著者

周 家星

出版者

桃山学院大学

雑誌

桃山学院大学経済経営論集 (ISSN:02869721)

巻号頁・発行日

vol.56, no.3, pp.69-97, 2015-02-27

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Since the1990s, important changes have occurred in the stock ownership structure of large enterprises in Japan. One of the most significant changes can be summarized briefly as the declining share of corporate shareholders on the one hand, and the increasing share of domestic and international institutional investors on the other.This article reviews two problems caused by the changing structure of shareholders. The first is whether banks and insurance companies will continue to play the role of shareholders loyal to management. The second problem is whether the new major investors can be considered to be stable and long-term investors. Regarding the first problem, analysis of changes in the composition and shareholding ratio of twenty major shareholders in Japan's large enterprises points to the conclusion that although the ratio of shares held by banks and insurance companies has declined significantly, they continue to hold a very important position amongst loyal shareholders. In this context, it is clear that solid support for enterprise management cannot depend solely on the shareholding ratio of the traditional loyal stockholders. Regarding the second problem, analysis of the substance and nature of large institutional investors indicates that their investment judgment and exercise of voting rights are heavily influenced by the stance of their parent companies, which are domestic and international mega banks and financial groups. In addition, it is important to note that the investment decisions and voting behavior of mega banks and financial groups are based not only on their interest as stakeholders but also on careful attention to relations with the enterprise concerned.

著者

沼田 健哉

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.20, no.1, pp.p53-66, 1986-07

著者

岸本 裕一 森川 卓夫

出版者

桃山学院大学

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.4, pp.3-18, 2003-03

著者

望月 和彦

出版者

桃山学院大学

雑誌

桃山学院大学経済経営論集 (ISSN:02869721)

巻号頁・発行日

vol.54, no.1, pp.35-70, 2012-06-15

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On15th March 1920, the prices of stocks and commodities fell dramatically. That great fall was named "Daihando". As has been said in previous papers, a credit squeeze was brought by the domestic and external factors. The former is money fixation in the banking sector which deprived banks of capability to lend money. The latter is money shrink caused by the deficit of international trade. The credit squeeze caused Daihando in two ways, that is, (1) by the credit squeeze the interest rate was higher than a dividend yield of stocks so that it got irrational to invest in stocks, (2) many speculators bought stocks and commodities by borrowing money from banks, but by the credit squeeze the banks refused to lend money to the speculators, so that they had to sell their stocks and commodities if the market of stocks or any commodities had faced the turmoil. The market situation as a whole was so vulnerable to the external or internal shocks through this interlinkage between markets. The price fall began first in the future rice market on 10 th March. Then it spread to other market including stock market with panic sales. On15th March the great price fall came out in the stock market. The credit squeeze was a result of the lending restriction of the BOJ. The BOJ took the tight money policies since October1919, but they had no effect on the bubble ballooning. So instead of rising the discount rates which was politically difficult, the BOJ tried to restrict lending to the banks. This caused the credit squeeze which led the collapse of bubble.

著者

望月 和彦

出版者

桃山学院大学

雑誌

桃山学院大学経済経営論集 (ISSN:02869721)

巻号頁・発行日

vol.43, no.1, pp.105-149, 2001-06

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In this paper, we try to review the economic turbulence of Japan in 1920's through our perspective of 1990's. In both periods we have the same experience about the bubble economy. We have interested in the policies in the burst of bubbles. And those who charged with the policies of post-war era also engaged with policies of crisis of Showa era. We try to explore the events of Taisho era, in order to get lessons from the experiences in Taisho economic policies. For that purpose, we must analyze the Taisho bubble economy. By the WWI the Japanese economy made rapid economic development. It got huge trade surplus and gold which increases money supply in the gold standard system. The economy soared so much. The Japanese government took fiscal and monetary policies which encouraged industries and exports. When the WWI was over, many Japanese thought the economic boom was over too. But the economic boom wasn't over. After the war the Japanese economy experienced a boom more drastic than in the war. And the government sticked to the expansive policies in the boom despite the inflation. But the boom colllapsed in March 1920. That is the beginning of the stagnation which caused the financial turmoil in the Showa era.

著者

全 在紋

出版者

桃山学院大学

雑誌

桃山学院大学経済経営論集 (ISSN:02869721)

巻号頁・発行日

vol.56, no.4, pp.125-156, 2015-03-31

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The conclusions reached in this paper are summarized as follows: (1)"Accrual basis" is an accounting method which books transactions as the standard when goods flow, as opposed to "cash basis" accounting, which books them as the standard when cash flows. According to this viewpoint, single-entry bookkeeping is not cash basis accounting immediately. And double-entry bookkeeping is not accrual basis accounting immediately. In other words, single-entry bookkeeping includes cash basis accounting and accrual basis accounting, and double-entry bookkeeping includes cash basis accounting and accrual basis accounting. (2)Sorting the three stages is common to Motegi and Foucault in discussing the history. Motegi asserts the "Theory of 3 stages in Accounting History," which is considered the best accounting art to be developed in a society where capitalism developed the most. It expresses the evolution theory of history, Darwinism, as a continuous conception of history. As opposed to Motegi, Foucault asserts the "Theory of 3 stages of Power History," which is a sudden change conception of history, paradigm shift thinking, and discontinuous conception of history. The two theories disagree fundamentally. (3)The relational theory without substance in "accounting" as the language of business does not remain only in the relation of double-entry bookkeeping and single-entry bookkeeping. Also regarding the relation of periodical accounting and accounting on the basis of separate ventures or lots of goods, as well as the relation of accrual basis and cash basis that were mentioned in Motegi's theory, the relational theory without substance represents the real state of accounting as the language of business. As long as accounting is "signe linguistique", all of the meanings of accounting words are delimited based on the theory of meaning as relation. (4)If we try to understand the meaning of the debit elements of trial balance, "asset" is a "non-expense" element, and "expense" is a "non-asset" element. Again if we try to understand the meaning of the credit elements of trial balance, "liability" is a "non-equity" and "non-revenue" element. "Equity" is a "non-liability" and "non-revenue" element. "Revenue" is a "non-liability" and "non-equity" element. (5)We consider that the shift to the double-entry bookkeeping method from the single-entry bookkeeping method is rather a sudden change (discontinuity) than evolution (continuity) in an accounting system. We agree with Foucault's power theory rather than Motegi's Round-the-World theory of accounting. Neoliberalism seems to be the background for asserting the shift to double-entry bookkeeping from single-entry bookkeeping in the accounting systems of administrative bodies (the Japanese government and local governments). If so, it will promote the worldwide phenomenon where the weak are victims of the strong in terms of the economy.

著者

本間 栄男

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.48, no.2, pp.63-104, 2015-02-27

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Herbert Spencer (1820-1903) included an evolutionary psychology in his synthetic philosophy. In this paper I treated the development of theory of emotion in his psychology. Spencer had four sources in his theory of emotion: Lamarkian theory of evolution, phrenology, association psychology, and theory of moral sense. Though association psychology which comes from empiricism is opposed to moral sense which is an inherent ability, he was able to dissolve the opposition through the Lamarkian theory of evolution which admits that an individual can hand down the ability he got to the next generation. From phrenology, he socceeded the opinion that psychological functions have their seats only in brain and nerve. Spencer gave a brief account of emotion in his early work (The Principles of Psychology, first edtion, 1855), but in the late 1850s he gradually considered it important. Through his reading Alexander Bain's The Emotion and the Will (1859), emotion occupied an important place in his system. In the second edtion of The Principles of Psychology (2vols. 1870-1872) he discussed the formation of social sentiments which is the base of social morality in his evolutionary way, and made it possible to engage psychology with sociology and ethics.

著者

谷口 勇

出版者

桃山学院大学

雑誌

桃山学院大学人文科学研究 (ISSN:02862700)

巻号頁・発行日

vol.15, no.1, pp.103-121, 1979-07-25

著者

林 宏作

出版者

桃山学院大学

雑誌

国際文化論集 (ISSN:09170219)

巻号頁・発行日

vol.22, pp.238-213, 2000-12-20

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Some Unpublished Pieces by Chen Yi 陳沂(一四六九-一五三八)には『拘虚集』五巻・『拘虚後集』三巻・『拘虚詩談』一巻・『游名山録』四巻・『陳石亭先生文集』十二巻などの著作がある。『拘虚集』は、陳沂が出仕する前から翰林院学士や山東左参議となる前後に至るまでの詩作を自ら選定し、門人の陳儒によつて一五三二年に刊刻されたものである。この原刻本は見ることができないが、幸い任卿が原刻本を復刻した重刊本(一五三三年十月から一五三五年二月までの間と推測される)は、いま台北中央図書館に現存されている。しかしこの任卿の重刊本は巻二と巻三に各々一頁、計五律五首・七律四首が欠けている。『拘虚後集』は陳沂が政界を引退した後の詩作を収め、一五六二年七月その子の陳叔行によつて刊行されたものである。これは陳沂没後二十五年目のことである。また『石亭文集』は陳沂の長子時萬と従子時伸が家蔵の遺稿を収集して一五六五年に刊刻したもので、いま日本尊經閣に収蔵されており、任卿の重刊した『拘虚集』とともに天下の孤本である。なお『拘虚詩談』と『游名山録』の編者や刊行年月については不明であるが、この二書は張寿〓の収集によつて一九三四年三月前述の『拘虚集』と『後集』の後に附刻され、『四明叢書』第四集巻十に収められている。しかしそのうちの『拘虚集』は任卿の重刊した欠頁本を再刻したものであるために、欠頁の状況が依然そのままになつている。かねてから『拘虚集』巻三に欠けていた陳沂の『憶昔』詩其の四を探すために筆者は、一九九七年度の海外研習を利用して、明清の書画資料を収集する傍ら、台北故宮博物院や中央図書館等にある陳沂に関する資料をできる限り精査した。その結果、ここに掲載した十二篇の佚詩佚文を発見し、陳沂の詩文集を補遺すべくこの一文にまとめた。録出した佚詩佚文の後に出典を明示し、それぞれの内容や関係人物および年代などについて考証を行い、陳沂研究における一層の進展を願うものにしたい。なお文末に掲載されている図版は、二玄社の高島義彦・西島慎一両氏のご協力によるものである。ここに誌して謝意を表したい。

著者

小野 良子

出版者

桃山学院大学

雑誌

英米評論 (ISSN:09170200)

巻号頁・発行日

vol.13, pp.51-70, 1998-12-21

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Neptune's Triumph for the Return of Albion was composed as the Twelfth Night masque for the Court Christmas. Ben Jonson wrote the masque in answer to the request from Prince Charles and the Duke of Buckingham who had returned from a Spanish mission. Charles and Buckingham had made a secret journey to Spain to negotiate the prince's marriage with the Spanish Infanta and to bring her home to England. The Spanish match had been a favorite and ambitious project of King James. However, after long negotiations the prince and the duke returned home resentfully, and the Jacobean court was divided between James and Prince Charles concerning England's Continental policies. Jonson's masque dealt with the safe return of Prince Charles from his misson to Spain; and yet the subject-matter was to pay homage to King James's political wisdom and the consequent triumph for the victorious return of his son. Neptune and his court was dentified with James I and his court and the argument of the masque was presented as an ideal version of the recent political events. In fact, Charles's mission to Spain brought nothing fruitful to England; and much worse, King James was pushed into a new and hard course in foreign policy. Nevertheless, Jonson's loyalty to the State as the court poet urged him to rewrite English history and to create another myth of Jacobean England as the 'Fortunate Isles'. Jonson was convinced that the poet had obligation to serve the State and to sustain wise government by providing the monarch with good counsel. Yet Jonson was never ignorant of the fact that the masquewriter's function which the poet himself believed to be was not identical with the one that the court audience expected. Jonson's awareness of this gap was demonstrated in the comic dialogue between the 'Poet' and the 'Master-Cooke' of the masque. The main masque celebrated the ideal reign of James I by identifying it with the myth of Ocean God, Neptune. And, by the employment of the poet figure as masque-writer of the masque in progress on the stage, Jonson exposed that the masque world was an illusion, a fiction created by the poet. The meta-masque device introduced in Neptune's Triumph was thus a Jonsonian way of manifestation that the poet's invention alone could achieve the ideal transformation of the Monarchy.

著者

軽部 恵子

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.34, no.1, pp.137-162, 2000-08-31

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This paper reviews communications concerning the status of women alleging violations of women's rights set forth in the U.N. Convention on the Elimination of All Forms of Discrimination against Women (1979). Communications, some confidential and some non-confidential, were received either by the Division of the Advancement of Women (DAW) of the U.N. Secretariat in New York from 1 January to 30 November 1999, or by the U.N. Office of the High Commissioner for Human Rights in Geneva from January to October 1999. The former communication procedure was established by Economic and Social Council Resolution 76 (V) of 5 August 1947, as amended by Council Resolutions 304 (XI) of 14 and 17 July 1950 and 1983/27 of 26 May 1983. The latter procedure was established by Economic and Social Council Resolution 1503 (XLVIII) in 1970. During its 44th Session, the U.N. Commission on the Status of Women (CSW) had its working group examine the contents of these communications. I analyze the patterns of alleged violations of women's rights described in these communications, and examine causes of those violations. Then, I emphasize the significance of maintaining a communication procedure concerning the status of women based on Economic and Social Council Resolutions because such a procedure will provide a measure to reinforce the domestic implementation of women's rights, especially while the Optional Protocol to the U.N. Convention on Women adopted by the General Assembly in October 1999 is yet to enter into force. Finally, I conclude that many of these communications include a variety of forms of "violence against women" and thus argue that the international community must put more emphasis on women's rights in order to stop threats to women's lives immediately.

著者

軽部 恵子

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.34, no.2, pp.27-45, 2000-12-20

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This paper analyzes the influence of reservations to the effectiveness of the Convention on the Elimination of All Forms of Discrimination against Women (hereinafter referred as "CEDAW") and the Optional Protocol to this Convention (hereinafter referred as "the Optional Protocol") in guaranteeing women's human rights. Reservations to treaties allow states to join a multilateral treaty when states agree to the object and purpose of the treaty in general but find that some provisions do not comform to their domestic laws, customs, or practices. At the same time, however, reservations pose the danger of tampering with the object and purpose of treaties, especially when it comes to human rights treaties. I analyze the provisions relating to reservations both in CEDAW and the Optional Protocol, comparing those with other major human rights treaties adopted by the United Nations General Assembly. These treaties include the International Covenant on Civil and Political Rights of 1966, the International Convention on the Elimination of All Forms of Racial Discrimination of 1965, the Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment of 1984, and the Convention on the Rights of the Child of 1989. While CEDAW follows the "compatibility" principle established in Article 19 (c) of the Vienna Convention of the Law of Treaties of 1969, it fails to provide concrete criteria of the compatibility of reservations. Then I go on to analyze reservations made to CEDAW from the perspectives of geographical distribution, settlement of disputes, and the content of the provisions.

著者

軽部 恵子

出版者

桃山学院大学

雑誌

桃山法学 (ISSN:13481312)

巻号頁・発行日

no.9, pp.27-52, 2007-03-20

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This paper discusses the possibility of achieving global governance withgender equality in the U.N. Regime. First, this paper considers several definitionsof global governance and determines to use the following: internationalsystem which has been established to respond to those issues which appearbeyond national borders and might affect the entire human being. The examplesof such system include international organizations, international organizations,treaties, and markets. Second, this paper reviews the history of U.N.documents on women's rights beginning the U.N. Charter. These documentsinclude the following : the Universal Declaration of Human Rights, the U.N.Declaration on the Elimination of All Forms of Discrimination against Women,the U.N. Convention on the Elimination of All Forms of Discrimination againstWomen (hereinafter "the Convention" or "the U.N. Convention on Women")and the Beijing Declaration and the Platform.Third, this paper examines four issues which are obstacles to implementfully the U.N. Convention on Women, the most important international instrumentamong the U.N. regime on women. These issues include the following:reservation to the Convention, the necessity of education for women, the effectivenessof the reporting system by States Parties of the Convention, andthe protection of women under armed conflict. The protection of women underarmed conflict lies beyond the jurisdiction of the Committee on the Eliminationof Discrimination against Women, which is merely a monitoring body ofthe Convention.Finally, this paper will argue whether global governance can be achieved inthe field of gender equality.

著者

多木 陽介

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 (ISSN:1346048X)

巻号頁・発行日

vol.41, no.3, pp.23-45, 2016-03-15

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Eenen, En-nen (延年) is a project that was started in 2006 by Tadashi Ogasawara, a Kyogen actor of the Izumi School, with the ambition to rediscover the primitive form of Kyogen and retrieve its original vigor. I have been involved in this project as stage director and researcher since 2009 together with Angelo Crotti, an Italian actor specializing in the role of Arlecchino in Commedia dell'Arte. For three years (April 2012 - March 2015) we were fortunate to receive academic and financial support from Osaka's Momoyama Gakuin University in the joint research program titled `The Establishment and Development of Masked Comedy in Japan and in Italy during the Medieval and Early Modern Period and its Contemporary Practice'. In this paper I examine what we have done and present an analysis of our experiments. Kyogen is a Japanese traditional comic theater which has undergone refinement and stylization throughout its long history. As a consequence, Kyogen today seeks only virtuosity in performance, leaving the social significance of the themes obscured or distorted, so that it is often difficult to understand the original meaning of the plots and the action. For example, in the famous and popular piece <<Ka-zumo>>(sumo with mosquito), the role of the mosquito should be interpreted as a metaphor for a poor hungry peasant, not an insect itself. Rereading <<Ka-zumo>>in this way, one will notice that this was bitter satire, not the fantasy-like comedy that we see today on the Kyogen stage. Originally, Kyogen was a form of satiric comedy with a real social function, but as a cost of the protection given by the ruling bushi class since the 17th century, it lost its vital link with society and was subjected to a kind of emasculation. Its stylization was nothing but the result of control by the authorities. It was also a general tendency in early modern Europe to `civilize' madness (the chaotic energy of comic plays, carnivalesque fetes, fools and so on). And this was very similar to what happened to Kyogen. Our objective is to deconstruct the stylized form of Kyogen and restore its original creativity and critical function in a contemporary society. For this purpose we took the approach of tracing back its genetic process in history. If we compare human activities as a whole to a big tree, each specialized field (not only technological or industrial fields, but also many traditional arts) corresponds to one branch at the top of ramification very highly posted, but very distant from its roots, and very poor and fragile in creativity, because we have so few lymphs at the branch end in quality and quantity. So it is necessary to step out of one's small branch end and descend to reach the parting point where many branches converge, and where you will find many more lymphs of creativity. Adopting Commedia dell'Arte, the Italian tradizional comic theater which has many similarities with Kyogen, but much less stylized as a "partner branch," we decided to go down to the parting point between Kyogen and Commedia dell'Arte. In the Eenen, En-nen project, we held conferences as well as workshops and experimental performances in collaboration with Commedia dell'Arte actors, namely Angelo Crotti and Andrea Brugnera, in Osaka, Venice and Bologna. For performances we chose some Kyogen texts and adapted them for present-day society by employing the improvisation technique of Commedia dell'Arte. We believe this is the only way to reach a larger bough where we could effectively rediscover the original energy and critical spirit of Kyogen. No less fruitful were the rehearsals themselves, through which we observed not a few essential points. At the beginning it was unexpectedly difficult for Ogasawara to act using improvisation. The reason? As Carola Baldini's MED method suggests, we can identify six different levels of human movement, which go from very personal identity to performing identity. Obviously, as a well-trained Kyogen actor, Ogasawara feels very much at ease at the Scenic Movement level, the most technical level mainly comprising our performing identity. But in acting using improvisation, which required much grater employment of his very personal psycho-physique zone, he had to contend with a less technical level of movement, from which he realized to be completely separated because of his traditional training. His body was heavily penetrated with kata, a stylistically codified form, a sort of performing language of Kyogen ,without which he fell into complete aphasia on the stage. Thus, we noticed in him a sharp split between personal identity and performing identity, life and form, mind and body, an interesting "symptom" typically observed in many traditional theater forms. Through a workshop held at Bologna University, we also realized that kata is not necessarily a fetter but a very effective and creative mode of expression. Kata is a complex language system, that is, a set of symbols to convey meanings. But sometimes in the course of history and the process of aesthetical refinement, the original meanings of kata become blurred or simply forgotten. Only by descending down to the genetic level we can understand the true meanings of kata, which need to be rediscovered every time we practice kata. The Eenen, En-nen project is a specific program to regenerate Kyogen, but all of our research, such as adaptations of Kyogen works, analysis of the symptom of the stage aphasia of Ogasawara or experiments utilizing kata, leads us to a fundamental question about the relationship between form and life. And we can apply the same method to other artistic subjects ; not only theater but also dance, music, painting, etc.

著者

下村 誠

出版者

桃山学院大学

雑誌

桃山法学 (ISSN:13481312)

巻号頁・発行日

no.23, pp.65-93, 2014-03-10

著者

日下 隆平

出版者

桃山学院大学

雑誌

英米評論 (ISSN:09170200)

巻号頁・発行日

vol.9, pp.113-138, 1994-12-20

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In recent years, there has been a growing inclination to re-examine the way that Irish exiles was perceived by British contemporaries in colonial England. The purpose of this study is to investigate the interaction between Irish exiles and British dreamers at the end of the nineteenth century. The image of Ireland in the colonial age was derived from the Elizabethan poet, Edmund Spenser. While he had distaste for the rebel Irish, he regarded the charming landscape of Ireland as an Arcadia. This Spenser's point of view was sustained by William Makepease Thakeray and Anthony Trollope. At the end of the nineteenth century, some British people used Ireland as a stage for their dreams and ideas, such as Ann Horniman and Maud Gonne. Their viewpoints were based on a kind of colonialism. It is no exaggeration to say that 'Celticism' might be approximated to 'Orientalism'. In the 1880s, a certain kind of Irish literary emigrant was advancing to prominence. Oscar Wilde, George B. Shaw and W.B. Yeats were three examples of a breed which can be traced back to middle-class Irishmen on the make, who were mainly engaged in the journalistic profession in England. They were not the average Irish emigrant. One of the typical examples was Justin McCarthy who migrated from Cork journalism into the world of Fleet Street, and afterwards became a Parnellite MP. W.B. Yeats spent his youth travelling back and forth between England and Ireland. His view of Ireland is inseparable from his emigrant status. Consequently, he could discover or re-create the image of Ireland, as seen in The Shadowy Waters. M. Gonne, who had spent her childhood in Ireland, was magnetized to the revolutionary era in Ireland. She identified Ireland's independence with her own independence. In this study, therefore, the interaction between Yeats and Gonne will be dealt with as one between an exile and a dreamer.

著者

吉田 一穂

出版者

桃山学院大学

雑誌

人間文化研究 (ISSN:21889031)

巻号頁・発行日

no.4, pp.139-159, 2016-02-26

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When we consider the works of Charles Dickens (1812-70) from the viewpoint of gender, we can safely state that Dickens represents the collapse of the patriarchal myth but he does not represent the women who assert equal rights of men and women. In Dombey and Son (1848), Dombey's family has a system where the male head of the family has nearly absolute authority and the oldest male child falls heir to his father's property. The father's love and hopes are centered in Paul, Dombey neglects his daughter, Florence, and the estrangement is increased by the death of her brother. The representation of Florence's flight from her father takes the initiative in Dickens's later representations of feminism, but Florence's return is different from the return of Louisa Gradgrind in Hard Times (1854), because Florence asks her father to forgive her for her running away from home. In Hard Times, Gradgrind imposes his sense of values of materialism on Louisa, and she gets married to Bounderby to obey her father's will and support her brother. However, she cannot go against her nature and gets out of her life with Bounderby. In both Dombey and Son and Hard Times, Dickens represents the collapse of the patriarchal myth. It shows his affirmation of women's right, but the two works does not show that Dickens completely approves of women's advances into society. Bleak House gives a clue to it. In Bleak House, Mrs. Jellyby neglects her domestic responsibilities because of her mission in Africa. Her telescopic philanthropy causes her neglect of her family when her young son Peepy gets his head caught in the area railing. John Stuart Mill (1806_73) showed his opinion about Bleak House in the letter to Harriet Taylor : `Hard Times has the vulgar impudence to ridicule rights of women. It is done in the very vulgarest way-just the style in which vulgar men used to ridicule `learned ladies' as neglecting their children and household etc.' Mill's opinion admits of refutation, because it is likely that Dickens emphasizes the bad side of Mrs. Jellyby who neglects domestic responsibilities, in Bleak House which shows both the situation of Esther as an orphan and the lack of responsibility of Mrs. Dedlock. Dickens did not deny the right and the conspicuous activity of women. He also knew the usefulness of women who contributed to society. As the granddaughter of Thomas Coutts, founder of the London bank, Angela Burdett-Coutts (1814-1906) was one of the wealthiest woman in Victorian England. She was one of the busiest as well, not only helping to manage the bank, but also engaging herself very activity in an enormous range of philanthropic project. Urania Cottage, at which fallen women could acquire new skills, was set up with Dickens's assistance. Although Dickens knew the usefulness of women like Angela Burdett- Coutts, he represented the negative side of Mrs. Jellyby. His representation of Mrs. Jellyby might come from his own experience. Dickens had a bitter experience with his own mother : she was against the plan that he would be released from the blacking factory, and tried to keep him there. Dickens unconsciously reveals his conviction that maternal love is important in his works. In Bleak House, the absence of mother has a great influence on Esther's life and Esther feels a deep sense of isolation. Therefore Dickens might have used his past experience with his own mother.

著者

国松 夏紀

出版者

桃山学院大学

雑誌

人間文化研究 = Journal of humanities research, St. Andrew's University (ISSN:21889031)

巻号頁・発行日

no.4, pp.241-252, 2016-02

著者

羅 鍾吉 金 泰漢 宣 憲洋

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 (ISSN:1346048X)

巻号頁・発行日

vol.27, no.3, 2002-03-01

著者

井本 英一

出版者

桃山学院大学

雑誌

国際文化論集 (ISSN:09170219)

巻号頁・発行日

vol.22, pp.61-79, 2000-12-20

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In 19th-century Korea votive pictures of a tiger or a cock were put on the door or the wall of the imperial palace on the New year's Day. Pictures of a god and a goddess were also put on both the door posts or the entrance to the palace. These animals and gods were the ancestors of the emperor, whence the gardians of the palace. This custom was borrowed from China. In China there was more detailed systems of animals through which the souls of the dead were transmigrated. It was believed that the souls of the dead went into the wall and appeared out of it. People buried the dead body in the wall. The dead, like the living, come to life again on the New year's Day. The votive pictures of the New year's Day were the pictures of the ancestors of the emperor.