielraum zu lassen.Dieses Buch bekam überall, vor allem auch im Ausland, großen Beifall, obwohl darin eine ehemalige Aufseherin einer Konzentrationslager zum ersten Mal als Mensch mit vielseitigen Charakterzügen und nicht als dunkle Figur dargestellt wird, und die inneren Konflikte der Nachgeborenen sehr ehrlich angesprochen werden. Der Erfolg des Buches erklärt sich vielleicht auch dadurch, dass es mittlerweile eine Vielzahl von Versuchen gab, die Wirklichkeit der damaligen Geschehnisse ans Licht zu bringen, und dass dies langsam auch vom Ausland akzeptiert und anerkannt wird.