As many critics investigating the history of the novel in the United States maintain, urbanization across the country brought changes to the prevailing forms of American literary works-from public recitation to private consumption, from dramatic performance and poetry reading in the presence of an audience to fiction reading in a secluded room. This new mode of reception led such fiction irresistibly to acquire a new function: that of a peephole into another's private space. Suddenly thrown into the din and bustle of a rapidly urbanizing space, city-dwellers came to fear the fact that almost all of their neighbors were complete strangers to them. They could never know what their neighbors were thinking and doing in spite of their close vicinity, and so they began to harbor a growing desire to look into the private spaces of those neighbors. By means of the omniscient narrator in novels, people enjoyed gazing into these "closed rooms" otherwise shut off from the world. In that sense, novel writers of the 19th century, even if their works were not set in the city, could not help but be conscious of the reality that industrial urbanization was the very foundation of the novel as a genre. In other words, a novel written in that period, especially one set in an urban area, inevitably assumes a metafictional character, for it refers to the condition upon which the novel itself depends. Hawthorne's "Wakefield", which depicts a protagonist who runs away from his home and lives in the next street to observe what happens to his wife, is one of the earliest examples of such stories: using metropolitan London as a setting, and hence, in the way described above, as a prerequisite for the story, it can be clearly read as a metafiction, in that the narrator presents an outline is developed into the story proper. Wakefield's surreptitious gaze into a private room is similar to that of the author himself, for the author also peeps into Wakefield's private room to show it to the reader. Hawthorne considered his occupation as author to be sinful, because of this immorality of this gaze into other people's private spheres. His sense of guilt gives The Scarlet Letter a curiously metafictional aspect: the story embodies the shift in the mode of literary reception from a public recitation in the presence of the Puritan community (as of the appreciation of a picture) to a physician's private interrogation of the hidden interior of his patient's heart in a solitary room (as of reading a novel), and once again back to a public recitation (as of watching a drama onstage). It is due to this sense of guilt for his novelist's avocation that Hawthorne throughout this romance wavers between guilt-free public recitations and guilt-laden private readings; when he finally abandons the latter, it is as if to denounce the literary form of fiction.

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As Henry James says, Hawthorne is perpetually looking for images which shall place themselves in picturesque correspondence with the spiritual facts with which he is concerned. The world that Hawthorne seeks is geeneratd by contemplation of the symbol, not by the eternal yoking-together of two realms which by definition are different in kind. In The Scarlet Letter the scarlet "A" is not only the meaning of adultery but also meaning in general. This aspect of the work is emphasized by the writer's method of circling interpretation through the minds of various characters. Hester is not the only person who wears the symbol. Pearl is also the scarlet letter both physically and mentally. She is really a kind of commentary on the symbol itself. In Dimmesdale the symbol is changed from its normal course an appears as the psychosomatic mark on his breast. In Chillingworth the effect of the symbol on body and mind is complete, because he has entirely plunged himself in a symbolic role. Needless to say, the letter A is the symbol of sin. But it is a concept that the symbol really conveys. Just as quickly as the concept is symbolized to us, our own imagination dresses it up in a private, personal conception, which we can distinguish from the communicable public concept only by a process of abstraction. We never deal with a concept without having some particular presentation of it, through which we grasp it. What we really have in mind, is always universalium in re. When we express this universalium we use another symbol to exhibit it, and still another res will embody it for the mind that sees through our symbol and apprehends the concept in its own way. In fact, it is not the essential act of thought that is symbolization, but an act essential to thought, and prior to it. Symbolization is the essential act of mind; and mind takes in more than what is commonly called thought. There are transformations of experience in the human mind that have quite different overt endings. They end in acts that are neither practical nor communal; I mean the actions we call ritual. Ritual is essentially the active termination of a symbolic transformation of experience. It is not prescribed for a practical purpose, not even that of social solidarity, though such solidarity may be one of its effects. It was Freud who recognized that ritual acts are not genuine instrumental acts, but are motivated primarily a tergo, and carry with them, a feeling not of purpose but of compulsion. They must be performed, not to any visible end, but from a sheer inward need. Empirically senseless, they are none the less important and justified when we regard them as symbolic presentations rather than practical means. They are spontaneous trans-formations of experience. All the characters are the persons who feel down to some realm of reality that contains their ultimate life-symbols and dictates activities which may acquire ritual value. Many symbols in the work may be said to be charged with meanings. They have many symbolic and signific functions, and these functions have been integrated into a complex so that they are all apt to be sympathetically invoked with any chosen one. The letter A is such a charged symbol: the actual instrument of Dimmesdale's death, hence a symbol of suffering; first laid on his shoulders, an actual burden, as well as on both grounds a symbol of his accepted moral burden. The life of a symbol is a smooth and skillful shuttling to and fro between sign-functions and symbolic functions, a steady interweaving of sensory interpretations, influences, imaginative prevision, factual knowledge, and tacit appreciations. Dreams can possess it at night and work off the heaviest load of self-expression needs, and evaporate before the light of day.

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生産マネジメントの可視化の第一段階は単に命令された仕事を実施する作業者を自主管理ができるようにするための手段としての可視化である。 第二段階は、自主管理段階の従業員を自主経営が出来る人材に育てるための手段としての可視化である。 第三段階は、工場経営の課題・問題を未然に発見・解決することを可能にする手段としての可視化である。 ＳＣＭ時代（ソフトウェア・ヒューマンウェア重視の時代）の生産マネジメントの可視化の確立が求められている。

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「これからの目で見る管理」は、目で見る管理の歴史つまり過去・現在・未来・という視点からの予測が考えられる。ここでは第1段階から第5段階、特に第4・5段階がこれからの目で見る管理についての予測である。もう一つの視点は、目で見る管理を実践するリーダーと実践のための能力の高め方という視点である。それについては、“気づき・考え・行動する”能力を持った現場改善リーダーをどのように育成すべきかの試案を提案する。

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This paper aims to clarify the formation process and spatial structure of Fort Cochin, India. The research project of this paper is based on was launched under the title 'Field Research on Origin, Transformation, Conversion and Conservation of Urban Space of Colonial Cities' the major target of which are the Dutch colonial cities. To compare the colonial cities of all over the world in term of spatial formation is ambitious objective of the project. Dutch occupied many of strongholds, which once belonged to Portuguese. They remodeled them and established new forts and cities. Fort Cochin is a good example of this reformed ones. At Cochin, Dutch East India Company (VOC) destroyed previous Portuguese fort and constructed a new one with smaller size. The purpose of this study is to reveal this reformation process and spatial formation of the city after reconstruction of Portuguese Fort. The methodology of this research is based on analysis of old maps and related data. This paper illustrates the spatial structure of former Portuguese fort, construction process of fort Cochin constructed by VOC and its spatial structure. Then the reformation method of Cochin can be comprehended by comparison between Portuguese fort and those of VOC. Colonial cities constructed in East India is said tobe influenced by a plan of 'Ideal city' proposed by Simon Stevin, who was one of the most famous scientist in Europe in the 17^<th> century. This paper also aims to clarify influence of Simon Stevin's 'Ideal city' plan on spatial formation of Fort Cohin.

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Examining the hitherto neglected analogy between the Salem Witchcraft Trials (1692) and the Revolutionary War (1775-83), this paper attempts to illuminate the trajectory from Puritan governors to American presidents, with a special emphasis on the literary tradition of Election Day Sermons. While the Salem Witchcraft Trials were caused by disbelief in the “Foreign Power” as partially represented by the governor Edmund Andros, “The Declaration of Independence” (1776) retrofits the rhetoric of hardcore Puritans attacking the witches and witch-like governors in the previous century, and impeaches King George III for being another invader and plunderer, paving the way for American Presidency. However, it is also true that a glance at the Puritan heritage of Election Day Sermons from Samuel Danforth to Samuel Langdon suggests that Puritan ministers begin to displace their theocratic tone with a more democratic one. Surviving the political upheavals in American history, the spirit of Election Day Sermons transformed Danforth’s concept of “Errand into the Wilderness” into John O’Sullivan’s slogan “Manifest Destiny” (1845), the updated version of the Monroe Doctrine, and another name for imperialist expansionism.

This perspective allows us to reread Nathaniel Hawthorne’s magnum opus The Scarlet Letter (1850) not only for its embedded Election Day sermon but also the novel with its “The Custom-House” preface itself as an incredibly well-wrought romance of the Election Day Sermon. Of course, I am keenly aware that a number of distinguished scholar-critics such as A.W. Plumstead, Sacvan Bercovitch, Alan J. Silva and others have already pointed out the impact of Election Day Sermons on the discourse of Arthur Dimmesdale, the forbidden lover of the heroine Hester Prynne. Indeed, without the heritage of Election Day Sermons, Hawthorne, a close friend of O’Sullivan, could not have described the minister so vividly in Chapter 23, “The Revelation of the Scarlet Letter”: “His subject, it appeared, had been the relation between Deity and the communities of mankind, with a special reference to the New England which they were here planting in the wilderness. ... whereas the Jewish seers had denounced judgments and ruin on their country, it was his mission to foretell a high and glorious destiny for the newly gathered people of the Lord” (Norton 168, italics mine). But what interests me most here is that in producing Dimmesdale’s sermon Hawthorne himself perhaps wanted to express a more contemporary American Jeremiad, in the wake of the presidential election in 1848. For the advent of the new president Zachary Taylor of the Whig party deprived Hawthorne the Democrat of his surveyorship in the Custom House, leading him to narrate the moral panic by means of the metaphor of “guillotine,” with which the members of the victorious have “chopped off all our heads” (31). It is at this moment that Hawthorne’s actual Jeremiad in antebellum America coincides with the fictional Dimmesdale’s apocalyptic sermon, revealing the creatively anachronistic but surprisingly organic interactions between “The Custom-House,” written after the 1848 Presidential election, and The Scarlet Letter, featuring the 1649 Election Day sermon given for the new Puritan governor.

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L'oeuvre architecturale etait un "etre poetique". Nous cherchons cet "etre" dans la "Stimmung". C'est-a-dire, c'est de la Stimmung que l'oeuvre vraie constitue un "etre poetique". De sorte que la difference entre les deux pierres, celle des Grecs et celle des Gothiques, comme W. Worringer l'a indique dans son ecrit "Formprobleme der Gotik", explique meme leur representations physionomiques des Statues. A savoir, les Statues Grecques represented un "corps superbe", par centre, celles de Gothique y expriment plutot une "expression du sentiment". Dans cet article, d'une part, etant fonde sur la pensee philosophique par M. Heidegger, Interpretation de l'"etre" se cherche cette Stimmung a la base. D'autre part, l'Anschaulicher Charakter" de H. Sedlmayr n'est pas autre chose que la physionomie de l'oeuvre d'Art. Enfin, nous trouvons, dans la physionomie, les donnees de la "Stimmung". Ainsi, une physionomie se charge en soi-meme du "pan-etre" de l'espace architectural. C'est la qu'on puisse s'assurer de l'oeuvre architecturale destinee a l'etre humain comme l'etre originel. Nous voyons cette preuve dans les interpretations des oeuvres litteraires, "The Castle of Otranto" de H. Walpole et "Notre-Dame de Paris" de V. Hugo. A savoir, le roman de "The Castle of Otranto" se trouve un "etre" de l'esprit Gothique, dormant au fond de la psychologie profonde de H. Walpole. Le "Notre-Dame de Paris" etait un grand roman. Car, V. Hugo y interprete l'esprit de l'oeuvre Gothique meme en l'etre humain en soi. Voici done une question a la physionomie de "Le Modulor" chez Le Corbusier.

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エッセン旧市街を例として,工業化時代に都市中心部の中心が広場から街路に移ったことを明らかにした。1820年代には,エッセン旧市街の形態,商業機能,居住,社会生活の秩序は市場広場であるMarktを中心としていた.1900年頃には商業機能の中心はLimbeckerStr. で,広場はそのまわりに配置され,商業機能,社会生活の点でその補足的な意義を持ったにすぎない.現在はKettwigerStr. とLimbeckerStr.が中心商店街で,特に前者がぶらつき街の性格をあわせ持ち,中心をなしている.広場は新設された都市中心馨広場Cityplatzである三Kennedyplatzをはじめとして商業・業務中心の性格は少なく,都市共同体の威信の表現,集会の場としての意義もあいまいで,中心商店街に対して補足的地位にあるに過ぎない.エッセン市の一部の市民はこのような動向,すなわち広場の中心としての意義の喪失の動向を逆転し,広場中心に都市中心部を造り変えようとしぼしば試みたが,これまでのところ成功していない.

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In the fourth congress of Italian engineers and architects (1883) was adopted C.Boito's proposal, which considered the architectural monuments as the historical documents and prescribed that the architectural restoration should not deceive the antique. These basic points can be found in his proposal that he made after ten years as well. But this period would tell us two important changes in architectural history. First, the proposal has included a straightforward criticism of Violett-le-Duc, that is to say, anti-restoration doctrine. Second, in his essay (1893) Boito has consciously considered the Renaissance architecture as an object of the restoration.

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