The purpose of this paper is to focus on the usage of the word sweete in The Miller's Tale of Chaucer's Canterbury Tales. All the three main characters in The Miller's Tale, Alison, Nicholas, and Absolon, are represented by sweete in different ways. Nicholas, a student, rents a single room from a carpenter, who is Alison's husband. Nicholas makes his room smell sweet with herb, and he himself is also sweet like herb to get Alison's love. Absolon, a church clerk also falls in love with her and tries to make himself sweet by chewing sweet herb. Besides, these two men in love offer sweet things to Alison to taste her sweetness. Nicholas takes her to his sweet-smelling room and holds her in his arms. Absolon gives her sweet presents such as spiced wine and waffle. Thus three of them pour sweetness on each other and these sweet presents make sweet Alison sweeter and sweeter, and their sweetness gets more and more farcical and sexual. In The Miller's Tale, these three main characters seem to be obsessed with the sweetness in order to fill their sexual desire. As a conclusion, I would like to discuss how sweete plays an important role to make this tale take on sexual and vulgar atmosphere with taking the medieval idea on food, especially herb and spice, into consideration.

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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.

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The aim of this article is to analyse the way John Fowles relates 'existing-ness'-a conception of life which he finds in Lawrence's works-to an 'inauthentic' man's quest for 'authenticity', the central theme of The Magus. Closely looked at, the novel can be considered to be a Bildungsroman without Bildung; Nicholas, who epitomises masculine principles, is unable to attain authenticity, being unaffected by his extraordinary experience, including his encounter with Conchis. His failure springs mainly from his inability to release himself from his fantasies about sexuality and to accept the otherness of Alison, who embodies feminine principles. Significantly, their difference can be explained by the Lawrentian knower/un-knower dichotomy. Alison the 'un-knower' is admitted to the realm of life, whereas Nicholas the 'knower' is barred from that domain. Fowles revises Lawrence's gender-charged concept of 'existing-ness' so that it would celebrate all the life-affirming qualities throughout his book.

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When Henry Adams visited Sicily, a juncture point of the East and the West, he realized that the Norman Gothic cathedral he saw there embodies the Western response to an intellectual challenge the East posed in the Middle Ages. The new revelation was woven into his book, Mont-Saint-Michel and Chartres, where neither the Western Europe nor the Middle Ages was static or monolithic; they were on the constant move and undergoing change. What caused such dynamism was clashing and fusion of different cultures; French, Norman, Greek, Roman, Arabian and Byzantine. From among those I extract what can be called Eastern in its broadest sense and discuss it particularly in relation to Virgin, Saint Francis and Thomas Aquinus each of whom Adams admires and calls his "vehicles of anarchism and heresy" in Mont-Saint-Michel and Chartres.

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Donald Barthelme's Snow White (1967) is, as we will soon notice from its title, a mimetic of Grimm's famous fairy tale, "Snow White." In this novel, it is hard even to recognize the "story" itself, so that we are often perplexed to grasp its theme and meaning. So far, most of the preceding studies on Snow White have been made from the viewpoint that it is a typical "text" of the postmodern metafiction. Admittedly, those views are almost correct; however, we have to say that the crucial mechanism of gender struggle has been overlooked. The purpose of this paper is not only to examine the gender roles in the novel. What is required here is to clarify the anti-patriarchal mechanism of the "text." The issue of the antipatriarchal structure of the "text" is not always irrelevant to that of the gender struggle in the "novel." Therefore, I would like to make clear the fact that both of them work together to deconstruct the patriarchal fairly tale, "Snow White."

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The Nineteenth Amendment was finally ratified in August 1920, due not only to the result of the tireless effort of women's suffrage organizations, but also to the close collaboration of various women's groups all across the United States during the Progressive Era. Many women's organizations, arising from church activities in the 1 9th century, had widen their sphere of influence, entered into a league making clear their political stances. Though it has been asumed that middle-class activists approached women unionists and elite professionals to cooperate together at the final phase, the key to the movement's success was in reality the coming of age of each women's organization to attain its own politics. To clarify this, I would like to present a historical overview on the development of women's organizations in the Progressive Era, especially focusing on Oak Park Women's Club in Illinois, the increase in women laborers, and New York 20,000 strikers in 1909 to illustrate their aims that ultimately resulted in their collaboration to effect the women's suffrage movement.

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The CBS Redio Mystery Theater ran from 1974 to 1982, winning an audience of over two million at its peak. One of the most conspicuous characteristics of this program is that it frequently depicted such bizarre and supernatural characters as serial murderers, witches, ghosts, and devils. Since an interest in the world of myth and superstition is considered to be an attribute of the lower socio-economic class, the program might appear to be intended for people belonging to this class. Interestingly, however, many episodes were adapted from the originals by such renowned novelists as Mark Twain, Emily Bronte, Tolstoy, and Guy de Maupassant, whose works are canons of the middle-class. The purpose of this paper is to investigate the roles that these classical literary works played in the Mystery Theater from a socio-economic point of view.

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This paper deals with how many drinking terms are used in country music lyrics and what they mean in various contexts. The computer helped this research to find out various drinking terms through 78,554 words of 485 modern country songs. The result is that country music uses three general terms for indicating alcoholic beverages: they are "drink," "booze," and "liquor." And specific names for alcohol are "beer,""wine,""whiskey,""gin,""margarita," and "martini." Alcoholic beverages are used in four different contexts of country lyrics. Those contexts are "escape from realities spiritual degeneration," "enjoyment," and "description of scene." Among those categories "description of scene" appears most frequently and "escape from realities" is the second favored category in which alcohol is used.

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