This paper aims to compare French mathematician Émile Borel and British economist John Maynard Keynes with special reference to probability theory. Borel and Keynes were contemporaries who greatly influenced each other across the English channel each other in the twentieth century. In his influential book, Borel (1938) harshly criticized Keynes’s position on probability theory. Borel regarded probability as a measurable object, thus constituting an important branch of mathematics. In contrast, Keynes thought of probability as a non-measurable phenomenon, thereby belonging rather to a branch of logic. Their controversies attracted attention in some parts of academia, generating a considerable output of papers even after their deaths and to the present day. With hindsight, however, it seems that the differences in their views are very deep-rooted and originated in the critical gulf between the abstract-minded French spirit and the empirical-oriented British tradition. In this paper, we wish to offer a series of fresh angles, thus shedding new light on the French-British controversy over probability. The first angle is offered by the rediscovery of Keynes’s romantic poem on probability, which can be found at the very end of Keynes’s 1921 book but had long been neglected until today. The second angle comes from reinvestigation of Keynes’s original yet almost forgotten concept of “interval-valued probability,” the third angle from the new interpretation of Keynes’s strange diagram on non-comparable probabilities. The fourth is prompted by the question of how and to what extent probability is related to non-measurability and ambiguity. Brief reference to Bruno de Finetti will be made in the final section.

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Studies by many literary and theatre scholars have demonstrated the relevance of Wole Soyinka’s plays to Africa’s sociopolitical realities. Nonetheless, sufficient critical attention has not been given to the relevance of Soyinka’s A Dance of the Forests (1973a) to the current sociopolitical situation in Africa. This study analyzes various themes of dystopia in Soyinka’s A Dance of the Forests and shows their relevance to the troubled condition of life in contemporary Africa. The study is premised on the idea that the significance of literary works, especially in Africa, goes beyond the period in which they are produced. Using postcolonial insights of Frantz Fanon and Homi Bhabha as a theoretical paradigm, the study contends that, although A Dance of the Forests is set against the background of Nigerian independence in 1960, the play’s representations of crises of governance are relevant to the socio-political upheavals in the 21st century Africa. While the play acknowledges the Western colonial factor, it demonstrates that political tyranny, social injustice, dehumanization, and other indices of dystopia prevalent in the continent predate as well as transcend Western colonialism. It shows that the state of dystopia in Africa has a link with the long-established culture of tyranny in the continent. The study shows that Soyinka’s A Dance of the Forests reveals that various African rulers (before and during colonialism, and after independence), together with their collaborators, within and outside the continent, support and implement dystopian policies which undermine the collective happiness of the ordinary people. By demonstrating that diverse elements of dystopia in Africa are not only generated by external factors but also deeply rooted in some aspects of Africa’s precolonial and post-independence leadership cultures, the playwright summons both African leaders and the led for critical self-examinations. The paper concludes that, rather than solutions from outsiders, Africans themselves should address the pervasive corruption and tyranny assailing their continent, and institute justice and equity in order to resolve its dystopian condition.

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Yasna 9 forms the main part of the text known as "Hom-Yašt" (Y9, 10, and 11, 1-12), the worship of Haoma, which must have been forbidden by Zaraθuštra himself. In order to gain insight into prehistory of the Haoma- Soma cult, the text is remaining still to be studied as a main source. It is written in a standard style of Young Avestan, and its investigation will contribute to establish the Avestan grammar more precisely. This article deals with the form and use of verbs in Yasna 9:
1. Preterit forms without augment: 1.1 ∂r^∂nauui; - 2. Y 9, 15, and the augmented forms: 2.1. apataii∂n, and the antecedent past; 2.1.1. Y 9, 11 araoδat; 2.2. Y 9, 15e-h; 2.2.1.abauuat, confirming statement; 2.2.2. Avestan forms in the function of confirming the facts in the past; 2.2.3. "injunctive" as (?); 2.2.3.1. Old Avestan as, ahuua; 2.2.3.2. Yt 10, 9; 2.2.4. Y 9, 15h damqn; 2.2.5. upait Y9, 1a-d; - 3. Y 9, 22.23, and the subjunctives: 3.1.aeⁱbiš, +baxšaⁱte; 3.2. taxš∂nti, +baxšaⁱte, baxšaⁱti, anh∂nte, subjunctive in the gnomic period; 3.3.azizanaⁱtibiš; - 4. Y 9, 24, raosta, the resultative inj. aor.; - 5. Y 9, 5, fracaroiθe, xšaiioit; - 6. dauuqⁱθiiå Y 9, 18. - (Injunctive of the "stative" verbs n.3; Instrumental P1. 3.1., 3.3., n. 57.)

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Shakespeareは,劇作家としてデビューした直後に若い貴族をパトロンとして仰ぐ幸運に恵まれた。二人の間には身分の違いを越えた交友関係が生まれたようである。ルネッサンス期における男性同士の友人愛は,彼の初期喜劇The Two Gentlemen of Veronaにも描かれているように,一切の価値に優先する聖なる絆であった。Shakespeare's Sonnetsは謎の多い作品である。作品が誰に捧げられ,歌われているライバル詩人が誰か,また詩人が愛した黒髪の婦人は誰か,という疑問が解決に到っていないからである。作品の構成は,6分の5が友人である美貌の貴公子を歌ったソネットで,残りの6分の1が上に述べた黒髪の婦人を歌ったソネットである。1番から17番ソネットでは,貴公子の美貌とその若さが讃美され,美と青春を失なう前に結婚し,子孫を儲けなさいという,結婚の薦めになっている。二人の交友が深まっていく間に,詩人が全く予想しなかった事が起こる。黒髪の婦人が貴公子を誘惑したのである。この事件が元で二人の交友関係にひびが入り,やがて二人は別れる。美貌の友人は,詩人にとってライバル関係にある文人達とつき合うようになる。だが二人の関係は後に修復され,交友関係は甦る。作品の前半は友人讃美が中心であるが,その裏には当時猛威をふるっていたペストの流行から来る「破滅の時」への警告と,「時の猛威」にも勝利する「ペンの力」が歌われている。作品の後半は友人と別れた詩人の嘆きと怨みが歌われている。しかし作品の最後では,友人と和解した詩人が,貴公子から得たものの大きさを見直し,友人の大きな愛を認め,変わらない愛こそ永遠に生きると,愛の絶唱を歌う。

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Gender and sexuality within Native North American societies had long been neglected in historical studies until recent years. This is because there has been a substantial limitation in the availability of historical documents on Native North Americans. Accessible documents are usually those of Europeans or Euro-Americans since most Native North Americans were nonliterate. Because of this limitation, those documents often include cultural misunderstandings and biases toward Native North Americans. Besides this limitation of documents, scholars’ attitudes toward Native North Americans had also been a problem. Many scholars, especially historians, tended to see heterosexual native men as representatives of Native North American societies when they studied natives. For that reason, most historical studies had not paid enough attention to the roles and statuses of women, gender relations, gender fluidity, and diverse sexualities within native societies. To conquer those problems of studies on Native North American gender and sexuality, historians and anthropologists have made great efforts to reevaluate the limited non-native documents, including historic anthropological field notes, especially in a newly developed academic field known as ethnohistory. Today, many historical, anthropological, and ethnohistorical studies reveal diverse gender relations and sexualities in various native communities before and after European　and Euro-American colonization. In this article, I review the rich fruits of those Native North American gender and sexuality studies.

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