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掲載誌名 Journal name,出版機関名 Publishing organization,巻/号 Vol./no.,頁数 Page nos.,発行年月(日) Date
2015  The Moral Language of Nature  単著   
Romanticism  , Edinburgh University  , 21/2  , 11  , 2015/07   

概要(Abstract)  

備考(Remarks)  

2014  The Unauthorized History of Singapore Shrine  単著   
AGON  , Messina University  , 3  , pp. 177-199  , 2014/12   

概要(Abstract) When the Japanese took Singapore from the British in 1942, they built a shrine in the middle of the island. It was called Syonan Jinja, which now lies in ruins. The cause of its destruction at the end of the Second World War remains in dispute. Some say that the Japanese burnt it down because they feared it would desecrated by the British; others say the British destroyed it as a mark of humiliation. While the site is officially recognized as being of historical
importance by the National Heritage Board, it has been left completely unmarked, undeveloped and unprotected. It is now visited by almost no one, owing to the dense, tropical rainforest around it and the reputation of the area as the haunt of ghosts and vampires. This paper is an examination of the afterlife of Syonan Jinja, or Singapore Shrine, and the place it occupies physically and culturally at edge of a highly developed city and the authorized historical record. 

備考(Remarks)  

2011  A Less than Green and Pleasant Land; or, the Young Wordsworth's Environmentalism  単著   
Illuminazioni: Rivista di Lingua, Letteratura e Communicazione  , University of Messina  , 18  , pp. 3-27  , 2011/12   

概要(Abstract) The advocation of wild nature or pastoral living is a familiar stance in English Romantic writing. According to Samuel Taylor Coleridge, "we ... become the best possible [in] the country [when] all around us smile Good and Beauty". Yet, under the pressure to feed a growing urban population and to provide raw materials for a growing naval and mercantile armada, how good or beautiful was the "country" really? As Kenneth Johnston argues in his biography on Wordsworth, "Tintern Abbey" was triggered by the poet's shock at the adverse changes to the landscape the poet had been familiar with as a child. This article pursues a two-stage objective. First, through "Goody Blake and Harry Gill", which was published with "Tintern Abbey" in 1798, to highlight the environmental degradation and desperate class struggle that were preceding apace in the English countryside during the 1790s. Second, through a juxtaposition with "Lines Written in Early Spring", also published with "Tintern Abbey", to assess the politics of the disquietened young Wordsworth. 

備考(Remarks)  

2008  Liberating Boyhood  単著   
Romantic Echoes in the Victorian Era  , Ashgate  , 191-208  , 2008/06   

概要(Abstract) "Taking 'The Bathers' (a painting by the lesser known Victorian artist, Henry Scott Tuke) as his starting point, Ve-Yin Tee reconsiders ... the value and meaning of boyhood in the eighteenth and nineteenth centuries. First exhibited in 1889, Tuke's depiction of young male nudes signpost the historically and culturally contingent conceptions of boyhood with its (socially and sexually) ambiguous status which, Ve-Yin Tee claims, was further exacerbated by reliance on child labour in the early half of the nineteenth century. Even Wordsworth the great poetic advocate of the importance of boyhood, in his 'Ode: Intimations of Immortality' and The Prelude, was divided on the issue of the increasing number of children that comprised the labour force. Wordsworth, Ve-Yin Tee demonstrates, objected to children being set to toil in the factories and mills, but saw nothing wrong with child labour in the agricultural industries and open fields of rural communities. These ambivalences surrounding Wordsworth's and Coleridge's valorisation of the Romantic child were subsequently re-invented as the figure of the Victorian boy in Tuke's painting which can be, simultaneously, scrutinised as a condemnation of nineteenth-century child labour and an exemplar of a healthy and well-exercised boy--from his exertions in the mill or factory--for his social peers to emulate. The Romantic child's sexual androgyny was equally open to exploitation by some Victorian artists and writers who found in the reinvented figure of the Victorian boy a laudable means to bespeak their own unspoken homoerotic desires."

<By Mark Sandy and Andrew Radford> 

備考(Remarks)  

2006  Invasion and Subterfuge in 'Frost at Midnight'  単著   
NUCB Journal of Language, Culture and Communication  , Nagoya University of Commerce and Business  , 8/1  , pp. 103-118  , 2006/07   

概要(Abstract) Coleridge repeatedly revised 'Frost at Midnight' publishing different versions of the poem. The poem that is widely read today is actually the final version of 1829. This essay focuses instead on the neglected and very different first version of 1798. Where the 1829 version is meditative, the version of 1798 is political. Where the version of 1829 returns to the icicles forming in the darkness of a winter's night, in the version of 1798 the persona and his family leave their home to enjoy the breaking of a bright new day. Poems as published works are as much the expression of the individual as of the society for which they are produced, so, theoretically, Coleridge's revisions could be indicative as much of the changes to his ideological makeup as of his social context. My study intends to demonstrate how the 1790s engendered the very different poem of 1798, which begs the question: why do we persist in thinking of 'Frost at Midnight' when we should be thinking of 'Frost at Midnights'? 

備考(Remarks)  

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