著者

中垣 恒太郎

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.37, pp.115-132, 2007-03-31 (Released:2017-06-20)

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Truman Capote invented a new style of "non-fiction novel" in his work, In Cold Blood (1966). About 40 years after its publication, the situation of documentary has drastically changed. Capote's In Cold Blood adopted some elements of fiction into the documentary realm.a revolutionary approach to the genre. Indeed, many journalists were impressed by his work, and the movement of "new journalism" was brought about. The 2005 film Capote was focused on Capote himself who was making his new documentary work, In Cold Blood. In effect, the film Capote showed the "behind-the scenes" of Capote's struggle to create the non-fiction novel. Besides, the film represents an outstanding depiction of the transition of documentary over the past 40 years. In recent documentary works, extreme importance is placed on the viewpoint of camera. In Cold Blood did not directly depict the relationship between the author and the targets. Those targets were deeply affected after connecting with Capote himself, but Capote could not write about these aspects. The film Capote, on the other hand, emphasized the author's dilemma. This paper will reexamine the achievements of new journalism, and explore the possibility of docu/fiction bridging the gap between documentary and fiction.

著者

大東 俊一

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.95-104, 1998-03-31 (Released:2017-06-20)

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Muneyoshi Yanagi, who is the founder of theories on folk handicrafts, respected Lafcadio Hearn as his predecessor. Perhaps Hearn was the first foreigner who had a high opinion of Japanese folk handicrafts. Hearn had a certain influence on Yanagi, but they differ in their attitudes towards folk handicrafts. The aim of this paper is to discuss this difference. Hearn and Yanagi alike have a distaste for mass-produced industrial arts. Yanagi thinks so highly of folk handicrafts that he goes so far as to personify them. He regards the craftsmen a less important element in the production of folk handicrafts, and insists that a long-established tradition is more essential. Hearn, on the other hand, regards every craftsman as a creative being. He argues that this creativity (of every craftsman) springs from a kind of memory called 'organic memory.' This memory, in my opinion, is a syncretism of Buddhist ideas and the theory of evolution by Herbert Spencer.

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.29, pp.59-72, 1999-03-31 (Released:2017-06-20)

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Medical theories during Elizabethan period were based upon the medieval physiological concept of four humors. It was then believed that the macrocosm as well as the microcosm was fundamentally composed of the four elements - air, fire, water, and earth, while the microcosm (human body) had four humors - blood, yellow bile, phlegm, and black bile, each being thought to correspond with each of the four elements: for example, blood corresponds with air. Diseases were thought to be the result of the imbalance of these four humors. The humor doctrine was dominant not only in medical theories, but in the field of culinary art. Every foodstuff, as it is a part of the macrocosm, was also believed to be composed of the same four elements, each of which, when ingested, turn to each of the four humors. Consequently, it was understood that, if a body is short of blood, a foodstuff full of air such as milk should be taken. This tells us that the Elizabethans believed the microcosm could be a part of the macrocosm through the act of eating - you are what you eat. In Macbeth there are so many metaphors expressing inability to eat, and in the 'Banquet Scene' all the guests cannot eat because they are hosted by the mad king. To my thinking, when Macbeth shouts, "let the frame of things disjoint, both the worlds suffer," Shakespear dramatized the total collapse of the two cosmos that was in one through the act of ingestion.

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

vol.39, pp.125-141, 2009-03-31 (Released:2017-06-20)

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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

蒔田 裕美

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.40, pp.89-109, 2010

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Philaster, or Love Lies a-Bleeding, a collaboration by Francis Beaumont and John Fletcher, was one of the most successful tragicomedies that appeared on the Jacobean stage. It is said that Shakespeare followed the fashion set by them in writing romances such as Cymbeline and The Winter's Tale. Arethusa, the heroine of Philaster, represents-at least in some aspects-the "patient Griselda" type, a romantic character appearing in medieval and Renaissance Europe, noted for her enduring patience and wifely obedience. This motif can be found in Shakespeare's Cymbeline and The Winter's Tale. The purpose of this paper is to consider the heroine character of Philaster by comparing it with Shakespeare's Griselda heroines, and by showing some new features found in Beaumont and Fletcher's work. Shakespeare's heroines recognize that their sufferings are derived from the gods. Thus they endure their trials conventionally until time reveals the truth and things end in the spirit of "all's well that ends well," as in the Griselda tradition. Arethusa, however, already deviates from the typical Griselda heroine motif in the sense that she doesn't wait for a happy ending and, instead, takes passionate action to get married to her lover. In conclusion, Beaumont and Fletcher succeed in creating a sensational play, as the subtitle "Love Lies a-Bleeding" symbolically suggests.

著者

福島 昇

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.29, pp.47-58, 1999-03-31

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This paper posits a central theme of Shakespeare's King Lear as being the relationship between truth and insanity. This theme can be gleaned from the study of the rhetorical aspect of oxymorons, such as "unpriz'd precious maid" (I.I.25I) and "Proper deformity [shows] not in the fiend/So horrid as in woman." (4.2.60- 6I) This paper clarifies how oxymorons produce powerful meanings and how fruitful they are in assisting protagonists in finding the truth. The reason for Shakespeare's use of oxymorons, which 'are especially present in King Lear, is his desire not to display a one-sided definition, but to leave the defining interpretation an uncertainty, a mystery. Shakespeare makes it clear that truth and insanity, right and wrong, rapture and sorrow, are not antinomic just because they are placed back to back- they are left open for relative interpretation. Only those who suffer deeply throughout the play, such as Lear and Gloucester, can truly experience delight and truth. One-sided viewpoints are not accepted in the great tragedy of King Lear. It is apparent from Shakespeare's use of oxymorons that Lear's insane world transforms into one of truth, Gloucester's dark world changes into one of light. It is also apparent that Kent's, the King of France's, and the other characters' worlds change from despairing into hopeful ones. Shakespeare thought truth and insanity, misery and sublimity, are ultimately one.

著者

門野 泉

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.33, pp.27-42, 2003

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Many contemporary British directors seem to realize that modern, realistic, psychological analysis and interpretations are not enough to revive Shakespeare's dramatic dynamism on stage. Some directors draw upon Japanese traditional classic drama such as Noh and Kabuki, which have inherited dramatic traditions and conventions of medieval, early modern dramas. Having found shared points of commonality between Shakespeare and Kabuki, some directors have successfully adopted the dramatic techniques and staging of Kabuki in Shakespeare's plays. The transfer of Kabuki theatrical devices and acting methods has breathed new life into Shakespeare in recent productions by the Royal Shakespeare Company and Almeida Theatre. Although Shakespeare's Globe is able to exploit its unique building form to stage Elizabethan and Jacobean plays, it is very difficult to obtain details of the original Elizabethan stage practices and performances. The company has shown considerable interest in the traditional drama of Kabuki, because both forms of theatre seem to share the dynamic energy of early modern drama. Kabuki has many hints and suggestions to offer those who are eager to revive the Elizabethan stage in the contemporary Globe. The Shakespeare Globe Company have staged a revival production of Twelfth Night in which they made every possible effort to revive the dramatic traditions and methods that characterized the original staging at Middle Temple Hall in 1 602. One of these was the use of an all-male cast, which was also inspired by Kabuki onnagata, or female role specialists. This paper will consider how these English onnagata played Olivia and Viola, and their significance in the revival production of Twelfth Night at Middle Temple Hall. Mark Rylance, who played the role of Olivia, expressed femininity in a stylistic way rather than just copying womanly manners. The countess appeared very feminine not merely because "she" looked ladylike, but because the actor personified a kind of feminine essence, which is what onnagata try to achieve in Kabuki. Rylance was very successful in depicting the comical element in the proud Olivia, in vivid contrast to the patient Viola. Eddie Redmayne's Viola was unique in the sense that he was able to represent both male and female characteristics in a very natural manner, which would be almost impossible for any actress to achieve. As an "onnagata", he appeared to possess both sexes on stage, which made his Viola both unique and charming. In the recognition of the twins, Viola and Sebastian, in the final scene, the two male actors wearing the same costume looked so alike that Shakespeare's intended use of the twins seemed to be fully realized in this production. In one beautiful moment, all the confulsion was completely resolved, leaving a deep impression on the audience. Twelfth Night featuring an all-male cast was not merely an old-fashioned, nostalgic revival but a well staged production that enabled us to rediscover what had been lost from the play for a long time. The production was a revelation of what Twelfth Night must have been like in Shakespeare's day.

著者

塚田 英博

出版者

英米文化学会

雑誌

英米文化

巻号頁・発行日

vol.48, pp.13-31, 2018

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<p>It is generally agreed that the only early works of Toson Shimazaki was affected by the describing method of John Ruskin. It is sure that "Chikuma River Sketches," (1900–02) one of his early works, was affected by <i>The Modern Painters</i> (1843, 46, 56, 60) by Ruskin about the description of nature. However, in "The Distribution," (1927) his later work, exists Ruskin's saying: "There is no wealth but life." in <i>Unto This Last</i> (1862). The question now arises: Was Shimazaki's later works very influenced by Ruskin's works? Analyzing Shimazaki's essays makes his fundamental principle about writing clear. That is "a life- first policy." This policy lays a foundation for his novels. Therefore, "The Distribution" is also based on it. Moreover, Ruskin's saying symbolizes this policy. We may go on from this to the conclusion that Shimazaki put Ruskin's saying in his work in order to show the readers his policy.</p>

著者

宮本 正和

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.21, pp.75-87, 1991-06-01

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In the Middle Ages " a fool's glass" was used as a tool for self-reflection. Shakespeare handled it skillfully in his works. In A Midsummer night's Dream, that skill is found in the way which is quite immature. Let us look at that handling of the fool's glass in some other works before we search that skill in " A Midsummer night's Dream." And Comparing the result of our discussing with it, we conclude it as follows : Shakespeare uses a fool's glass as the means which can pass into another world. In Hamlet that another world is the world of Death. And when the gap of time arises, the gate between two worlds is opened. In Macbeth wWeird Sisters come into our world from their supernatural world. They place the gate and make it open like this. "When shall we three meet again?" In Hamlet the fool's glass is Ophelia's eyes. Hamlet can enter into another world-death world-through her eyes. Hamlet can enter into another world-death world-through her eyes. His reflected figure on her eyes is his own another self. the name of Hamlet means "fool". When he gazes his own figure, he gazes his foolish self. His father's name is Hamlet. dead Yorick he speaks to was once a court fool. ophelia's pupils are a fool's glass and function as the passing gate of some supernatural existance. In " A Midsummer Night's Dream", we can observe the immature origin of those elements. Through the hole of Wall, Pyramus and Thisby meet each other. they are fools. But they are not those who appear in Shakespeare's later works. They are not educated, so they appear to be foolish in the eye of Theseus Hippolyta and us. Their foolishness is not so serious, compared with that of Hamlet. Bottom's group think themselves as great actors, so they are foolish. The audience notice them foolish, but Bottom's group don't and never try to notice it. Hamlet asks himself what he and torments himself. So the foolishness of Bottom's group is more supericial. In Macbeth, Weird Sisters enter on the stage by using a placed time, When we search A Midsummer Night's Dream, we find the same situation, but in this play, the word "when" equals "if". The definite word of time becomes more vague and fantastic. And such a fantastic and vague word "if" introduces supernatural element into the stage. And so the hole of Wall opens, as Birnam wood moves.In this way, we observe the beginning of using a fool's glass in A Mid summer Night's Dream.

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.47, pp.31-45, 2017

著者

村井 まや子

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.29, pp.105-114, 1999-03-31 (Released:2017-06-20)

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My reading of Angela Carter's The Passion of New Eve concerns the way the novel engages itself with the current feminist discourse. In my view, Carter in The Passion of New Eve not only criticises the patriarchal definition of women by parodically rewriting the traditional images of women in Judaeo-Christian culture such as Eve, Lilith, and Virgin Mary, but also questions the kind of feminist thought that invokes the ancient figure of the mother goddess as an empowering image for women. For Carter, to return to matriarchy only ends up in the inverted form of sexism, and to do so means to be caught up again in the system of binary oppositions. In this novel about a man who involuntarily undergoes a physical and psychological transformation into a woman, Carter suggests that the possibility of freedom for both women and men should lie only in the constant interchange between the two, i.e., man and woman, father and mother, consciousness and unconsciousness, self and the other, and so on.

著者

宮腰 晃

出版者

英米文化学会

雑誌

現代英米文化

巻号頁・発行日

no.19, pp.5-13, 1989-04-28

著者

小林 弘

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.43-59, 2007-03-31

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In his The Elements of Law, De Cive, and Leviathan, Thomas Hobbes says that the English common lawyers in the seventeenth century confused lex with jus, law with right. He emphasizes that "Right, consisteth in liberty to do, or to forbear; whereas Law, determinth, and bindeth to one of them." (Leviathan,117) In brief, he regards right as liberty, or the absence of obligation and law as restraint, or the imposition of obligation. And he insists on a sharp distinction between right and law, and that right is priority of law. Hobbes's distinction between right and law is criticized by many commentators. For example, Richard Peters criticizes the word right Hobbes says for "a strange use." On the other hand, Leo Strauss admits the comment that Hobbes subordinates law to right. And Richard Tuck follows Strauss. Which comments are true? This is one of my subjects, though it is very difficult to solve. I dealt with this subject by Hobbes's method and his linguistic theory in De Corpore. And I reached the conclusion that the comment of Strauss is more proper than that of R. Peters.

著者

森川 隆司

出版者

英米文化学会

雑誌

現代英米研究

巻号頁・発行日

no.12, pp.14-40, 1982-07-10

著者

山口 裕美

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.47-63, 2013-03-31

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This paper aims to show that Byron tries to give a new interpretation of Cain in Genesis. The protagonist in Cain is possessed by despairs, which Kierkegaard would call "the sickness unto death." His Faustian impulse, which is the desire to get the ultimate knowledge, would result from the anxiety where he cannot identify who he is in the world. Yet, by having knowledge beyond the human realm, he would break a Christian taboo: he would commit the sin of pride, which is one of the seven deadly sins. It is natural that the protagonist such as Cain should be cast into Hell as Satan in Paradise Lost in the traditional Christian view. However, if the Christian conception of good and evil should overturn as in the Nietzschean thought, the protagonist's anxiety would become existentialistic. In analyzing Byron's Cain in comparison with the philosophy of Kierkegaard and Nietzsche, this paper tries to see Byron not as one of the later Romantics but rather as a pre-existentialistic poet.

著者

竹村 直之

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.26, pp.41-51, 1996-03-30

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In this paper, I will analyze how both William Blake and Edgar Allan Poe are different from Emanuel Swedenborg concerning human imagination, and then I will show why Blake and Poe departed from Swedenborg. Both Blake and Poe were deeply influenced by Swedenborg, but later parted from him and began to criticize him. They criticize him as follows: Swedenborg was too much rational; he overstepped the boundary of reason: he came to invade and restrict the world of imagination. I believe that one of the reasons Blake and Poe criticized Swedenborg is that both had their peculiar views of the human imagination which is quite different from Swedenborg's. For example, in "Laocoon, " Blake said: The Eternal Body of Man is The Imagination, that is God himself, The Divine Body Jesus: We are his Members In "The Domain of Arnheim, " Poe also used such phrases as 'being superior yet alike to humanty' or 'immortality of Man, his perennial existence' in "Poetic Principle." Both Blake and Poe thought that human imagination can achieve thought of a godlike person or humanlike god. These are the only few of the many examples of how Blake and Poe see human imagination.

著者

木内 泉

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.27, pp.81-104, 1997-03-31

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Throughout the nineteenth century philanthropy was not only a respectable alternatives to idleness but also the very popular vocation which was the leisured woman's outlet for self-expression and a purpose in life. And furthermore it enabled them to contact with the people of other classes and widen their sphere and enlarge their horizon. It gave women, from upper and middle-class women to working women, common experience, compassion, and first-hand knowledge of widespread poverty, inadequate housing condition brought about by industrialization and urbanization. As charity organizations and government institutions provided more and more services, skilled professionals were needed to train many volunteers. The experience women gained in workhouses, hospitals, and settlements enabled them to play a role in public affairs later. Most of the women who were devoted to the charity work served as poor law gurdians and on school boards, as well as in lesser government offices. Through their contact with charitable organization women increased their interest in the problems of poverty and the social services. When agitation of women's movement was revived in the early 20th century such public services proved that women were worthy of vote. The interest of women suffrage was caused by a certain of their activities, because they realized that compassion and religion alone were inadequate instruments to change the social conditions which bred the problems and there were limits to a charitable action without political power. The early women's suffrage societies were regarded by them as another branch of philanthropy. The connections which linked various committee women in the 19th century enabled the female suffrage societies to be established rapidly all over Britain.

著者

高梨 絵梨沙

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.33-45, 2013-03-31

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In 1798, William Wordsworth wrote "The Old Cumberland Beggar (OCB)" included in The Lyrical Ballads, and in 1802, he composed "Resolution and Independence (RI)". There poems show some similarities. The first similarity pertains to the figure of the main character. In these poems, Wordsworth depicts an old man who belongs to a lower class. In spite of their class, these men have an honorable spirit and merge with the nature of the Lake District. The second similarity of these poems is the context of the narrator. The character of both narrators is not detailed by Wordsworth, but they are projected by the poet himself. In addition, the narrators differ in their sympathy for the old. The narrator of OCB tries to protect the beggar's freedom from the Poor Laws, although he never speaks to him nor does he interact with him directly. On the other hand, the narrator of RI tries to speak to the leech gatherer, being inspired by him. When readers compare the narrators of the two poems, they can understand the change in Wordsworth's attitude to the old men as the characters of his poems. In OCB, he is only an observer, but in RI, he learns to participate in the poems and speak with the character created using the power of his imagination.

著者

鵜浦 裕

出版者

英米文化学会

雑誌

現代英米文化

巻号頁・発行日

no.18, pp.107-114, 1988-03-12

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The response and development so Social Darwinism deserves to be called one of the most fruitful objects for comparative studies. The reason is that this thought was accepted into various countries and given different modifications in the late 19th century. In spite of the situation, previous studies of this field have not so far established any clear frame of reference through which we can compare different variations of Social Darwinism. This is the main reason why the present author attempted to devise a possible scheme for the comparative studies on this thought, by surveying the books of Darwin, Spencer, etc.

著者

松下 晴彦

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

no.28, pp.129-142, 1998-03-31

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After "the 45" (the failure of the Jacobite rebellion at Culloden), the Highlands came to face a enormous transformations. In a political aspect the British Government had done her best to make the Highlands not isolated from other parts of Britain. And in social and economical aspects the industrialization and capitalism / commercialism were marching into the Highlands. Various kinds of improvements or changes could have been seen in the Highlands since the second half of the eighteenth century. Now, I am picking up the Highland Clearances as one of the major causes that dissolved the clan society and altered the traditional way of life. When it comes to the Highland Clearances, it has been often said that the Sutherland Clearances were the most notorious, though it was never the typical Clearance. This paper surveys the Sutherland Clearances with social interests.