著者
速川 和男
出版者
英米文化学会
雑誌
現代英米研究
巻号頁・発行日
no.5, pp.73-81, 1969-10-01
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

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 Mention is also made to the unpublished memos Memoranda Book, which distinctively shows how Lawrence struggled with the incoming flow of money by the sales of his most notorious novel of his day.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
vol.46, pp.39-53, 2016

<p>"The Signalman", a short story by Charles Dickens can be distinguished from other ghost stories. What makes this short story special is its focus on railways and the telegraph. This is a complex 'network' where ghosts appear in the story and to which the work itself belongs, for "The Signalman" was published as a part of <i>Mugby Junction</i>.</p><p>Employing media theory analysis, this paper re-reads "The Signalman" as a novel that echoes a Britain of the nineteenth century where new networks of railways and electrical wires enabled the rapid transit and mass communication. The new and revolutionary flow of information was mysterious and beyond the understanding of ordinary people. It was almost something spiritual. Dickens represented this enigma in "The Signalman" as the junction of ghosts and the latest media. The author's consciousness towards this junction can be found in the other chapters he wrote for <i>Mugby Junction</i>. Through this book, the protagonist improves his understanding of this junction. Our focus on technological media and spiritualistic mediums would give nineteenth century ghosts a certain definition: a piece to fill an unexplainable space in a complex of lines of information. Networks offer ghosts a place to appear, and people recognize a network through ghostly images.</p>
著者
内田 均
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.149-167, 2006-03-31

Victorian Romance Emma, a Japanese anime TV-series adaptation of the manga from Kaoru Mori, has at least two basic backgrounds: One is a cultural preference for traditional occidental fiction such as Nippon Animation's World Masterpiece Theater TV animation series of adaptations of classic children's books, second is a business plan made under the media mix strategy involving game software, comics, light novels and other related products. The anime set in late 19th century London adopts relatively modest directing in visual style, which is in contrast to most of character-centered, action-packed animes in recent years. From the viewpoint of visual media, the chief attraction for this anime is the challenge of recreating the atmosphere, the people and places as authentically as possible. It portrays the barriers of class and wealth, which are enhanced by realistic physical representation, including various kinds of women's clothes like maid servant's outfits, a dirty apron, Victorian ladies dresses, or a tight corset. Gorgeous costumes and upperclass life suggest the conspicuous consumption of Victorian society, while the portrait of a humble heroine and the gentle characters around her might obscure the exploitation of low-wage labor. Its historical accounts or accuracy can be thought-provoking and encourage the viewers to reflect on their own sexual and political repression. However, the recognition that characters represented by anime or manga have a different verisimilitude from ones by live-action films, also leads them to assimilate other types of consuming visual images, especially of women. The effects of Emma will necessarily be complex and indirect, whereas commercial purposes inherent in many visual media would put Emma in another context, far from Victorian society. This paper will examine the aspects of consuming physical representation through Emma and wide range of simulated bodies including maid servants that have been rooted in Japanese pop culture.
著者
斎 孝則
出版者
英米文化学会
雑誌
英米文化 (ISSN:09173536)
巻号頁・発行日
vol.28, pp.53-63, 1998-03-31 (Released:2017-06-20)

Evelyn Waugh's novels have at least two impediments when Japanese readers try to read them. The one is the Englishness of his novels. As James Kirkup has said, his novels are written for English readers, using strong English idioms. Therefore, his foreign readers often find it hard to understand the scenes in his novels. The other impediment is the seeming frivolousness of his characters, which can lead careless readers to take his novels to be frivolous. In fact, the author's intentions are very serious. It is worth noticing that the Englishness is indispensable for Waugh's novels because they deal mainly with the decline of English culture which is closely connected with the Englishness. Also, in back of the seeming frivolousness lies a keen sense of cultural crisis. Waugh thinks that modern England is surrounded by non-cultural elements, which are the causes of crisis. He not only depicts those elements but also shows how he copes with them.