This year marks the centenary of the death of the actor Sir Henry Irving. Although he was born in very humble circumstances in Somerset in 1838, he rose to become the greatest actor of his time, and was first in the acting profession to receive a knighthood. He worked as an actor manager in the Lyceum Theatre in London for nearly 20 years, where he staged Shakespeare's plays as well as Victorian melodrama. He was unlike any of his predecessors, and his unique acting style and alleged mannerisms were often caricatured at the time. The main focus of this paper is Irving's contribution to Shakespeare productions at the Lyceum Theatre. His new interpretations of Shakespeare challenged many critics and scholars. However, through his revival of Shakespeare's less famous plays, the public were able to appreciate the various aspects of Shakespearean drama. Irving was an acclaimed actor and innovator of his age. Although his achievements were considerable, he has tended to be regarded as a somewhat old-fashioned actor. Therefore there is a need to re-evaluate his work properly through study of contemporary documents and reviews. By throwing light on his staging of Shakespeare in the Lyceum Theatre, we would like to correct the common and easy dismissal of his contribution to the Victorian theatre, which seems to have been derived from unfair criticism and the partisan comments from some critics.

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The Marble Faun is Nathaniel Hawthorne's last romance. A main stage of this romance is not New England, but Rome. Why did he choose Rome as a main stage? Rome is stamped with the past and symbolic of the 'Fallen World.' The shadowy Roman background is constantly presented to us. The whole romance is scattered with images of 'death.' However, the description of Donatello's home village Monte Beni called Arcadia by Hawthorne is filled with image of 'life.' The mixture of life and death reminds us of a seventeenth-century proverb, 'Et in Arcadia Ego,' which implies that pastoral Arcadia cannot be a refuge from death. He suggests the ambiguity of 'life' and 'death' to make the most of the spiritual climate of Rome. Rome is thus the best setting for the theme of the romance; nowhere in the New England could match it. Four main characters are discussed in this essay. It is noticeable that, in spite of the length of the story, there are no accessory figures except the Miriam's model; Donatello and Miriam, Kenyon and Hilda alternately occupy the scene. They, in a sense, experience spiritual death and through it they are reborn, reach man/womanhood. This spiritual growth through 'death' to 'rebirth' is a main theme of the romance. It is Hawthorne's great concern because he was obsessed with ideas of death in his later years.

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This paper attempts to represent The Turn of the Screw as a gothic novel depicting homosexual panic in the late- Victorian society. Strongly influenced by the social purity movement and the Oscar Wilde trial, this narrative portrays homophobia in the late Victorian society in the guise of a ghost story. When Wilde deplored at the court the hideous hatred toward 'the love that dare not speak its name', the atmosphere was deeply rooted in the basis of the patriarchal society of Great Britain which had carried imperialism to all corners of the world. Here, in the narrative, 'hat,' 'gloves', and 'waistcoats' are strong signifiants which convey the sense of class, gender and race, and also construct/deconstruct those ideas thoroughly, dramatizing the battle between hetero/homo-sexuality and hegemony. A governess, inexperienced but with a strong puritanical sense of duty, decides to protect her pupils from the ghosts of an ex-valet Quint and an ex-governess. Quint did have not a hat on, but wore the master's waistcoat, which means his disregard for class, gender, and also imply the possibility to surpass the Victorian code of sexuality. Being not able to deal with the boy's dismissal from the school, the governess began to degenerate and found herself being not a protector but a destroyer of the child. Quint, apparently and actually a villain in this narrative emerged at the end as both a victim and a rebel, the martyr of homosocial, but phomophobic late-Victorian society.

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Henry James's New York Edition is known for its volume, rewriting and prefaces, but the edition also shows James's strategy as an editor. In making the collection, James tried to protect his novels and tales from the influence of illustrators and the requests of the publisher, so that his works could be recreated as he believed they should be. And the order of the novels and tales, as well as the delicate relation between his works and their prefaces makes them an organic whole. The New York Edition was a protest against the demanding Victorian publishers and a trial to present Henry James himself not as he was, but as what he thought an author should be.

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While T. S. Eliot was the poet of "impersonality," John Berryman was one of the so-called "confessional" poets. Berryman's works began to be rated highly in the middle of the 20th century. After going through Sigmund Freud's theory of consciousness/unconsciousness, it was a time when people came to doubt the unity of their own identities. In his early short novel, "The Imaginary Jew" (1945), Berryman describes how easily the speaker's identity is changed or created by the influence of others. The speaker of this novel was unjustly declared by an Irishman that he was a Jew. He tried to prove himself that he wasn't one, but he couldn't. Through the experience, he learned that his identity was neither firm nor integrated, but changeable and split. Berryman's most important work, a sequence of 385 poems called the "Dream Songs" (1964; 1968), is based on the notion which he found in "The Imaginary Jew"; there is no unified "identity" in him, but only fragmentary voices. He knew that he had several split voices in his mind. Sometimes they sounded strange to him and were uncontrollable. Using dream and the minstrel show as the framework, he skillfully and ludicrously described his scattered mind. This paper tries to examine how the speaker's identity is changed with "The Imaginary Jew," and then to study how Berryman transformed such unstable voices into poetry, the "Dream Songs."

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In Making Mark Twain Work in the Classroom, Twain's scholars and educators introduce different ways of promoting the students' motivations to approach Twain's works. However, they do not discuss how the students' experience of watching the dramatized versions of his works on stage would affect the students' interest in reading his works. In his interview on the significance of children's appreciation of theatre as the audience, Asaya Fujita, a playwright and director, points out that children's seeing plays on stage is crucial to their human development. "Watching a play helps you find out about yourself," Fujita says. In this paper, I would like to examine the Deaf West Theatre production of Big River, a muscial adaptation of Twain's Adventures of Huckleberry Finn, first performed in October, 2002. I would discuss how their theatrical work would inspire the students' imagination on Twain's literary world and would enhance students' better understanding of art, literature and intercultural communication.

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Rick Shiomi's Mask Dance (1995) deals with the issue of adoption of Korean children in Minnesota. Shiomi portrays their identity crisis, employing the form of traditional Korean mask dance, Pongsan T'alch'um, which is, as portrayed in the preface of Mask Dance, "fast, bold, and free in spirit, emphasizing expression and energy over tight choreography" (351). While he fully exercises the "freedom" of this dramatic convention, Shiomi also adds his original sensibilities to it. For instance, this play presents Spirit, who functions partly as the narrator and guide, along with Mask Dancer. This character is quite pioneering in the sense that it often speaks for the Korean adoptees, Karen, Carl, and Lisa. This theatrical device does not only "mask" the character's consciousness but also "unmasks" them by exposing their buried feelings on stage. While Shiomi sets his use of masks apart from that of Greek theatre, he adheres to the fundamental and classical nature of a Greek mask. Peter Hall extends the definition of a mask on stage, stating that Greek theatre itself is a "mask" in the way in which it keeps "all fundamental or violent action off stage" (24). Similarly, in Mask Dance, by cloaking the main characters' agony and emotional crisis through the use of masks, Shiomi maintains an objective viewpoint and thus offers plausibility and substantiality to this unique Asian-American performance. Mask Dance, consequently, can be marked as a revolutionary step in American theatre since it has founded a common ground between Korean traditional mask drama and classic Greek theatre.

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In his second book, A Treatise Concerning the Principles of Human Knowledge (1710), George Berkeley, better known as "Bishop Berkeley," developed his philosophy of 'immaterialism,' and thus gave us one of the most famous theses in the history of ideas: "esse is percipi." Berkeley's work suffered from critical neglect until A. C. Fraser published The Works of George Berkeley in 1871. Since then, his work has been scrutinized from a number of interesting perspectives. However, since many critics of Berkeley's philosophy base their interpretations and criticisms on his theology, the depth and range of his thinking have not been adequately explored. Berkeley's primary motive for writing was to support Christianity and establish theism. Therefore, it is tempting to see readings that reflect this as 'correct.' This temptation, however, must be resisted, for although it is a true reflection of his intention, it can lead to misunderstandings of his philosophy including the notion that if he fails to prove the existence of God, his whole system collapses. The aims of this paper are twofold: first, to consider both the philosophical background in which the "esse is percipi" thesis originated and what it means to us both in the philosophical and, to use Berkeley's word, "vulgar" sense; and second, to remove the misinterpretation of Berkeley's philosophy caused by the failure of some critics to distinguish between his epistemology and theology. "Esse is percipi" must be considered, as Berkeley considered it, the first principle of human knowledge, which even his proof of the existence of God is based on.

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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.

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This paper aims to examine the function of a museum as an apparatus that forms and leads trends through discourse. In order to achieve this, I would like to study two of the most important figures in the history of photography from the 1960s to the 1980s: John Szarkowski and Garry Winogrand. Szarkowski was the director of the Department of Photography at the Museum of Modern Art in New York (MoMA) from 1962 to 1991. Winogrand had a tremendous impact on Szarkowski's criticism. Further, Szarkowski's critical discourse has had such an enormous influence that it can be credited with playing a significant role in the formation of the history of photography. A study of his discourse enables us to consider the question of what constitutes the precise function of an art museum. Szarkowski's criticism on photography has often been evaluated as being formalistic or modernistic, and it is occasionally criticized because it appears to lack an awareness of politics and history. Contrary to this view, I shed light on the postmodernist aspect of Szarkowski's criticism in order to acquire a comprehensive understanding of photography. By doing so, his sensitive understanding of the latent politics becomes apparent and it teaches us, the viewers, how to acquire an understanding of the diversity, complexity, and texture of our own society. However, the notion of the free interpretation of photography that was advocated by Szarkowski can easily lead to the danger of a museum not being able to judge which work is valuable. Szarkowski's discourse enables us to recognize the tangled problem of a museum's role.

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