John William Waterhouse exhibited Apollo and Daphne in 1908, thereafter he retouched Apollo’s right hand and moved it away from Daphne’s body. However, before the modification, Apollo’s right hand was touching her shoulder. This paper shows that the modified representation of the hand and constructure of two figures crossing their gaze at each other emphasise tension beneath the moment of metamorphosis into a tree, pointing out some new image sources of this painting in contemporary works by Arthur Hacker, Henrietta Rae, and Edward Burne-Jones. Furthermore, this painting, which shows a body metamorphosing into a tree, resonates with ‘primal sympathies with nature’ advocated by John Addington Symonds in the late 19th century Britain. Symonds argued that humans have an instinct like satyr proximity to nature, even in a highly educated and civilised society. This satyric instinct connected to madness can make the boundary between humans and nature ambiguous, and can include risks that threaten British dominance over the colonies, so it evokes tension. Waterhouse’s Apollo and Daphne can be interpreted as a work painted in such a cultural context.

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In June 1936, a large international surrealist exhibition was held in London at the New Burlington Galleries. Although this exhibition did not have strategy to produce "marvellous" exhibition space, it still reflected surrealistic method in some ways. Its method was "the juxtaposition of mutually distant objects" which was related to the idea of collage cultivated in surrealism especially in 1930's. This paper, therefore, analyses the process of organizing the London exhibition, and makes it clear how this collage related method was expanded in the exhibition. In the mid-1930s, surrealist ideas as well as "semantic collage" crossed the international borders and spread to various media including exhibition. In the London exhibition, there are some examples based on this idea; a way of display and a catchphrase planned for its advertisement. These cases showed this method had been diversified through expansion and internationalisation of surrealist movement in this period, while they also revealed slight differences from the original idea. In this way, the London exhibition is not only one of the milestones in the history of international surrealist exhibitions, but also an early example concerning the issue of diffusion and reception of surrealism.

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The aim of this study is to focus on the publication of the international survey of constructive art : CIRCLE edited by architect ; J.L.Martin, painter ; B.Nicholson, and sculptor ; N.Gabo in 1937 in England, and to examine the role and the meaning of "Constructive Idea" and the influence to the modern movement in art and architecture in the 1930s England and also to examine the relationship between art and science in the Constructive Idea. The method of the study is to examine the fact through the historical material and existing research about CIRCLE, simultaneously, by addressing to the other movement of publishing by the group of artists in 1930s England.

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本稿は1920年代に停滞気味であったイギリスのデザイン改革運動の問題点を分析し, いかにそれが解決へ向かったかをデザイン産業協会(DIA)の活動を通して検討することを目的とする。「デザイン」を冠した初の団体であるDIAの設立(1915年)にもかかわらず, 1920年代イギリスではデザインの理念が混乱していた。背景には, 大衆に対してモダンデザインの宣伝方法を誤っていたばかりでなく, その展覧会で工芸作品と産業デザイン作品を混同展示することでさらなる混乱を招いたというDIAの政策不備があった。ライプチヒ博覧会(1927年)での失敗からこれを学んだDIAは, 大衆のモダニズムに対する偏見の緩和政策, そして, 当時の社会のなかでデザイナーが産業界で占める地位の確立その他の問題にも目を向け, 海外の影響からモダニズムをより生活に密着した形で推進し始める。その成果は, 会員アンソニー・バートラムによる大衆のニーズに立脚したモダンデザインの解説書, 『デザイン』に確かな形となって現れた。

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