Between 1871-81, the years of William D. Howells' editorship, The Atlantic Monthly published monthly reviews of French books and occasional papers on French writers. In the United States, the appreciation of French literature had been slow, because Americans had condemned French literature as corrupt. But Howells and The Atlantic Monthly dared to pay attention to the latest trend in French literature.

　 This unusual editorial attention to French literature was due to two circumstances. First, tms period of the Gilded Age, which was characterized by geographical and psychological dislocation, demanded the “otherness” of foreign cultures. Second, a young trio, including Howells as editor, Henry James as advisor and critic, and Thomas Perry as prolific reviewer, all of whom had lived in Europe and been aspirants for American fiction and students of the new mode of Realism, recognized the importance of the role they would play in the unexplored field of American criticism.

　 The Atlantic Monthly s reviews reflected the contemporary trend of French literature immediately and precisely as a mirror; they denied the obstinate eloquence of Romanticism and appreciated Realism, except for Zola. Though they could not overturn the conservative judgment of people in Boston, theirsteady attention to French writers contributed to the revaluation of French literature at the end of the nineteenth century. We can therefore consider their activities to represent an important turning point in the reception of French literature in the United States.

株式会社カクヤスは酒販業界において急成長を遂げているが、現在の成功の要因は、かつて流行したディスカウント販売による低価格ではなく、顧客へのサービスにある。本稿では酒販業界の現状と当社の沿革に触れつつ、当社の戦略形成過程と競争優位性について述べる。

韓国における巨大災害に対するリスク・ファイナンシング（Risk Financing）としての保険制度の活用は，次のように要約できる。第一に，自然災害とそれ以外の災害を⽝災難および安全管理基本法⽞の中で「自然災難」と「社会災難」に分類し，その対応を統合的に一元化している。第二に，自然災害に対する政策保険では公私の危険分担が行われている。政府は，保険会社の安定的な事業の運営のために，政策保険の再保険を引き受けている。この政府による再保険の引受は，損害率200％を超える損害に対して行われるものであり，それ以下の損害率の損害は，民間保険会社の責任による再保険会社などへの再保険によって危険分散が行われる。第三に，自然災害に対する政策保険は，原則的に任意加入として政府と地方自治体が保険料を支援している。一方，「社会災難」に対しては，民営の火災保険と賠償責任などへの加入が強制されている。

　One of Shakespeare’s early comedies, The Taming of the Shrew, has been acted most successfully upon the stages of all ages and in all countries. Its popularity seems to be based upon the man-woman relationship theme together with its great sense of fun. But the audience’s reception of the heroine’s metamorphosis, which forms the center of the drama, has not been unanimous. The various audience’s responses can be divided into three types: first, Katherine, the shrew, is tamed by Petruchio and seems to become an obedient wife, secondly, she learns to play an obedient wife, thirdly, she herself becomes a tamer.

　This paper is written with the aim of trying to fathom the author’s own intention regarding Kate’s metamorphosis, in other words the meaning of the “taming” itself ; by comparing the work with its probable sources, by making reference to contemporary thinking about marriage, and by concentrating upon relevant aspects of the work’s adaptations in England during the period 1667-1844 and in Japan during the Meiji and the Taishō eras.

　The original was rarely presented, when those adaptations were put on the stage, and Katherine’s taming by Petruchio seems to have been acceptable to the audiences. The particular conditions relating to the theatres of the times will also be examined in the following chapters.

　In the 1920s, many works of Japanese literature, along with the knowledge of Japanese literary movements, were introduced into China by writers who had studied in Japan. Among these movements was Naturalism, which was introduced into China in the early 1920s. This paper examines the characteristics and significance of Naturalism in modern Chinese literature by analyzing the influence of Japanese Naturalism on Chinese literature.

　In 1920 Mao Dun—who played a leading role in the Chinese Naturalism movement in 1922—insisted that Chinese literature should promote Neo-Romanticism because the latter is the ideal of contemporary European literature. However, later on, in 1921, he shifted his focus to Naturalism. On examining the magazines for which Mao Dun worked, we come across a number of articles on Japanese Naturalism that were written by critics who had studied in Japan. We also find Japanese essays translated into Chinese, which regarded Naturalism as a great divide in modern literary history. From this, it is possible to determine that several Chinese naturalists, including Mao Dun, were influenced by Japanese Naturalism.

　Chinese Naturalism does not appear to be as active a movement as Japanese Naturalism. However, the process by which literature was being defined and established will be elucidated on an examination of the rise and fall of the movement of Naturalism.