Studies in English Literature
Online ISSN : 2424-2136
Print ISSN : 0039-3649
ISSN-L : 0039-3649
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Volume 27, Issue 3
Displaying 1-24 of 24 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    1951 Volume 27 Issue 3 Pages Cover1-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_Cover1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Index
    1951 Volume 27 Issue 3 Pages Toc1-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_Toc1
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  • LAFCADIO HEARN : AN APPRECIATION
    G. S. FRASER
    Article type: Article
    1951 Volume 27 Issue 3 Pages 269-281
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_269
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  • THE MONTHLY CHRONICLE
    EDMUND BLUNDEN
    Article type: Article
    1951 Volume 27 Issue 3 Pages 282-290
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_282
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  • THOMAS WOLFE
    MAMORU OSAWA
    Article type: Article
    1951 Volume 27 Issue 3 Pages 291-309
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_291
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    Thomas Wolfe (1900-1938) is beyond all comparison, so far as his tall stature, overflowing vitality, all-reproducing recollectiveness and gigantic writing-power are concerned. He is a symbol of American grandeur and exuberance. His artistic superiority lies in that he wrote in accordance with his inmost hunger, neither flattering to the populace, nor sacrificing principle for the sake of money. Despising the 'escape-from-life' school of art, which is, as he believed, a common defect of modern literature, he continued to his untimely death to report all he had experienced with romantic expressions and poetical utterances, until he set up a unique kind of literature rather belonging to the art-for-life's-sake' school. Chief characteristics of his four great novels, Look Homeward, Angel (1929), Of Time and the River (1935), The Web and the Rock (1939) and You Can't Go Home Again (1940), are as follows: (1) 'Torrential recollectiveness' with which he records all the happenings in his life and heart as minutely as a series of miniatures; (2) the definitely autobiographical quality permeating all his works, their heroes, Eugene Gant or George Webber, being Thomas Wolfe himself all the same; (3) his Titanic ambition to re-discover America and to create a decisively American tradition in the domain of literary language. Feeling himself at first to be a stranger to the vast space of ghostless American continent and its millions of people who are restless in their constant motion and whose outlook on the world is materialistic and practical, he never ceased to wander-the picture of Hunger and Thirst-wander far away often to Europe and back to the New World, in order to find 'a stone, a leaf, an unfound door,' namely, the fundamental significance and patriarchal authority of Soul. Whenever he arrived at London, Paris or Berlin, he rather began to think of his native land he had just 'escaped from. Thus in foreign lands his MSS. were bulkily produced by his memory of America. The whole of his works may be called a Homeric epic confessing that he could not help falling in love with America after all his wanderings,-a long rhapsody of recognition of American life and psyche,-or a kaleidoscopic chronicle of a grand-scale 'love-affair. with American continent.' Ten years after he died his admirers became numerous and some of his novels best-sellers. It is no wonder that he won popularity at last, for readers must have found in Thomas Wolfe a stalwart and primordial spokesman of American democracy and humanism, and his ambition to discover and command 'perfect language' capable of creating tradition of American literature has been achieved by that style of his which is called 'the magnificent prose of our time.'
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  • A COMPARATIVE STUDY of the ENGLISH AND JAPANESE 'VOICES'
    TORAJIRO FUKUMURA
    Article type: Article
    1951 Volume 27 Issue 3 Pages 310-336
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_310
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    It is generally accepted that in origianl Japanese, nouns denoting inanimate things, though used as objects in active constructions, could not be made subjects in passive constructions except when they were personified. But after examining the examples collected, I have reached a conclusion that this opinion is not correct. Nor in English can objects in active constructions always be made subjects in passive. So the difference is only a matter of tendency and degree. I agree to the opinion that the passive. construction of intransitive verbs is characteristic of, Japanese, and in this construction we observe not bodily but mental passivity. So there is some resemblance between this construction and that of 'Passive of experience' (Curme: Accidence, p. 220): But the activity corresponding to this passivity is not expressed in the active construction in Japanese. So, strictly speaking, this, passive construction does not directly correspond to the active. And the active construction that corresponds rationally to this passive construction in Japanese we can find in the English expressions of 'Ethical dative' and 'Dative of interest'. While the voice in English is not only morphological but also syntactic, the voice in Japanese remains morphological. So in the passive conversion in Japanese the part played by the linguistic object in the active construction is not so important as in English. But, at present, owing to the English influence on Japanese, there is a remarkable tendency to convert more freely than formerly the object of the active into the subject of the passive with little attention paid to whether it denotes an inanimate thing or not.
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  • ESSAY ON KEATS
    WATARU KIKUCHI
    Article type: Article
    1951 Volume 27 Issue 3 Pages 337-353
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_337
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    In this century, Keats's humanism has been gradually (understood by the critics. But there are singularly few criticisms which are of assistance to the appreciation of beauty in Keats. My object in writing this essay is an attempt to make clear beauty as he conceived. Coming face to face with this difficult question, almost every one is perhaps perplexed, because Keats did not give any systematic explanation about beauty. Keats did not show a very deep interest in fine arts and music. His sense of beauty was cultivated exclusively by his study of the classics of the English, Latin and Greek poets. Especially, he respected Shakespeare till his death. He said in one of his letters, " ... thank God I can read, and perhaps understand Shakespeare to his depths." (to J. Taylor, 27 Feb. 1818). As we can know by these words, his attitude of Negative Capability was learned from Shakespeare. What is more important, we must understand his humanism, which is clearly shown by his words, "All I hope is, that I may not lose all interest in human affairs." (to R. Woodhouse, 27 Oct. 1818) In this essay, the question of beauty in Keats is treated with reference to his humanism and attitude as poet. Beauty as he conceived can be explained from many sides, but, after all, the sublime humanity, represented in many forms, can be said beauty, which has quality of truth. Perhaps we may say that the supreme beauty seized by the young poet is symbolic of the sublimity of human sufferings. He lived both aesthetic and humanistic life. He devoted himself to poetry to the end of his life, and the dearest wish of his heart, O for ten years, that I may overwhelm Myself in poesy. (Sleep and Poetry, II. 96-7) was not carried out at last on account of his sickness.
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  • NEWTON ARVIN, Herman Melville, N. Y., William Sloane Associates, 1950, 316 pp., $ 3.50
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 354-357
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_354
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  • HOWARD MUMFORD JONES, The Theory of American Literature, Cornell University Press, 1948, $ 2.70
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 357-360
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_357
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  • Since 1939: Drama, The Novel, Poetry, Prose Literature, London, Phcenix House, 1949, 12s., 6d.
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 360-362
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_360
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 362-369
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_362
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 370-374
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_370
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 375-378
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_375
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 378-380
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_378
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 381-382
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_381
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1951 Volume 27 Issue 3 Pages 383-385
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_383
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  • [title in Japanese]
    Article type: Bibliography
    1951 Volume 27 Issue 3 Pages 386-389
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_386
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  • [title in Japanese]
    Article type: Bibliography
    1951 Volume 27 Issue 3 Pages 389-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_389
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  • [title in Japanese]
    Article type: Appendix
    1951 Volume 27 Issue 3 Pages 390-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_390_1
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  • [title in Japanese]
    Article type: Appendix
    1951 Volume 27 Issue 3 Pages 390-393
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_390_2
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  • [title in Japanese]
    Article type: Appendix
    1951 Volume 27 Issue 3 Pages 393-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_393
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  • [title in Japanese]
    Article type: Appendix
    1951 Volume 27 Issue 3 Pages App1-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_App1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Appendix
    1951 Volume 27 Issue 3 Pages App2-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_App2
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Appendix
    1951 Volume 27 Issue 3 Pages App3-
    Published: July 30, 1951
    Released on J-STAGE: April 10, 2017
    DOIhttps://doi.org/10.20759/elsjp.27.3_App3
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