ノヴェラ カラ ブタイ エノ ニンプ ヒョウショウ ノ ヘンカ : モルフィ コウシャク フジン ト オワリ ヨケレバ スベテ ヨシ カラ

This paper examines the change of representation of pregnant women, the Duchess in John Webster’s Duchess of Malfi (1614) and Helena in Shakespeare’s All Well That Ends Well (1603), comparing them with those in each source novella by William Painter. The change of medium from novella to stage entails the disappearance of authorial narrator and the representation of actors’ bodies, which tend to influence more the characterization of female characters than that of male characters. Especially, stage representation of the body of pregnant women, though they were portrayed by boy actors, can emphasize their femininity and sexuality and also dramatize the male / social /cultural anxiety about women’s pregnancy. Webster’s Duchess on stage is now free from the narrator’s rigid criticism about female desire in its source novella. Webster’s Duchess acquires much more dignity and the audience’s compassion. In contrast to the narrator’s brief description of her pregnancy and childbirth in the novella, the representation of Duchess’ fertile body on stage seems to empower her. On the other hand, much dramatic tension results from the appearance of the full-term Duchess on stage and her screaming during childbirth behind the scene, as her pregnancy and delivery cause suspicion and anxiety of the people around her. The appearance of Shakespeare’s Helena as a pregnant wife at the end of the play is a significant deviation from the ending of its source novella. In Painter’s novella, Giletta, the equivalent of Helena, comes to see her husband after she gave birth to twin boys. Helena slyly changes Bertram’s condition ; “show me a child begotten of thy body that I am father to” turns into “with child”. Moreover, her pregnancy itself can be regarded as lack of proof and ambiguous as long as we read the text. Pregnancy was mysterious enough for both the mother and the surrounding people in early modern times. Therefore, the final interpretation of Helena’s character and the play’s ending depends much on the representation of her pregnancy on stage. Both Webster and Shakespeare skillfully dramatize the social and cultural confliction about pregnancy, femininity and maternity with the complex effects of a pregnant body on stage

Політичний іслам – маркер кризового суспільства

В статье Н.Кирюшко «Политический ислам - маркер кризисного общества» анализируются процессы политизации и радикализации ислама в мире и в Украине в частности; раскрываются предпосылки, причины и возможные последствия деятельности религиозно-политического движения «Хизб ат- Тахрир» на территории Украины. Ключевые слова: политический ислам, политизация ислама, исламская политика, религиозная партия «Хизб ат-Тахрір», мусульманская среда.In the article of M.Kiryushkо «Political Islam is a marker of crisis society» the processes of politization and radikalization of Islam in the world as a whole and in Ukraine in particular are analysed. The author also defines pre-conditions, reasons and possible consequences of activity of the religious and political movement of «Khizb ut-Takhrir» in Ukraine. Keywords: political islam, politization of Islam, Islam policy, religious party of «Khizb ut-Takhrir», Muslim society

アイ ノ ヘンソウ : ジョン リリー ガラテア カラ アイ ノ ヘンシン エ

Among the eight plays of John Lyly（1554－1606）, Gallathea（1584?）and Love’s Metamorphosis（1588－89?）have in common a pastoral setting, characters of Goddess, three nymphs and Cupids, and the theme of profanity and punishment. Love’s Metamorphosis has often been regarded as a sequel to Gallathea, and critics tend to interpret both plays from a feminist approach or allegorical approach in regards to the virgin queen. However, these two plays are very different in the treatment of Cupid as well as in their endings. Taking these differences into consideration, this paper examines the variation of the theme of love in Gallathea and Love’s Metamorphosis from the perspective of Renaissance iconography, and then suggests a new allegorical approach to the latter play. In Gallathea, Cupid is a mischievous child who sets three nymphs in love. For this he is punished by Diana, Goddess of Chastity. This is the staged image of “The Punishment of Cupid” or “The Triumph of Chastity” which prevailed in the Renaissance era since Petrarch. However, “The Triumph of Chastity” is not the only value in this play. Venus is an equally powerful goddess as Diana, and Cupid’s role seems to be transformed from a mischievous child into the God of Love. Besides this, the love between two girls, Gallathea and Phillida, is caused by cross-dressing and misunderstanding of gender identities, and yet it goes beyond the gender limit of love. Venus helps the fulfillment of their sacred love by changing one of them into a boy. Therefore, the theme of this play is the transformation and development of love, from chastity to love, and from secular love to sacred love. Renaissance iconography often represents this transformation and development of love, as we can see in Titian’s Amor Sacro e Amor Profano and Raffaello’s The Vision of Knight. Gallathea represents the possible transition of opposite values from one to the other. In Love’s Metamorphosis, Cupid appears as the most authoritative God of Love from the beginning. He takes revenge on three nymphs who despise the love of three foresters by changing them into a stone, a rose and a bird. Adding to this, Cupid forces the nymphs by threat to marry foresters, and this ending caused much critical antipathy. On the one hand, the three nymphs represent the defeat of women by being incorporated into patriarchal society, and on the other hand, they represent the triumph of women by testing the loyalty of men and winning the right not to be blamed by husbands. The possibility of opposite interpretations is also typical in Renaissance iconography as we can see in Bronzino’s Allegory of Venus, Titian’s Venere benda Cupido and many other paintings. Moreover, the three nymphs in Love’s Metamorphosis represents chastity, beauty and love, and in total they represent “The Three Graces”. “The Three Graces” themselves connect the opposite values of chastity and love via beauty. Not only the three nymphs, but also other characters such as Ceres and Protea have opposite values in themselves. Therefore, the opposing elements in this play do not eliminate each other but can co-exist at the same time. Both Gallathea and Love’s Metamorphosis are the plays of very Renaissance value in that a kind of concord can be produced from discords. Having said this, I would like to suggest in the end that Love’s Metamorphosis can be interpreted as an allegory of “love” between Lyly and Queen Elizabeth I. Lyly served and paid tribute to the queen by praising her with his plays. By 1588, Lyly was expecting rewards from her as his patron. Elizabeth is like the three nymphs in Love’s Metamorphosis in that she is beautiful, cruel/chaste and capricious/loving. Since the iconography of “The Three Graces” is often connected to “the three actions of benefit”（giving, taking, and rewarding）, we can say that the play reflects the allegory of Lyly’s expectation of reward from the queen for his dedication

バクマツキ ニオケル エイブツ ノ タイニチ ガイコウ ト トマス グラバー

Thomas Blake Glover (1838-1911)is a Scottish trader who came to Japan at the end of the Edo period. He established Glover & Co. in Nagasaki and traded arms and ships with anti-Tokugawa clans, mainly with the Satsuma clan. He is often regarded as a supporter of the anti-Tokugawa samurai and as a contributor to the Meiji Restoration. Indeed, though Glover in later years contributed to the modernization of Japan in more peaceful ways, introducing shipbuilding docks, coal mining, railways, a mint, a brewery, and so on, the most prominent career in his life is that of “a merchant of death” in the very last days of the Tokugawa Shogunate. This essay examines the significance of his role at the end of the Edo period from the perspective of British diplomatic policy towards Japan in the 1860s and its rivalry with France. Throughout the 19th century, Great Britain had been the biggest empire among the great world powers. However, when Tokugawa Japan was forced to open the country to the world, neither Britain nor other western great powers had the intention to colonize Japan. They had learned that to plant colonies and to maintain them cost too much, and they also had spent much money on the Crimean War and other wars by the 1850s. What they wanted instead was the profit from free trade with Japan. Britain’s diplomatic policy in particular was shifting to what is called “small Britain policy” during 1860s-70s, which promoted not colonization but free trade. After the 1880s, Britain and France resumed expansion of their colonies, mainly on the African continent. Therefore, Japan was lucky enough to escape the destiny of being colonized in spite of the disturbance of domestic politics, because the last days of the Tokugawa Shogunate in the 1860s were the very time of slackened foreign pressures. After Japanese ports were officially opened in 1859, Britain and other great powers’ diplomacy with Japan was strongly united with their trade policy towards Japan, and the rivalry between Britain and France inevitably developed gradually. As trade policy can determine diplomatic policy, Britain and France began to take different attitudes towards the Tokugawa Shogunate in order to secure their own profit from commerce. France continuously supported Tokugawa because Japanese official trade with foreign countries was under the control of the Shogunate at that time, and France wanted to promote trade through strong ties with the Shogunate. On the other hand, Britain gradually distanced themselves from the Tokugawa Shogunate and showed understanding towards anti-Tokugawa clans, because Britain, as a promoter of free trade, found that those anti-Tokugawa clans also wanted free trade with foreign countries. Thomas Blake Glover, then an ambitious Scottish trader representing the British Empire, was the very man who did his illegal business with those anti-Tokugawa clans outside of Shogunate-control. Glover was such a wellknown and influential trader among anti-Tokugawa samurai that his significance was recognized by British Consul to Japan. Glover even arranged for Harry Parkes, the British Consul to Japan, to visit Satsuma, and this turned out to be a turning point for Parkes’s policy. As a result, British diplomatic and trade policy with Japan won over that of France, and after the Meiji restoration, the modernization of Japan was carried out under the strong influence of Britain rather than France

空港を保有する自治体の住民は、地元空港の利用に積極的か？

空港を保有する自治体の住民は、地元空港の利用に積極的か