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

著者

千代田 夏夫

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.7, pp.127-140, 2007-03

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F. Scott Fitzgerald's literary works and the word "romanticism" are regarded as very closely related to each other both among general readers and on the academic scene. His major literary materials are youth, beauty, and wealth. However, the strong ezistence of occult factors in his works are also noticeable besides these elements. In this essay, I aim to establish what makes up the crux of Fitzgerald's unique romanticism by inspecting the occult in his works. Reading his early works, including This Side of Paradise, The Great Gatsby, and major short stories, we come to notice the importance of the motif of the window. This is where occult factors such as spirits and auditory hallucinations enter into the indoor world.Significantly, those spirits or ghosts are mainly described with the word "something", which has the effect of blurring the object and producing a "closed" atmosphere. Nothing in the room is allowed to exit through the window.As a consequence, the indoors in Fitzgerald's works are always excessively full of "something" and this state reproduces an atmosphere of the occult. The window is a medium between the inside and the outside, and with its transparent glass surface, it functions both as a barrier and as a potential vent for the oppressed air of the indoors.//At the window, where spirits appear, the boundary between the dead and the living becomes obscured. Accordingly, the window becomes a dangerous place where one might be drawn to "that side" (the dead) from "this side" (the living). Whe people actually go out through the window or rebel against the glass, they are destined to die as we see in "The Cut-Glass Bowl", "May Day", ot The Great Gatsby. Glass also functions paradoxically in that it is beautiful and fragile, but simultaneously ominous. This double quality of the glass is equivalent to that of women. With the non-heterosexual gender axis, women in Fitzgerald's works possess a destructive potentiality against men. In the meantime, men's love toward women eventually turns out to be fictious in that it is actually narcissistic love for themselves.Fitzgerald had much concern with the conception of the sentimental and the ramantic. Under his definition of "romantic", that the romantic hopes against hope that things will not last. men are destined to live non-romantically in the enclosed indoors as long as they hope to keep living. Having the fictitious "romance" between men and women as its origin, the crux of Fitzgerald's romanticism is the paradox that one can never be romanticunless one stops living inside the closed room.

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 (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

林 文代

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.1, pp.249-254, 2001-03

著者

菅 英輝

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.8, pp.186-190, 2008-03

著者

南 相九

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.11, pp.34-40, 2011-03

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特集:歴史と和解 : 歴史教育の現在

著者

宮本 文

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.160-173, 2009-03

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論文

著者

酒井 啓子

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.8, pp.28-35, 2008-03

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特集1 : 反米 : その歴史と構造Special Topics I : Anti-Americanism : History and Structure

著者

日高 優

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.147-162, 2002-03

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This paper aims to analyze the street as a topos in contemporary American photography. Historians of photography claim that contemporary American photography originated with the work of William Klein and Robert Frank, photographers who viewed American culture from an alien, critical perspective. In contrast, more recent photographers, who learned from these two pioneers how to use their cameras for more personal purposes, represent the street as a place to encounter people and to frame them extemporaneously. In this paper I will consider a representative of the new generation, Garry Winogrand, as a street photographer. As with his contemporaries, Winogrand never plans his photos in advance. After reading Winogrand's photographs from the perspective of photographic technique and content, I will discuss the meaning of his photographs both from his point of view and from that of the viewer. Photographs of streets become conduits not only of the photographer's but also of the viewer's memory. The memory of the photographer and the viewer passes back and forth through the medium of the image. Through visual stereotypes of experience, the memory of the photographer and of the viewer penetrates the photograph and is released into the image. Likewise, in the opposite direction, the image works upon their memories. Through the two-way circuit of the image and the viewer, images of the street reappear as a common topos of memory. The topos of street comes into being only through the photographic event.

著者

村上 由見子

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.2, pp.21-34, 2002-03

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Although "Asian American" has been an officially recognized term only since 1968, we have to go back all the way to the mid-nineteenth century when the first wave of Asian immigrants arrived in the United States of America. They brought with them provincial "low cultures" of their home countries. Chinese laborers, for example, needed their work songs to sing during railroad construction, while Japanese in Hawaii plantations created the new blues-like "holehole bushi." Their sense of being "deracine" promoted the creative development of a new Asian American culture. In a historical perspective, we see an interesting overlap in time between the notorious Immigration Act of 1924 which banned all Asian immigrants and the prime time of the American Jazz Age. In the 1930s, Japanese farmers also shared the sufferings of the Joad family in the novel "The Grapes of Wrath" by John Steinbeck. Their harsh life is also depicted in the short stories written later by Nisei writers. They also wrote about their experiences as camp interns inside the barbed wire during World War II. Meanwhile, the East West Players (EWP) of Los Angeles manifested themselves as Asian Americans in 1965, making theirs one of the first groups to support this cause. Many Asian American playwrights made their debuts in the 1970s and the 1980s through the EWP. This helped to open an era of multicultural/multiethnic diversity in the U.S., as major publishers grew aware of the new talent flowering among Asian Americans. Now that today we actively discuss such notions as "diaspora," "transnational" and "hybrid," it is more important than ever to examine how Asian Americans totalling 10, 242, 998 in the 2000 census grew to be a part of the U.S. cultural scene.

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 (ISSN:13462989)

巻号頁・発行日

vol.5, pp.31-40, 2005-03 (Released:2010-03-16)

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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.