樋口一葉の「暗夜」は、二十七年に『』に発表されている。このの中頃の文学テクストには、多くの謎めいた女、妖しい女、恐ろしい女が描かれている。「暗夜」に描かれたお蘭というヒロインを、そうした同時代テクストに見られた女性像と比較する等の作業を行い、『』を中心にした同時代の言説空間に置いて見た時の「暗夜」の同時代性とそこからの差異を明らかにすることを試みている。

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In 1911, the Meiji Emperor set up a kind of academy. One of the schemes the academy established was to translate European classics into Japanese. The academy was soon abolished, and the translation-scheme failed. But one private publishing company, called Kokuminbunko-kankokai (the Publishing Society for People's Library of Literature) enterprised the same plan and managed to found three Libraries : Taiseimeichobunko (the Library of European Classics), Taiseikindaimeichobunko (the Library of European Modern Classics) and Sekaimeisakutaikan (the Library of World Classics).
The translators of the three Libraries mainly consisted of the members of a coterie magazine called “Bungakukai” (the Literary Circle) and the graduates of Tokyo Imperial University called “Akamon [the Red Gate] -school”. The two groups are well known for their contribution to the introduction of English literature to Japan. Therefore, the three Libraries introduced by the society can be regarded as the fruits of their study of English literature.
How did the two groups join? The magazine called “Geien” (the Athenaeum) and the editor Kocho Baba played an important role in merging the two groups. Kocho Baba was a member of “Bungaku-Kai”. Several years after the magazine was discontinued, Kocho and Bin Ueda, another member of the magazine, founded a new periodical called “Geien”. Sohei Morita and Choko Ikuta, who were students of Tokyo University and often visited Kocho, were asked to write for the periodical. That is how the two groups joined to write for “Geien”.
Then, who connected the two groups with the translation project of the society? It seems to have been Shukotsu Togawa, another member of “Bungakukai”. Ogai Mori's diary says that the first person who asked Ogai to publish his translations of short stories as one of Taiseimeichobunko was Shukotsu Togawa. It was also Shukotsu who recommended Tokuboku Hirata to Kyusaku Tsuruta, the owner of the publishing company.
The Libraries are very interesting because they show what books were read and appreciated by Japanese literary men in the Meiji era. To show how interesting the libraries are, one example is mentioned; the connection between the works of the Libraries and Soseki Natsume, a great novelist and scholar in English literature. Toyoichiro Nogami, one of Soseki's students, translatedGulliver' s TravelsandPrideandPrejudicefor Sekaimeisakutaikan. He chose the two novels because Soseki praised them as masterpieces and strongly recommended him to read them. Another of Soseki's students, Masaki Minakawa, translated George Meredith'sThe ShavingofShagpat. He translated it because his other teacher, Lafcadio Hearn, recommended it to him and he was very impressed by the novel. He asked Soseki to help publish it, but Soseki died before he could find a publisher for him. However, Toyoichiro Nogami used his influence to have it published as a volume in the Library because he knew Soseki also thought quite highly of the novel. Therefore, we can say that Soseki influenced his students in their choice of novels for the Libraries.
I believe this one example is enough to tell us that the three Libraries of World Literature published by the society are worthy of attention.

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It is generally agreed that the only early works of Toson Shimazaki was affected by the describing method of John Ruskin. It is sure that “Chikuma River Sketches,” (1900–02) one of his early works, was affected by The Modern Painters (1843, 46, 56, 60) by Ruskin about the description of nature. However, in “The Distribution,” (1927) his later work, exists Ruskin's saying: “There is no wealth but life.” in Unto This Last (1862). The question now arises: Was Shimazaki's later works very influenced by Ruskin's works? Analyzing Shimazaki's essays makes his fundamental principle about writing clear. That is “a life- first policy.” This policy lays a foundation for his novels. Therefore, “The Distribution” is also based on it. Moreover, Ruskin's saying symbolizes this policy. We may go on from this to the conclusion that Shimazaki put Ruskin's saying in his work in order to show the readers his policy.

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　In 1982, Shimazaki Tōson translated Shakespeare’s Venus and Adonis, and published it in the Jogaku Zasshi as “Natsukusa”. When the Bungakukai School of writers made its first appearance in 1893, Tōson published three dramas, Hikyoku biwa hoshi, Hikyoku cha no kemuri, and Shumon no urei in succession. We can see how Tōson was greatly influenced by Hamlet. Many striking parallels can be found in these works in terms of plot development, characterization, theme, and solution. Tōson was strongly influenced by Shakespeare in two areas at this time.

　Tōson’s first introduction to Shakespeare was Venus and Adonis, from which he learned “passion” as a literary motif. He called it shin’en (which means wild horses and passions and flighty monkeys of desires), and used it in his poems over and over again. This motif can be found in his poems such as Yosaku no uma, Natsukusa, Tenma, Genkyo, and his short story Wara zori as well. Hamlet was Tōson’s second exposure to Shakespeare. He pursued the contradictions existing in himself and society by regarding his consciousness of suffering as Hamlet’s. The hero’s look of melancholy, ennui, and sorrow which Tōson depicted in Hakai, Haru,and Sakura no mi no jukusuru toki reflects Hamlet’s internal world.

　Further, when Tōson began to write novels, he dealt with Shakespeare again. There are striking differences in Tōson’s influence from Shakespeare in his earlier period as a poet and in his later period as a novelist. Tōson was faced with a great turning point in his literary life with the disclosure of his wife’s love affair and the moral decadence of his lineage. Therefore, Tōson’s dealing with Shakespeare in his novels again shows how great an impact Shakespeare had on his development and the motifs of his literature.

　Therefore, the primary purpose of this thesis is to examine what Tōson learned from Shakespeare and how it is related to Tōson’s imagination and literature. This paper also will establish the hypothesis that Tōson pursued the meaning of “the modern self” through the influence of Shakespeare.

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In 1903, Hirata was sent to go to England for three years as a student of the Department of Education in order to study “English and a Method of Teaching English”.
On the 21st of Fubruary, he left Yokohama for England, taking with him words of encouragement and farewell gifts presented by his teachers and his students. He arrived in London at the end of April. While staying in Japanese Cosulate, he saw the sights of London and sometimes visited the museums. He also frequented the theaters with his friends to see the plays such as “Much Ado About Nothing, ” “Dante, ” “Sapho, ” “Tristram and Iseult”.
He met Mr. Osman Edwards again whom he had maintained a close friendship with in Japan five years before. When he was in Japan to study Japanese plays and actors, he was accompanied by Hirata to the plays (Noh and Kabuki) and sometimes translated his essays of “On Japanese Plays” into Japanese so that Edwards could contribute to Japanese magazines.
This time, Edwards welcomed Hirata warmly, showing him around London to see the art museums and theaters. He often took Hirata to the Playgoer's Club.
Hirata also visited Hogetu Shimamura. Shimamura had been staying in England for a year as a student from Waseda University and began a friendship with him in London. Before long Hirata decided to go and study at Oxford University and moved there. Hirata's association with Hogetu in Oxford continued until he left for Germany at the end of July in 1904. The state of their association can be seen in “Diary from March 8, 1902” written by Hogetu himself. Hirata associated with Japanese students in Oxford with an introduction from Hogetu. In October he began to present himself at the lectures of Dr. H. Sweet, Prof. Walter Raleigh, Prof. A.S. Napier, Lecturer E.de Selincourt at Merton, Magdalen, Balliol College and so forth.

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  日本において西洋音楽は、時代(1868-1912)から本格的に受容され始めた。当初、教育やナショナリズムの涵養に資するものと見なされた西洋音楽は、20 年後半から学生や学者といった知識人によって「芸術」と見なされた。その中でも、文芸評論家として知られる上田敏は、学生時代に日本で初めて演奏批評を文芸雑誌に掲載した。 本論文は、日本において西洋音楽が芸術として評価された過程と、その思想的・社会的背景を、上田敏が演奏批評で使用した評価基準である「エキスプレッション」の意味を分析することで明らかにする。
  まず、本論文は上田が演奏批評で使用した「エキスプレッション」の意味について検討する。「エキスプレッション」の重要性は、既に上田が演奏批評を発表する前に、精神や感情を表現する語として、洋書を通じて日本の音楽界に紹介されていた。上田はこれを、初めて演奏の評価基準として使用した。次に本論文は、上田が「エキスプレッション」を演奏批評で使用した思想的・社会的背景を検討する。上田は、音楽において具現化された精神と感情を強調した、ショーペンハウアーに代表される19世紀のヨーロッパにおける芸術観を特に高く評価した。彼はまた音楽を、主に女性と子供のための娯楽と見なす既存の音楽観とは異なる、「青年」層の情熱を表現する芸術であることを示そうとした。
  以上の特徴を持つ上田の演奏批評は、限定されていた日本の音楽観に対して新たな視点を示すこととなった。そして、彼の音楽批評は、日本における洗練された文化としての西洋音楽の普及を助けることとなった。

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