Dynamo (1929) and Days Without End (1934) have been quite unpopular and controversial in relation to the issue of faith. Eugene O’Neill wrote these two plays to be part of a trilogy which deals with the abandonment of old-God and the subsequent search for substitute God. However, these two plays faced box-office disasters: Dynamo ran for only fifty performances; Days Without End, fifty-seven. O’Neill thinks it is necessary to depict a human figure in distress over the loss of faith and the subsequent search for a substitute God figure, remarking his idea in a letter: “It is really the first trilogy that will dig at the roots of the sickness of today as I feel it” (Bogard and Bryer [eds] 1988). Thus, it is worthwhile examining how the playwright presents the protagonists’ loss of faith in these two plays which brings about a sort of spiritual void generating not only their anguish but the need for new faith. Therefore, this paper focuses on the examination of the scenes in the two plays where the protagonists’ deprivation of their original faith and their quest for its substitute are depicted. In order to explore this issue, in Section 1, this paper deals with the process of the abandonment of faith by the protagonists in Dynamo and Days Without End: in Section 1.1, this paper examines the process in which Reuben in Dynamo abandons his faith in God; and in Section 1.2, the process whereby John Loving in Days Without End abandons his religious faith. Moreover, in Section 2, this paper illustrates the quest for new faith: in Section 2.1, this paper examines the scenes in which Reuben seeks for the substitute god figure in the dynamo; in Section 2.2, the scenes which reveal the internal struggle of John and masked Loving, resulting in the protagonist’s return to the Christian faith.

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Roman Jacobson defined the poetic function in "Linguistics and Poetics" as follows. "The poetic function projects the principle of equivalence from the axis of selection into the axis of combination". He thought that the essence of poetic composition lies in repetition and demonstrated that parallelism is the necessary condition of poetry in many folks. Though tanka (short verse), the representative form of Japanese poetry, has scarcely repetition. Japanese much loved the parallelism in Chinese poetry and Japanese prose, but excluded it from tanka. Ancient tanka poets juxtaposed two equivalent words not only to produce repetition but also to change the topics. After 10th century poets mainly made use of them to change topics by fusing two words into one dual meaning word or paronomasia (kake-kotoba). For example, a tanka starts with mentioning love, shifts to describing scenery, then ends expressing . This verse is composed not by three sentences, but by one sentence with two paronomasia. Readers will enjoy twice transitions like going out and coming back through a revolving door. An unexpected experience of transition is found in various fields of Japanese art. Such as emakimono (picture scroll), Japanese stroll gardens, and especially renga (chained tanka) offer the transition as their key element of artistic effects.

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近年、音楽配信サービスが広まることで選択可能な音楽の数が膨大になり、嗜好に合う音楽の選択が困難になっている。そのため、本研究では、聴覚と視覚の共感覚のうち色の関係性を調査し、色情報で自分の嗜好に合う音楽選択をする手助けをすることを目的とする。本研究では、アンケートを複数回実施して傾向を探った。まず、API の数値データから曲に合う色やトーンの CD ジャケットを作成し、曲の印象と合うかのアンケートを数回実施した。その結果、曲のキーやテンポ、雰囲気から連想する色やトーンには傾向があり、曲調における色聴共感覚が存在することが分かった。

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This paper aims firstly at documenting a unique phenomenon that has been observed and analyzed over a period of 20 years, namely the consistently high occurrence of suicide among a small population of tribal inhabitants of Southern Palawan, Philippines. After a brief sketch of the cultural and social setting of the study, anthropological studies on suicide among tribal and nonindustrial people are reviewed and a quick overview of suicide in Southeast Asia is provided. Aggregate figures are then examined with a view of providing a general outline of voluntary death in Kulbi, Palawan. The yearly rate, one of the highest in the world (as high as 173 per 100,000) is established. Factors that are computed include age, sex, method, and motives. Indigenous concepts concerning personhood, morality, the emotional life, and eschatology are examined next and a sketch of the native conceptual framework is drawn, so as to locate the indigenous view of suicide within this framework. In conclusion, the central problem of the study is restated, namely to understand the overall rate of suicide for a population whose culture does not essentially differ from non-suicide prone neighbors. Several complementary hypotheses are suggested, combining socialization, genetically defined predisposition and “wave hypothesis.”

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Late in the 19th century, in an age of confusions and convulsions ofthechangefrom physiocracyto capitalism underthem achineindustry, Sherwood Anderson was born in Camden, Preble County, Ohio.
Although he got tolerable success as a businessman by availing himself of the convulsive situation of the times, the Gilded Age of American materialism, he disappeared from his office at the end of November, 1912. Found in Cleveland a few days later and developing temporal symptoms of amnesia, he was taken to a neighboring hospital. After leaving hospital he went to Chicago without going back to his own office and worked for an advertising company: that formed a fitting opportunity for him to become a writer.
He is a writer who wrote many short stories and novels, based upon his personal experience, on those who lived honestly and purely clinging to a truth deduced from their past experience in the Midwest transformed from an agricultural to an industrial state, as the subject matter. All Anderson's works contain his autobiographical elements, or in other words, he wrote about the world of imagination or that of fancy on the basis of his life.
To be more exact, the theme is common to all his works. By psychoanalyzing Sherwood Anderson I explicate what is the very theme and the real cause he could not help writing on the common theme.
Moreover, psychoanalyzing the cause of his neurasthenia will show why he relinquished his office, deserted two sons, one daughter and his wife who was attracted, well educated, refined, and why he had to choose a career in writing.

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