ᣣᧄᄢቇᄢቇ㒮✚ว␠ળᖱႎ⎇ⓥ⑼ ඳ჻ᓟᦼ⺖⒟ ✚ว␠ળᖱႎኾ᡹

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ᚢᓟࠗࠡ࡝ࠬ⧯⠪ᢥൻౣ⠨

̆ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߣߘߩ૛ᵄ̆

Youth Culture in Post-War Britain:

“Swinging London” and the Aftermath

ᣣᧄᄢቇᄢቇ㒮✚ว␠ળᖱႎ⎇ⓥ⑼ ඳ჻ᓟᦼ⺖⒟ ✚ว␠ળᖱႎኾ᡹

ᐔᚑ㧞㧡ᐕᐲ

ᜰዉᢎຬ ᧻ጟ ⋥⟤

20110414002 ᬮ↰ ⌀

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⋡ ᰴ

ᐨ ┨ ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠ ……….…1

㧝㧚ߪߓ߼ߦ ……….…1

㧞㧚ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠ ………...2

㧟㧚ޟᢥൻ㕟๮ޠ೨ᄛ ………...3

㧠㧚ᶖ⾌␠ળߣᢥൻࠣࡠ࡯ࡃ࡝࠯࡯࡚ࠪࡦ ……….4

㧡㧚ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߣ޿߁␹⹤ ………...5

╙㧝┨ ࠗࠡ࡝ࠬᢥൻ⺰ߩ♽⼆ ……….8

㧝㧚ߪߓ߼ߦ ……….8

㧞㧚ࠛ࡝࡯࠻ਥ⟵⊛ᢥൻ⺰ ……….8

㧟㧚ޟ⧷ᢥቇޠߩ․ᮭൻ ……….10

㧠㧚 ᢥൻ᭎ᔨߩ᜛ᒛ㧦୘ੱ߆ࠄ␠ળ߳ ……….12

㧡㧚⥄ὼ⑼ቇߣߩਵ㔌 ………...13

㧢㧚ޟᄢⴐᢥൻޠߩౣቯ૏ .………14

㧣㧚ޟࠞ࡞࠴ࡘ࡜࡞࡮ࠬ࠲࠺ࠖ࡯࠭ޠߩ⊒ዷߣ⃻⁁ ……….16

㧤㧚߻ߔ߮ ………...18

╙㧞┨ ޟᔶࠇࠆ⧯⠪ߚߜޠౣ⠨ ………...20

㧝㧚ߪߓ߼ߦ ………...20

㧞㧚ᤨઍ⢛᥊ ………...21

㧟㧚ᔶࠅߩℂ↱ ………...22

㧔㧝㧕ᄢ⟵ฬಽߩ༚ᄬ ………...22

㧔㧞㧕ᄢ⧷Ꮲ࿖߳ߩࡁࠬ࠲࡞ࠫ࡯ ………...23

㧔㧟㧕ᱷሽߔࠆ㓏⚖␠ળ ………...23

㧔㧠㧕ࠕࡔ࡝ࠞߩᓇ㗀ജ ………...24

㧠㧚ṫᵹߔࠆࠕࡦ࠴࡮ࡅ࡯ࡠ࡯ߚߜ ………...25

㧔㧝㧕㓏⚖਄᣹ ………...25

㧔㧞㧕㓏⚖ਅ㒠 ………...25

㧔㧟㧕ࠦࡒ࠶ࠢ࡮ࡁࡌ࡞ ………...26

㧔㧠㧕 ታሽਥ⟵⊛ᕁ⠨ ……….26

㧔㧡㧕ഭ௛⠪㓏⚖ߩⷞὐ ………...26

㧔㧢㧕ᄢⴐߩ෻ᔕ ………...27

㧡㧚ޟᔶࠇࠆ⧯⠪ߚߜޠ߳ߩุቯ⊛⹏ଔ ……….…28

㧢㧚ࠗࠡ࡝ࠬߦ߅ߌࠆ㓏⚖ߣᢎ⢒ ………...31

㧣㧚ޟᔶࠇࠆ⧯⠪ߚߜޠ߳ߩ⢐ቯ⊛⹏ଔ ……….32

㧤㧚߻ߔ߮ ……….…..32

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╙㧟┨ ޟࡉ࡝࠹ࠖ࠶ࠪࡘ࡮࠾ࡘ࡯࡮࠙ࠚࠗࡧޠ߳ߩᢥൻ⊛ᵄ෸ ……….34

㧝㧚ߪߓ߼ߦ ……….34

㧞㧚40-50ᐕઍࠗࠡ࡝ࠬᤋ↹ผ ………..35

㧟㧚ޟࡉ࡝࠹ࠖ࠶ࠪࡘ࡮࠾ࡘ࡯࡮࠙ࠚࠗࡧޠ ………..…36

㧠㧚ޟࡈ࡝࡯࡮ࠪࡀࡑޠ ………..40

㧡㧚ᢥൻᬺ⇇ౝߩⱣ᦬㑐ଥ ……….43

㧢㧚40ᐕઍࠕࡔ࡝ࠞṶ഍ ………44

㧣㧚50ᐕઍࠕࡔ࡝ࠞᤋ↹ ………46

㧤㧚߻ߔ߮ ………..…..47

╙㧠┨ ޟࡉ࡝࠹ࠖ࠶ࠪࡘ࡮ࠗࡦࡧࠚ࡚ࠗࠫࡦޠߦߺࠆ⧷☨㑆ߩᢥൻᮮᢿᕈ ………49

㧝㧚ߪߓ߼ߦ ……….49

㧞㧚50ᐕઍࠗࠡ࡝ࠬ㖸ᭉผ ………...50

㧟㧚ࡠ࠶ࠢࡦࡠ࡯࡞ߩ㓉⋓ߣ⴮ㅌ ……….51

㧠㧚ᢥൻ੤㍲࿾ὐ࡝ࡧࠔࡊ࡯࡞ ……….52

㧡㧚ࡆ࡯࠻࡞࠭ߣޟ㤥޿㖸ޠ ………53

㧢㧚ਇ⦟ዋᐕ߆ࠄࠕࠗ࠼࡞߳ߩ໡ຠൻ ……….54

㧣㧚ޟࡉ࡝࠹ࠖ࠶ࠪࡘ࡮ࠗࡦࡧࠚ࡚ࠗࠫࡦޠߩ᐀㐿ߌ ………56

㧤㧚ഭ௛⠪㓏⚖ߩ⧷㓶㧫 ……….57

㧥㧚ࠕࡔ࡝ࠞߩ෻ᔕ ………59

㧝㧜㧚ᣂ↢ࠗࠡ࡝ࠬߩళ୥ ……….61

㧝㧝㧚߻ߔ߮ ………62

╙㧡┨ ⧷☨ޟࡐ࠶ࡊ࡮ࠕ࡯࠻ޠߣᄢⴐᢥൻ ……….64

㧝㧚ߪߓ߼ߦ ……….64

㧞㧚ޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻࡮ࠣ࡞࡯ࡊޠ ………..64

㧟㧚ޟߎࠇ߇᣿ᣣߛޠዷ ………66

㧠㧚ޟࡐ࠶ࡊ࡮ࠕ࡯࠻ޠߩ㐿⧎ ………68

㧡㧚ޟ࠾ࡘ࡯࡛࡯ࠢ࡮࠳࠳ޠߩᓇ㗀ജ ………..70

㧢㧚ޟࡐ࠶ࡊ࡮ࠕ࡯࠻ޠࠍ߼ߋࠆ⸒⺑ ………..71

㧣㧚ࡐࡇࡘ࡜࡯㖸ᭉߣߩㅪേ ………72

㧤㧚߻ߔ߮ ……….74

╙㧢┨ ޟࠬ࠻࡝࡯࠻࡮ࡈࠔ࠶࡚ࠪࡦޠߣޟኡኈߥ␠ળޠ ………75

㧝㧚ߪߓ߼ߦ ……….75

㧞㧚⸥ภߣߒߡߩ⴩᦯ࠦ࡯࠼ ………75

㧟㧚ࠝ࡯࠻ࠢ࠴ࡘ࡯࡞߆ࠄࡊ࡟࠲ࡐ࡞࠹߳ ………76

㧠㧚ޟࡕ࠶࠭ޠߩ⊓႐ ………..77

㧡㧚ࡑ࡝࡯࡮ࠢࡢࡦ࠻ߩࡒ࠾ࠬࠞ࡯࠻ ………....79

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㧢㧚ᅚᕈߩり૕ᗧ⼂ߩᄌൻ ……….80

㧣㧚࠷ࠗ࠶ࠡ࡯ߣ޿߁ᢥൻ⊛ࠗࠦࡦ ……….81

㧤㧚╙2ᵄࡈࠚࡒ࠾࠭ࡓߩบ㗡 ………...….82

㧥㧚ᕈ⊛⸃᡼ߣޟኡኈߥ␠ળޠ ………83

㧝㧜㧚߻ߔ߮ ………....85

╙㧣┨ ޟࠬ࠙ࠖࡦࠡࡦ࡮ࠪ࠶ࠢࠬ࠹ࠖ࡯࠭ޠߩ૛ᵄ―70ᐕઍ߆ࠄ10ᐕઍ߹ߢ― ……..86

㧝㧚60ᐕઍᧃ ………86

㧔㧝㧕ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߩᄬㅦ ………..…86

㧔㧞㧕ޟࠞ࠙ࡦ࠲࡯ࠞ࡞࠴ࡖ࡯ޠߩ⚳Ὣ ……….….87

㧔㧟㧕ޟࠞ࠙ࡦ࠲࡯ࠞ࡞࠴ࡖ࡯ޠ߳ߩ࡟ࠢࠗࠛࡓ ………..…90

㧞㧚70ᐕઍ ………..…….91

㧔㧝㧕ޟࠗࠡ࡝ࠬ∛ޠߩ⊒∝ ……….…….91

㧔㧞㧕ޟࡄࡦࠢޠߩ⊓႐ ……….…….92

㧔㧟㧕ޟࡄࡦࠢ࡮ࡓ࡯ࡧࡔࡦ࠻ޠߣ޿߁⁁ᴫ………..………93

㧟㧚80ᐕઍ ………..……….95

㧔㧝㧕ޟࠨ࠶࠴ࡖ࡝࠭ࡓޠߩഞ⟋ ……….……….95

㧔㧞㧕ᄢ⧷Ꮲ࿖ߩᱷṗ ………96

㧔㧟㧕ޟࡋ࡝࠹ࠖ࠶ࠫᤋ↹ޠߩ㓉⋓ ………..98

㧠㧚90ᐕઍ ………...99

㧔㧝㧕ޟഭ௛⠪㓏⚖ᤋ↹ޠߩ㓉⋓………99

㧔㧞㧕ޟࡉ࡝࠶࠻࡮ࡐ࠶ࡊޠ⃻⽎ ……….101

㧔㧟㧕ޟࠢ࡯࡞࡮ࡉ࡝࠲࠾ࠕޠߩౝ᐀ ……….102

㧡㧚00ᐕઍ ……….………105

㧔㧝㧕ࠕࡔ࡝ࠞหᤨᄙ⊒࠹ࡠ ………..………105

㧔㧞㧕ࡠࡦ࠼ࡦหᤨᄙ⊒࠹ࡠ ………..………106

㧔㧟㧕ࡂࡠ࡞࠼࡮ࡇࡦ࠲࡯ߩᔶࠅߩ⛮⛯ᕈ ………..………108

㧢㧚10ᐕઍ ……….109

㧔㧝㧕ޟ࠳ࠗࡗࡕࡦ࠼࡮ࠫࡘࡆ࡝࡯ޠߣޟࡠࡦ࠼ࡦ࡮ࠝ࡝ࡦࡇ࠶ࠢޠ ………109

㧔㧞㧕ᩰᏅ␠ળ߳ߩᔶࠅ ……….…….110

㧔㧟㧕ޟ2011ᐕࠗࠡ࡝ࠬ᥸േޠ ………..……….111

⚳ ┨ ⚿⺰ ……….114

㧝㧚ฦ┨✚᜝ ……….………114

㧞㧚ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߩ␠ળᢥൻ⊛ᗧ⟵ ………...………118

ෳ⠨ᢥ₂ ……….121

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1

ᐨ┨

ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠ

㧝㧚ߪߓ߼ߦ

ࠗࠡ࡝ࠬߪવ⛔ࠍ㊀ࠎߓࠆ଻቞⊛ߥ࿖ߢ޽ࠆ߇ޔߘߩ৻ᣇߢ㕟ᣂ⊛ߥ௑ะ߽ᒝ޿ޕ17 ਎

♿ߩࡇࡘ࡯࡝࠲ࡦ㕟๮(1642-49)߿ฬ⹷㕟๮(1688-89)ߦᆎ߹ࠅޔ18਎♿ᓟඨߩ↥ᬺ㕟๮ޔߘ ߩᚑᨐࠍ⹶␜ߒߚ 19 ਎♿ඨ߫ߩ⪇ޘߒ޿ਁ࿖ඳⷩળ㐿௅(1851)߇⽎ᓽߔࠆࠃ߁ߦޔޟ࡞࡯

࡞࡮ࡉ࡝࠲࠾ࠕޠ(“Rule, Britannia!”)ࠍჿ㜞ߦ⻭޿ޔޟࡄࠢࠬ࡮ࡉ࡝࠲࠾ࠞޠ(Pax Britannica) ࠍታ⃻ߐߖߚᄢ⧷Ꮲ࿖ᤨઍߪޔ᡽ᴦ⚻ᷣߩಽ㊁ߢ࿖㓙␠ળߩవ㗡ࠍ⿛ߞߡ߈ߚޕߘߩ㕟ᣂ

⊛ᕈ⾰ߪޔᢥൻߩಽ㊁ߦ߅޿ߡ߽၂㑆⷗ࠆߎߣ߇ߢ߈ࠆޕ

ࠗࠡ࡝ࠬᢥൻߪ㑆ญ߽ᅏⴕ߈߽ᐢ޿߇ޔߘߩℂ↱ߪ޿ߊߟ߆᜼ߍࠄࠇࠆޕᱧผ⊛ߦ⷗ߡ

߽ޔࠗࠡ࡝ࠬߪ᳿ߒߡන৻᳃ᣖޔන৻ᢥൻߩ࿖ߛߞߚࠊߌߢߪߥ޿ޕవผᤨઍ߆ࠄࠤ࡞࠻ޔ ࠕࡦࠣࡠޔࠨࠢ࠰ࡦޔࡁ࡞ࡑࡦߥߤߐ߹ߑ߹ߥ᳃ᣖߦࠃࠆଚ⇛ߣቯ૑߇➅ࠅ㄰ߐࠇޔࠗࠡ

࡝ࠬߩᲣ૕߇ᒻᚑߐࠇߡ߈ߚߩߢ޽ࠅޔ⃻࿷ߢ߽ޟࠣ࡟࡯࠻ࡉ࡝࠹ࡦ෸߮ർࠕࠗ࡞࡜ࡦ࠼

ㅪว₺࿖ޠ(United Kingdom of Great Britain and Northern Ireland)ߣ޿߁ᱜᑼฬ⒓߇␜ߔߣ߅ ࠅޔࠗࠡ࡝ࠬߪࠗࡦࠣ࡜ࡦ࠼ޔ࠙ࠚ࡯࡞࠭ޔࠬࠦ࠶࠻࡜ࡦ࠼ޔർࠕࠗ࡞࡜ࡦ࠼ߣ޿߁᳃ᣖޔ ᱧผޔᢥൻࠍ⇣ߣߔࠆ4ߟߩ࿾ၞߩㅪวߦࠃߞߡᚑ┙ߒߡ޿ࠆ࿖ߥߩߢ޽ࠆޕ

ߎߩࠃ߁ߦޔ࡛࡯ࡠ࠶ࡄߩፉ࿖ߢ޽ࠆ߇ࠁ߃ߦᄢ㒽߆ࠄᷰ᧪ߒߚޔ޽ࠆ޿ߪᏢ࿖ਥ⟵ߩ

ᬀ᳃࿾ൻߦࠃߞߡᡰ㈩ߒߚޔߐ߹ߑ߹ߥ᳃ᣖߩᢥൻ߇ᷙᶳߒวߞߡ㊀ጀൻߒޔ⁛⥄ߩᢥൻ ࠍᒻᚑߒߡ߈ߚ߆ࠄߦઁߥࠄߥ޿ޕᢥቇ⠪ߩࡔࠕ࡝࡯࡮࡞ࠗ࡯࠭࡮ࡊ࡜࠶࠻(Mary Louise Pratt, 1948-)ߪޡᏢ࿖ߩ߹ߥߑߒޢ(Imperial Eyes: Travel Writing and Transculturation, 1992)ߦ ߅޿ߡޔ⇣ߥࠆᢥൻห჻߇⒖േߦࠃߞߡ಴ળ޿ޔⴣ⓭ߒޔᩰ㑵ߔࠆ␠ળ⊛ⓨ㑆ࠍޟࠦࡦ࠲

ࠢ࠻࡮࠱࡯ࡦޠ(contact zones)ߣ๭߮ޔߘߩ․ᓽߩ1ߟߦ⋧੕ߩ੤ᷤ߿ㆬᛯࠍ⚻ߡߐ߹ߑ߹

ߥⷐ⚛߆ࠄᣂߒ޿ᢥൻ߇ഃ಴ߐࠇߡ޿ߊޟᢥൻ⿧Ⴚ㧩ᢥൻᄌኈޠ(transculturation)ࠍ᜼ߍߡ

޿ࠆ(4-6)ޕߎࠇߦᒰߡߪ߹ࠆࠃ߁ߦޔᭂ߼ߡᄙ᭽ߥ⇣ᢥൻធ⸅ࠍ⚻ߡޔฃኈߣᄌኈࠍ➅ࠅ

㄰ߒߥ߇ࠄ੹ᣣߩࠗࠡ࡝ࠬᢥൻߪ㉯ᚑߐࠇߡ޿ߞߚߩߢ޽ࠆޕ

ߘߩࠃ߁ߥࠗࠡ࡝ࠬᢥൻߦ߅޿ߡ഍⊛ߥᢥൻ⿧Ⴚߣᢥൻᄌኈࠍᨐߚߒߚߩ߇ 20 ਎♿ߢ

޽ࠅޔߣࠅࠊߌ㕟ᣂ⊛ߥࠗࡔ࡯ࠫߢ⺆ࠄࠇࠆߎߣߩᦨ߽ᄙ޿ߩ߇1960ᐕઍࡠࡦ࠼ࡦࠍਛᔃ ߦ㓉⋓ߒߚޟ⧯⠪ᢥൻޠ(youth culture)ߢ޽ࠆޕ╙ੑᰴ਎⇇ᄢᚢᓟߩᓳ⥝ᦼࠍ⚻ߡޔ␠ળ⊛

቟ቯߣ⚻ᷣ⊛❥ᩕࠍ⻭᱌ߒߚߎߩᤨઍߦߪޔᓽ౓೙߆ࠄ⸃᡼ߐࠇߡᤨ㑆⊛࡮㊄㌛⊛૛⵨ࠍ

₪ᓧߒߚᚢᓟߩᣂ਎ઍߩ⧯⠪ߚߜߦࠃߞߡޔߐ߹ߑ߹ߥᢥൻ㗔ၞߢ㕟ᣂ⊛ߥേะ߇㗼࿷ൻ ߒߡ޿ߞߚޕᢥቇޔṶ഍ޔᤋ↹ޔ㖸ᭉޔࠕ࡯࠻ޔࡈࠔ࠶࡚ࠪࡦߣ޿ߞߚᢥൻ㗔ၞߦ߅޿ߡޔ ޟࠛࠬ࠲ࡉ࡝࠶ࠪࡘࡔࡦ࠻ޠ(the Establishment)ߦࠃࠆᣥᘒଐὼߣߒߚᣢᚑ᭎ᔨ߿વ⛔⊛ଔ ୯ⷰ߇ᡰ㈩࡮ሽ⛯ߔࠆᤨઍߩ㐽Ⴇᗵࠍᛂ⎕ߒޔ␠ળᢥൻ⁁ᴫࠍᄌ㕟ߒࠃ߁ߣߔࠆᯏㆇ߇㜞

឴ߒߡ޿ߚߩߢ޽ࠆޕߘ߁ߒߚ㕟ᣂ⊛േะߩ⿠ὐߣߥߞߚߩ߇ޔ50ᐕઍᓟඨߩࠗࠡ࡝ࠬᢥ ቇ⇇ߦ಴⃻ߒߚഭ௛⠪㓏⚖෸߮ਅጀਛ↥㓏⚖ߩ૞ኅ⟲ޟᔶࠇࠆ⧯⠪ߚߜޠ(Angry Young Men)ߢ޽ࠆޕᓐࠄߩ⊒↢ߐߖߚ␠ળᢥൻ⊛࿾Ზᄌേߪ㓞ធߔࠆᢥൻ㗔ၞߦ߽ᵄ෸ߒޔߘߩ

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2

෻૕೙⊛ߥ␠ળᗧ⼂ࠍ౒᦭ߒߚ⧯⠪ߚߜߪᢥൻ㑆ߢㅪേߒޔᔶᶢߩᔟㅴ᠄ࠍ⷗ߖߚޕࡠࡦ

࠼ࡦࠍ㔡Ḯ࿾ߣߔࠆߎߩޟ࡙࡯ࠬࠢࠛࠗࠢޠ(Youthquake)ߪޔᶏࠍᷰߞߡ⍍ߊ㑆ߦ਎⇇ਛࠍ 㔡ᠥߐߖࠆߎߣߦߥࠆޕ

଀߃߫ޔᧄ⺰ߢ⠨ኤߔࠆޟᔶࠇࠆ⧯⠪ߚߜޠߩዊ⺑ࠍᤋ↹ൻߒߚޟࡉ࡝࠹ࠖ࠶ࠪࡘ࡮࠾

ࡘ࡯࡮࠙ࠚࠗࡧޠ(British New Wave)ޔࠩ࡮ࡆ࡯࠻࡞࠭(The Beatles, 1962-70)ࠄߩࡐࡇࡘ࡜࡯

㖸ᭉߦઍ⴫ߐࠇࠆޟࡉ࡝࠹ࠖ࠶ࠪࡘ࡮ࠗࡦࡧࠚ࡚ࠗࠫࡦޠ(British Invasion)ޔࠕࡔ࡝ࠞߦవ ⴕߒߡᆎ߹ߞߚޟࡐ࠶ࡊ࡮ࠕ࡯࠻ޠ(Pop Art)ޔࡒ࠾ࠬࠞ࡯࠻ߦ㓸⚂ߐࠇࠆޟࠬ࠻࡝࡯࠻࡮

ࡈࠔ࠶࡚ࠪࡦޠ(Street Fashion)ޔᕈ⊛⸃᡼߿࠼࡜࠶ࠣ࡮ࠞ࡞࠴ࡖ࡯ߥߤߣ⚿߮ߟ޿ߚ࡜ࠗࡈ

ࠬ࠲ࠗ࡞ߩᄙ᭽ൻߥߤޔ⑳ߚߜ߇⸅ࠇࠆ60ᐕઍࠗࠡ࡝ࠬ߆ࠄ⊒ାߐࠇߚ޽ࠄࠁࠆ⧯⠪ᢥൻ ߇ᢾᣂ߆ߟ㞲᣿ߥ㕟ᣂ⊛ࠗࡔ࡯ࠫߦᓀࠄࠇߡ޿ࠆߣ޿ߞߡ߽ㆊ⸒ߢߪߥ޿ޕᱧผኅߩࠕ࡯

ࠨ࡯࡮ࡑ࡯࠙ࠖ࠶ࠢ(Arthur Marwick, 1936-2006)߇ޡ60ᐕઍޢ(The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, c.1958-c.1974, 1998)ߦ߅޿ߡ೽㗴ߦឝߍߡ⒓⾥

ߒߡ޿ࠆࠃ߁ߦޔࠗࠡ࡝ࠬᚢᓟผߦ߅޿ߡޟᢥൻ㕟๮ޠ(Cultural Revolution)ߣ޿߁ᄢ⢙ߥ

๭⒓߇઒ߦ⸵ߐࠇࠆᤨઍ߇޽ࠆߣߔࠇ߫ޔߘࠇߪ߅ߘࠄߊ60ᐕઍࠍ㒰޿ߡઁߦߥ޿ߛࠈ߁ޕ ߢߪޔ60ᐕઍࠗࠡ࡝ࠬᢥൻߪߤߩࠃ߁ߥὐ߇ޔߤߩࠃ߁ߥᗧ๧ߢ㕟ᣂ⊛ߛߞߚߣ⸒߃ࠆߩ ߛࠈ߁߆ޕ߹ߚޔߘࠇߪ੹ᣣߩࠗࠡ࡝ࠬߩ␠ળᢥൻߩ޽ࠅࠃ߁ߦޔߤߩࠃ߁ߥೞශࠍᱷߒ ߡ޿ࠆߣ⸒߃ࠆߩߛࠈ߁߆ޕ

㧞㧚

ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠ

1966 ᐕ4 ᦬ޔࠕࡔ࡝ࠞߩ࠾ࡘ࡯ࠬㅳೀ⹹ޡ࠲ࠗࡓޢ(Time)ߩ⸥⠪ࡇ࡯࡝࡯࡮ࡂ࡜ࠬ(Piri Halasz)ߪޔᒰᤨᦨ߽ᵴᴫߔࠆㇺᏒߣߒߡࠗࠡ࡝ࠬߩ㚂ㇺࡠࡦ࠼ࡦࠍขࠅ਄ߍޔޟࡠࡦ࠼ࡦ

―ࠬ࠙ࠖࡦࠡࡦ࡮ࠪ࠹ࠖޠ(“London: the Swinging City”)ߣ㗴ߔࠆ․㓸⸥੐ࠍឝタߒߚޕ↹ኅ ߩࠫࠚࡈ࡝࡯࡮࠺ࠖࠠࡦ࠰ࡦ(Geoffrey Dickinson, 1933-88)߇ᜂᒰߒߚ⴫⚕ߩࠗ࡜ࠬ࠻࡟࡯ࠪ

࡚ࡦߪޔࠗࠡ࡝ࠬ࿖ᣛޟ࡙࠾ࠝࡦ࡮ࠫࡖ࠶ࠢޠ(Union Jack)ߩ㕍ⓨࠍ⢛᥊ߦޔᒰᤨߩࡠࡦ࠼

ࡦߩ․ᓽ⊛ߥ␠ળᢥൻ⊛੐⽎߇࡙࠾࡯ࠢߦឬ߈಴ߐࠇߡ޿ࠆޕᣥᤨઍ߆ࠄߩ⽎ᓽߣߒߡࡠ ࡦ࠼ࡦߩਇᄌਇേࠍ␜ߔ࡜ࡦ࠼ࡑ࡯ࠢߪޔ໑৻ࡆ࠶ࠣ࡮ࡌࡦ߇⏕⹺ߢ߈ࠆߩߺߢ޽ࠆޕߘ ࠇએᄖߦᚲ⁜ߒߣᢔࠅ߫߼ࠄࠇߚੱ‛߿ࡕࡁߪޔᒰᤨߩࡠࡦ࠼ࡦߩᄌኈ߱ࠅࠍ␜ߒߡ޿ࠆޕ ᤋ↹㙚ߩࡀࠝࡦ࡮ࠨࠗࡦߢᶋ߆߮਄߇ߞߡ޿ࠆᢥሼߪޔഭ௛⠪㓏⚖಴りߢೋ߼ߡᚑഞࠍ෼

߼ߚᤋ↹େఝߣߐࠇࠆࡑࠗࠤ࡞࡮ࠤࠗࡦ(Michael Caine, 1933-)ߩਥṶᤋ↹ޡࠕ࡞ࡈࠖ࡯ޢ

(Alfie, 1966)ߢ޽ࠆޕ࠺ࠩࠗࡦࠍ৻ᣂߒߚ߫߆ࠅߩ㆏〝ᮡ⼂߇ᜰߔవߦߪޔࡠࡦ࠼ࡦฬ‛ߩ

⿒޿2㓏ᑪߡࡃࠬޔᚻ೨ߩ㆏〝ߦߪ㤛⦡ߩࠫࡖࠟ࡯ޔ㕍⦡ߩࡒ࠾ࠢ࡯ࡄ࡯ޔࡇࡦࠢ⦡ߩࡠ

࡯࡞ࠬ࡮ࡠࠗࠬߣ޿ߞߚㆬࠅᛮ߈ߩ⥄േゞ߇⿛ߞߡ޿ࠆޕੱ‛ࠍ⷗ߡ޿ߊߣޔ࡞࡯࡟࠶࠻

ߦ⥝ߓࠆ਄ᵹ㓏⚖ߩࠞ࠶ࡊ࡞ޔ࠺ࠖࠬࠦߩ౉ࠅญߢࠞࡔ࡜ࠍ᭴߃ࠆ౮⌀ኅޔࡆ࠶ࠣ࡮ࡌࡦ ߩਅߢ࠻࡟࡯࠼ࡑ࡯ࠢߩ࡟ࠗࡦࠦ࡯࠻ࠍ⠀❱ࠅޔࡄࠗࡊࠍߊࠊ߃ߥ߇ࠄ࡙࠾ࠝࡦ࡮ࠫࡖ࠶

ࠢࠍᝄߞߡ޿ࠆ↵ᕈߪޔ64ᐕߩ✚ㆬ᜼ߢ13ᐕ߱ࠅߦ᡽ᮭࠍᅓㆶߒߚഭ௛ౄౄ㚂ߢ㚂⋧ߩ ࡂࡠ࡞࠼࡮࠙ࠖ࡞࠰ࡦ(Harold Wilson, 1916–95)ߢ޽ࠆޕ

ߛ߇ޔ૗ࠃࠅ߽ශ⽎⊛ߥߩߪޔਛᄩߦၴޘߣឬ߆ࠇߡ޿ࠆ⧯⠪ߚߜߩሽ࿷ߢ޽ࠆޕ⊕㤥 ߩࠝࡊ࡮ࠕ࡯࠻ߩࡒ࠾࠼࡟ࠬߦりࠍ൮ࠎߢᚻࠍᝄߞߡ޿ࠆ㊄㜬ߩᅚᕈޔᵷᚻߥ⊕✼ࠨࡦࠣ

࡜ࠬߦࠩ࡮ࡈ࡯(The Who, 1964-83)ߩ㨀ࠪࡖ࠷ࠍ⌕ߡ᱌ߞߡ޿ࠆ↵ᕈޔ㓁᳇ߥࠠࡖ࠶ࡊࠍⵍ

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3

ߞߚࡠࡦࠣࡋࠕߩ↵ᕈ߇೨㕙ߦᄢ߈ߊឬ߆ࠇߡ޿ࠆޕߘߩᓟࠈߦߪޔࡈࡠࡦ࠻࡮࠳ࡉ࡞ߩ

⚬⦡ߩࠫࡖࠤ࠶࠻ߦ࠴ࠚ࠶ࠢᨩߩࡄࡦ࠲ࡠࡦࠍጁ޿ߚ↵ᕈޔࠞ࡜ࡈ࡞ߥࡒ࠾ࡢࡦࡇ࡯ࠬߦ

࠾࡯ࡉ࡯࠷ࠍጁ޿ߚᅚᕈ߇޿ࠆޕߎߩࠗ࡜ࠬ࠻࡟࡯࡚ࠪࡦߪࠗࠡ࡝ࠬߩ␠ળᢥൻ⊛ᄌൻࠍ

⷗੐ߦᝒ߃ߡ߅ࠅޔߘߩਛᔃߦ㈩⟎ߐࠇߡ޿ࠆᚢᓟߩࡌࡆ࡯ࡉ࡯ࡓ਎ઍߩ⧯⠪ߚߜ߇ᤨઍ ߩਥੱ౏ߦߥߞߚߎߣࠍ᣿␜ߒߡ޿ࠆߩߪ৻⋡⍎ὼߢ޽ࠈ߁ޕ

In a decade dominated by youth, London has burst into bloom. It swings; it is the scene. This spring, as never before in modern times, London is switched on. Ancient elegance and new opulence are all tangled up in a dazzling blur of op and pop. The city is alive with birds (girls) and beatles, buzzing with minicars and telly stars, pulsing with half a dozen separate veins of excitement. (Halasz 32)

60ᐕઍޔ਎⇇ߩᵹⴕߩᦨవ┵ࠍⴕߊㇺᏒߪࠕࡔ࡝ࠞ࡮࠾ࡘ࡯࡛࡯ࠢߢ߽ࡈ࡜ࡦࠬ࡮ࡄ࡝

ߢ߽ߥߊޔࠗࠡ࡝ࠬ࡮ࡠࡦ࠼ࡦߢ޽ߞߚޕࡠࡦ࠼ࡦߪ⧯⠪ᢥൻߩ᜚ὐߣ޿߁ᣂߒ޿ࡉ࡜ࡦ

࠼࡮ࠗࡔ࡯ࠫࠍ₪ᓧߒޔᶖ⾌ㇺᏒߣߒߡᵴᴫࠍ๒ߒߡ޿ߚޕࡠࡦ࠼ࡦ߆ࠄ⊒ାߐࠇߚ⧯⠪

ᢥൻ߇㓉⋓ߔࠆ⁁ᴫߪޔߎߩޡ࠲ࠗࡓޢ⹹ߩ․㓸⸥੐߆ࠄޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠ (Swinging London)ߣ๮ฬߐࠇޔ৻べ␠ળ⃻⽎ߣߥߞߚޕߘࠇߪࠗࠡ࡝ࠬ࿖ౝߦߣߤ߹ࠄߕޔ

਎⇇ਛߢᵹⴕߣߥࠅޔ60ᐕઍᓟඨߦࠕࡔ࡝ࠞ࡮ࠨࡦࡈ࡜ࡦࠪࠬࠦ߆ࠄ⊒ାߐࠇߚ෻૕೙⊛

ߥ⧯⠪ᢥൻޟࠞ࠙ࡦ࠲࡯ࠞ࡞࠴ࡖ࡯ޠ(Counterculture)ߣ౒㡆ߒޔޟࠬ࠙ࠖࡦࠡࡦ࡮ࠪ࠶ࠢࠬ

࠹ࠖ࡯࠭ޠ(Swinging Sixties)ߣ޿߁ࠣࡠ࡯ࡃ࡞ߥ᜛ᒛࠍㆀߍߡ޿ߊߩߢ޽ࠆޕ

㧟㧚 ޟᢥൻ㕟๮ޠ೨ᄛ

ߢߪޔߎߩޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߪ৻૕޿ߟᆎ߹ߞߚߩߛࠈ߁߆ޕߘߩᤨᦼߦߟ

޿ߡߪ⼏⺰߇ಽ߆ࠇࠆߣߎࠈߢ޽ࠆ߇ޔࠛࠬ࠲ࡉ࡝࠶ࠪࡘࡔࡦ࠻ߩᴚ⪭ߣ⧯⠪ᢥൻߩบ㗡 ߇⴫㕙ൻߒߚ63ᐕ㗃߇৻ߟߩၮḰߣߥࠆߛࠈ߁ޕߒ߆ߒޔ⺋⸃ࠍᕟࠇߕߦ⸒߃߫ޔ60ᐕ ઍߪ60 ᐕߦᆎ߹ߞߚߩߢߪߥ޿ޕ଀߃߫ޔ೨ㅀߩࡑ࡯࠙ࠖ࠶ࠢߪޡ60ᐕઍޢߦ߅޿ߡޔ 58ᐕ߆ࠄ74ᐕ߹ߢࠍޟ㐳ᦼߩ60ᐕઍޠ(the Long Sixties)ߣ๭߮ޔޟᢥൻ㕟๮ޠ߇⿠ߎߞߚ ߣജ⺑ߒޔߘߩ߁ߜ58ᐕ߆ࠄ63ᐕ߹ߢࠍޟ⨲ഃᦼޠ(First Stirrings)ޔ64ᐕ߆ࠄ68/69ᐕ߹

ߢࠍޟᦨ⋓ᦼޠ(The High Sixties)ޔ69ᐕ߆ࠄ74ᐕ߹ߢࠍޟῥᾫᦼޠ(Catching-Up)ߣߒޔߘ ߩᤨઍࠍਃߟߦ඙ಽߒߡ޿ࠆ(23)ޕ

ߎߩᜰ៰ߪታߦᱜ㡿ࠍ኿ߚ߽ߩߢ޽ࠅޔᢥൻߪ㐳޿ᤨ㑆ࠍ߆ߌߡᓢޘߦᒻᚑߐࠇࠆ߽ߩ ߢ޽ߞߡޔ⑳ߚߜ߇60ᐕઍ⊛ߛߣߺߥߒߡ޿ࠆᢥൻ⊛ࠬ࠲ࠗ࡞߿ࠕࠗ࠺ࠕߩഃ಴ߣฃኈߩ

ᤨᦼߪޔታ㓙ߦߪߐࠄߦ㆚ߞߡ⏕⹺ߔࠆߎߣ߇ߢ߈ࠆޕᢥቇޔṶ഍ޔᤋ↹ޔ㖸ᭉޔࠕ࡯࠻ޔ ࡈࠔ࠶࡚ࠪࡦߩߤߩᢥൻ㗔ၞߦ߅޿ߡ߽60ᐕઍߦዻߔࠆߣߐࠇࠆᢥൻ⊛․ᓽߩᄙߊߪޔ㛳 ߊߴ߈ߎߣߦ50ᐕઍߦߔߢߦ಴ឥߞߡ޿ࠆߩߢ޽ࠆޕ60ᐕઍ⊛ߛߣߐࠇߡ޿ࠆࠗࡑࠫࡀ

࡯࡚ࠪࡦ߿ࠢ࡝ࠛࠗ࠹ࠖࡉߩ㕟ᣂߪޔ50ᐕઍᧃએ㒠ߩ޿ࠊࠁࠆޟ⼾߆ߥ␠ળޠ(The Affluent

Society)ߩ↥‛ߢߪߥߊޔ߻ߒࠈߘࠇએ೨ߩᚢᓟᓳ⥝ᦼߩⓨ᳇߇ߥ߅⦡Ớ޿ࠗࠡ࡝ࠬ␠ળߦ

⢦⢝ߒߚ߽ߩߛߞߚޕߘߩᗧ๧ߦ߅޿ߡޔ58ᐕ߆ࠄ63ᐕ߹ߢߪ߻ߒࠈޟᢥൻ㕟๮ޠߩޟ⏕

┙ᦼޠߣߢ߽๭ࠎߛᣇ߇߰ߐࠊߒ޿ߩ߆߽ߒࠇߥ޿ޕ

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4

ߘߩޟ⏕┙ᦼޠߪޔᢥቇ⇇ߦ߅޿ߡޟᔶࠇࠆ⧯⠪ߚߜޠ߇ᚢᓟ߽ᄢ⧷Ꮲ࿖߳ߩࡁࠬ࠲࡞

ࠫ࡯߿㓏⚖␠ળࠍ᷷ሽߒ⛯ߌࠆࠛࠬ࠲ࡉ࡝࠶ࠪࡘࡔࡦ࠻ߦኻߔࠆࠕࡦ࠴࠹࡯࠯ߣߒߡ෻᛫

⊛ᆫ൓ࠍ␜ߒޔᄙߊߩ⧯⠪ߚߜ߆ࠄᡰᜬࠍ㓸߼ߚᤨᦼߣ⷗੐ߦ৻⥌ߔࠆޕ60ᐕઍߩޟᢥൻ 㕟๮ޠ೨ᄛߣ߽⸒߃ࠆ50ᐕઍᓟඨߩᢥቇ⃻⽎ޟᔶࠇࠆ⧯⠪ߚߜޠߪޔ஗ṛߔࠆ␠ળ⁁ᴫߦ ޟᔶࠅޠߩᗵᖱࠍਸ਼ߖߡ⇣⼏ࠍ⴫᣿ߒߚޕߘߩࠛࡀ࡞ࠡ࠶ࠪࡘߥࡄࡢ࡯ߦߪޔ␠ળᄌ㕟ࠍ

߼ߑߒߚ60ᐕઍ⊛ߥᤨઍ♖␹ࠍ⢦⢝ߒߡ޿ࠆߣ⠨߃ߡ߽ਇ⥄ὼߢߪߥ޿ߛࠈ߁ޕ

ᧄ⺰ߢߪޔߘ߁ߒߚ50ᐕઍ߆ࠄ60ᐕઍ߳ߩᢥൻ⊛ㅪ⛯ᕈߦ⌕⌒ߒޔޟᔶࠇࠆ⧯⠪ߚߜޠ ࠍޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߩ⿠ὐߣߥߞߚಽ᳓Ꭸߣߒߡ૏⟎ߠߌޔߘߩᢥൻ⊛᨞ᯅߩ

᭴▽ࠍ⹜ߺߚ޿ޕ

㧠㧚ᶖ⾌␠ળߣᢥൻࠣࡠ࡯ࡃ࡝࠯࡯࡚ࠪࡦ

50ᐕઍ߆ࠄ 60ᐕઍߦ߆ߌߡ㗼࿷ൻߒߡߊࠆߩ߇ޔᶖ⾌␠ળߣޟᢥൻࠣࡠ࡯ࡃ࡝࠯࡯ࠪ

࡚ࡦޠ(cultural globalization)ߢ޽ࠆޕᤨઍߩਥੱ౏ߦߥߞߚ⧯⠪ߚߜޔߣࠅࠊߌޟ࠹ࠖ࡯ࡦ

ࠛࠗࠫࡖ࡯ޠ(teenager)ߩ␠ળ⊛ᓇ㗀ജߪήⷞߢ߈ߥߊߥߞߡ޿ߚޕ޿ࠊࠁࠆ࠹ࠖ࡯ࡦࠛࠗ

ࠫࡖ࡯ߣߪޔ10 ઍߩዋᐕዋᅚߩߎߣߢޔ⧷⺆ߢ⺆የ߇“teen”ߢ⚳ࠊࠆᐕ㦂ޔߔߥࠊߜޟ13

ᱦޠ(thirteen)߆ࠄޟ19ᱦޠ(nineteen)߹ߢࠍᜰߔߩ߇৻⥸⊛ߢ޽ࠆޕ59ᐕޔ␠ળቇ⠪ߩࡑ࡯

ࠢ࡮ࠛࠗࡉ࡜ࡓ࠭(Mark Abrams, 1906-94)ߪࠗࠡ࡝ࠬߩ࠹ࠖ࡯ࡦࠛࠗࠫࡖ࡯ߩᶖ⾌⠌ᘠߦߟ

޿ߡᏒ႐⺞ᩏࠍⴕߞߚవ㚟⊛⎇ⓥᦠޡ10ઍߩᶖ⾌⠪ޢ(The Teenage Consumer, 1959)ࠍ಴

ߒߡ޿ࠆޕߘߩ㓙ޔࠛࠗࡉ࡜ࡓ࠭ߪᚲᓧߣᶖ⾌ߩ௑ะ߆ࠄ⚻ᷣ⊛Ꮢ᳃ᮭࠍ₪ᓧߒߚߣ್ᢿ ߢ߈ࠆጀࠍ࠹ࠖ࡯ࡦࠛࠗࠫࡖ࡯ߣᝒ߃ޔ15ᱦએ਄ߢ25ᱦᧂḩߩ⠪ߣቯ⟵ߒߡ޿ࠆ(3)ޕ

╙ੑᰴ਎⇇ᄢᚢᓟߩࡌࡆ࡯ࡉ࡯ࡓߦࠃߞߡ 60 ᐕઍߦࡂࠗ࠹ࠖ࡯ࡦߦߥࠆഭ௛⠪㓏⚖෸

߮ਅጀਛ↥㓏⚖ߩ⧯⠪ߚߜߪޔᧂᦦ᦭ߩ⚻ᷣ⊛❥ᩕࠍ੨ฃߒޔቢో㓹↪ߣ෼౉ะ਄ߦࠃߞ ߡᣂߚߥᶖ⾌⠪ߣߥࠅޔᏂᄢߥ⧯⠪Ꮢ႐ࠍᒻᚑߒࠃ߁ߣߒߡ޿ߚޕ㓏⚖␠ળ߆ࠄᄢⴐ␠ળ

߳ߣ⒖ⴕߒޔ࠹ࠖ࡯ࡦࠛࠗࠫࡖ࡯߇ᶖ⾌⠪ߣߒߡ⁛┙ߒߚߎߣߢࡑ࡯ࠤ࠹ࠖࡦࠣߩኻ⽎ߣ ߒߡ⹺⼂ߐࠇࠆࠃ߁ߦߥࠅޔߘߩ⧯⠪Ꮢ႐ߦะߌߡࡐ࠶ࡊߥ໡ຠ߇ᄢ㊂↢↥ᶖ⾌⽷ߣߒߡ ଏ⛎ߐࠇࠆࠃ߁ߦߥߞߚߩߢ޽ࠆޕ╙ 2 ┨ߢ⸒෸ߔࠆ߇ޔࡈ࡟࠼࡝࠶ࠢ࡮ࠫࠚࠗࡓ࠰ࡦ (Fredric Jameson, 1934-)߇ ޡ ࡐ ࠬ ࠻ ࡕ ࠳ ࠾ ࠭ ࡓ ޽ ࠆ ޿ ߪ ᓟ ᦼ ⾗ ᧄ ਥ ⟵ ߩ ᢥ ൻ ⺰ ℂ ޢ (Postmodernism: or, the Cultural Logic of Late Capitalism, 1991)ߦ߅޿ߡᜰ៰ߔࠆࠃ߁ߦޔߘߎ ߢߪᢥൻ߹ߢ߽߇໡ຠൻߐࠇߡᵹㅢߔࠆࠃ߁ߦߥࠅޔᢥൻ㗔ၞߦ߅޿ߡޟࡐࠬ࠻ࡕ࠳࠾࠭

ࡓޠ(postmodernism)߇⊒↢ߒᆎ߼ߚߩߢ޽ࠆޕ

ࡐࠬ࠻ࡕ࠳࠾࠭ࡓᢥൻߩᒻᚑߪᚢᓟࠕࡔ࡝ࠞߩァ੐࡮⚻ᷣ૕೙ߣኒធߦ㑐ଥߒߡ޿ࠆ߇ޔ ߘ߁ߒߡޟ໡ຠൻߐࠇߚᢥൻޠߪࠣࡠ࡯ࡃ࡞ߦᵹㅢߔࠆࠃ߁ߦߥࠆޕޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ

࠼ࡦޠߩ⼏⺰ߩਛᔃ⊛ߥ࠹࡯ࡑߪᔟᭉਥ⟵⊛ߥᶖ⾌␠ળߢ޽ࠆ߇ޔߘߎߦߪฎ޿ࠗࠡ࡝ࠬ

ߣᣂߒ޿ࠗࠡ࡝ࠬޔߘߒߡઁ࿖߿ઁ࿾ၞߣߩ⋧㑐ᕈ߽⋓ࠅㄟ߹ࠇߡ޿ࠆޕߎߩᤨઍߩ㕟ᣂ

⊛ᢥൻࠍഃ಴ߒߚࠢ࡝ࠛࠗ࠲࡯ߚߜߩ಴⥄߿ᢥൻ⊛࡞࡯࠷ߪޔࠕࡔ࡝ࠞ߿࡛࡯ࡠ࠶ࡄߥߤ ᄙ᭽ߢ޽ࠅޔߘ߁ߒߚࠦࠬࡕࡐ࡝࠲ࡦߥᕈᩰ߇ࠗࠡ࡝ࠬᢥൻߩ㕟ᣂߦነਈߒߚߣߎࠈߪᭂ

߼ߡᄢ߈߆ߞߚߩߢߪߥ޿ߛࠈ߁߆ޕߎߎߦ੹ᣣ⊛ߥᢥൻࠣࡠ࡯ࡃ࡝࠯࡯࡚ࠪࡦߩ1ߟߩ ầᵹࠍ⷗಴ߔߎߣ߽ߢ߈ࠃ߁ޕ

ߎߩᢥൻࠣࡠ࡯ࡃ࡝࠯࡯࡚ࠪࡦߣ޿߁ⷰὐ߆ࠄߪޔ․ߦࠗࠡ࡝ࠬߣࠕࡔ࡝ࠞߣߩ㑐ଥߦ

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⇐ᗧߒߡ޿ߊᔅⷐ߇޽ࠆޕᶖ⾌␠ળߩ೔᧪ߦ઻޿ޔࠕࡔ࡝ࠞᢥൻࠍ৻ᣇ⊛ߦฃኈߔࠆ┙႐ ߣߥߞߚࠗࠡ࡝ࠬߢߪޔ࡚ࠫࡦ࡮࠻ࡓ࡝ࡦ࠰ࡦ(John Tomlinson, 1949-)߇ޡᢥൻᏢ࿖ਥ⟵ޢ (Cultural Imperialism: A Critical Introduction, 1991)ߦ߅޿ߡᜰ៰ߔࠆޟᢥൻᏢ࿖ਥ⟵ޠ(cultural

imperialism)ߣ޿߁஥㕙ޔߔߥࠊߜᢥൻߩ↹৻ൻߦኻߔࠆᛶ᛫߽޽ߞߚޕߚߛޔหᤨߦࠕࡔ

࡝ࠞᢥൻࠍᨵエߦᄌኈߐߖߡ޿ߞߚ⚻✲߆ࠄߪޔᒰὼߥ߇ࠄࠕࡔ࡝ࠞᢥൻߦኻߔࠆᙏᙔ߿

⟴ᦸ߽ᄢ߈߆ߞߚߎߣ߇ℂ⸃ߢ߈ࠆޕ឵⸒ߔࠇ߫ޔࠗࠡ࡝ࠬߪࠕࡔ࡝ࠞߦኻߒߡࠕࡦࡆࡃ

࡟ࡦ࠻ߥᗲᘾ⊛ᗵᖱࠍᜬߞߡ޿ߚߣ⸒߃ࠃ߁ޕߎߩᢥൻ⊛ਔ⟵ᕈߪ㕖Ᏹߦ⥝๧ᷓߊޔࠕࡔ

࡝ࠞߣࠗࠡ࡝ࠬߪනߥࠆੑ㗄ኻ┙ߣ޿߁㘃ဳൻߢߪᝒ߃ࠆߎߣߪߢ߈ߥ޿ޕ߻ߒࠈࠕࡔ࡝

ࠞߣࠗࠡ࡝ࠬߪ㏜௝㑐ଥߦ޽ࠆ 1 ߟߩᢥൻߣ⸒ߞߡ޿޿ޕ࠺ࠗࡧࠖ࠶࠼࡮࠳ࡓࡠ࠶ࠪࡘ (David Damrosch)ߪޡ਎⇇ᢥቇߣߪ૗߆㧫ޢ(What is World Literature?, 2003)ߦ߅޿ߡޔޟ⧷

⺆ޠ(English)ߣ޿߁౒ㅢ⸒⺆ߦࠃࠆᢥൻࠣࡠ࡯ࡃ࡝࠯࡯࡚ࠪࡦߩ᜛ᒛᕈࠍᜰ៰ߒߡ޿ࠆ

(212-3)ޕߎߩ⧷⺆ߩ᳢↪ᕈ߽ᚻવߞߡޔࠗࠡ࡝ࠬᢥൻߣࠕࡔ࡝ࠞᢥൻߪᄢ⷏ᵗࠍ㗫❥ߦᓔ

᧪ߒޔ⋧੕⊛ߦ౒ᝄ࡮Ⴧ᏷ࠍ➅ࠅ㄰ߔ㑐ଥߦ޽ࠅޔߘߎߦ⧷☨㑆ߩኒធߥ㑐ଥࠍ⏕⹺ߔࠆ ߎߣ߇ߢ߈ࠆߩߢ޽ࠆޕߎߩ⧷☨㑆ߩ࠻࡜ࡦࠬࠕ࠻࡜ࡦ࠹ࠖ࠶ࠢߥᢥൻᮮᢿ޽ࠆ޿ߪ࠻࡜

ࡦࠬ࠽࡚ࠪ࠽࡞ߥᢥൻ⊛⋧㑐ᕈߦ߽⌕⌒ߒޔ⠨ኤࠍㅴ߼ߡ޿߈ߚ޿ޕ

㧡㧚 ޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߣ޿߁␹⹤

੹ᣣ߆ࠄᝄࠅ㄰ߞߡߺࠆߣޔ60ᐕઍߩࡠࡦ࠼ࡦ߇ノ߆ߒ޿ᤨઍߛߞߚߎߣߪ੐ታߢ޽ࠆޕ ߒ߆ߒޔޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠ߇ࡔ࠺ࠖࠕߦࠃߞߡ⹶ᒛ޽ࠆ޿ߪ␹ᩰൻߐࠇߚഃㅧ⊛

␹⹤ߢ޽ࠆߣ޿߁⼏⺰ߪᓟࠍ⛘ߚߥ޿ޕ଀߃߫ޔ૞ኅߩࡇ࡯࠲࡯࡮ࠕࠢࡠࠗ࠼(Peter Ackroyd, 1949-)ߪޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߦߟ޿ߡޔ“the creation and fabrication of Swinging London as a media spectacle stands as a prime example of cultural myth making.”ߣㅀߴߡ޿ࠆ(754-5)ޕ

߹ߚห᭽ߩⷰὐ߆ࠄޔ࡚ࠫ࡯ࠫ࡮ࡔ࡝࡯(George Melly, 1926-)ߪ“a media myth and spectacle”

ߣㅀߴߡ޿ࠆ(170)ޕߐࠄߦޔᢥൻ࿾ℂቇ⠪ߩࠨࠗࡕࡦ࡮࡜ࠗࠢࡠࡈ࠻(Simon Rycroft)߽“a fleeting moment of mythmaking”ߣㅀߴߡ޿ࠆ(5)ޕ

⏕߆ߦޔޡ࠲ࠗࡓޢ⹹ߩ․㓸⸥੐߇ႎ㆏ߒߚޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߦߟ޿ߡߩ㊄ሼ Ⴁ⊛ߥၮḰߪޔዋߥߊߣ߽1ߟߩౖဳߣߒߡߐ߹ߑ߹ߥ႐㕙ߢޔએ㒠ߩޟࠬ࠙ࠖࡦࠡࡦ࡮

ࡠࡦ࠼ࡦޠߩ⹺⼂ߦᄙᄢߥᓇ㗀ࠍਈ߃⛯ߌߡ߈ߚޕ␹⹤૞↪ࠍ߽ߚࠄߒߚߘߩౝኈߪޔޟࠬ

࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߩᢥൻࠍᇦ੺ߒߡߐ߹ߑ߹ߥ␠ળ⊛ᄌൻ߇߽ߚࠄߐࠇߚߣᾲߞ߸

޿ญ⺞ߢ⺆ࠄࠇߡ޿ࠆޕ

The London that has emerged is swinging, but in a far more profound sense than the colorful and ebullient pop culture by itself would suggest. London has shed much of its smugness, much of the arrogance that often went with the stamp of privilege, much of its false pride - the kind that long kept it shabby and shopworn in physical fact and spirit. It is a refreshing change, and making the scene is the Londoner’s way of celebrating it. (Halasz 42)

ߎߩ᦭ฬߥ৻ᢥߦࠃߞߡޡ࠲ࠗࡓޢ⹹ߪޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߩሽ࿷ࠍ਎ߦ⍮ࠄ ߒ߼ࠆߎߣߢޔ1 ߟߩᢥൻ⃻⽎ߦฬ೨ࠍઃߌߚߛߌߢߪߥߊޔߘߩ๮ㆇࠍ߽᳿ቯߠߌߚߣ

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⸒ߞߡ޿޿ޕߚߛߒޔߘࠇߪࡠࡦ࠼ࡦ߆ࠄ㆙ߊ㔌ࠇߚ࠾ࡘ࡯࡛࡯ࠢ߆ࠄߩ⊒ାߢ޽ߞߚޕ ߎࠇ߇౏ᱜߥறⷰ⠪ߩቴⷰ⊛᷹ⷰߛߣਥᒛߔࠆߎߣߪߢ߈ߚߛࠈ߁߇ޔߘࠇߣหᤨߦ㑆ធ

⊛ߥ⚻㛎ߦઃ߈‛ߩ߅߆ߒߥ⸃㉼߿ᱡᦛߪ఺ࠇᓧߥ߆ߞߚޕߚߛޔᣂߒ޿ᢥൻߩ⊒ା࿾ߣ ߥߞߚࡠࡦ࠼ࡦߦᵈ⋡ߒߚߩߪޔޡ࠲ࠗࡓޢ⹹ߛߌߢߪߥ޿ޕシᔟߥࠬ࠹࠶ࡊࠍ〯ߺᆎ߼ߚ ࡠࡦ࠼ࡦߩ㔓࿐᳇ࠍ޿ߜᣧߊኤ⍮ߒߡ޿ߚߩ߆ޔޡ࠲ࠗࡓޢ⹹ࠃࠅ1ᐕᣧ޿1965ᐕ4᦬26 ᣣߩࠗࠡ࡝ࠬߩ㜞⚖ᣂ⡞ޡ࠺ࠗ࡝࡯࡮࠹࡟ࠣ࡜ࡈޢ(Daily Telegraph)ߩࠞ࡜࡯ઃ㍳ߢߪޔ⸥

⠪ߩ࡚ࠫࡦ࡮ࠢࡠࠬࡆ࡯(John Crosby, 1912-91)߇ߔߢߦޟࡠࡦ࠼ࡦޔ਎⇇ߢᦨ߽ࠛࠠࠨࠗ࠹

ࠖࡦࠣߥⴝޠ(“London, The Most Exciting City in the World”)ߣ㗴ߔࠆ․㓸⸥੐ߢޔࡠࡦ࠼ࡦ ߩࡉ࠹ࠖ࠶ࠢ߿࠽ࠗ࠻ࠢ࡜ࡉࠍ⚫੺ߒޔ⥄Ꮖ⴫⃻߿ᕈ㆏ᓼߦኻߒߡᨵエߥᗵⷡࠍᜬߞߡ޿

ࠆߣᅢᗧ⊛ߦ⹏ߒߡ޿ࠆ(42)ޕ

ߎߩࠃ߁ߦ⧷☨ߢߩᅢᗧ⊛ߥࡔ࠺ࠖࠕႎ㆏߆ࠄޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߦዉ߆ࠇߚ

␠ળ⊛ᄌൻߣߘߩᾲ⁅߱ࠅߪ੐ታߢ޽ࠆ߇ޔ޽ࠄࠁࠆ␠ળ⃻⽎ߦߟ޿ߡߪ໡ᬺലᨐࠍ⁓ߞ ߚ␹⹤ഃㅧߣ߽๭ߴࠆࡔ࠺ࠖࠕߩ༗વ߇Ᏹߢ޽ࠅޔߘࠇߦኻߔࠆᛕ್߽ᒰὼ಴ߡߊࠆޕ⚻

ᷣ⊛❥ᩕߦᓟ᛼ߒߐࠇߚ⧯⠪ᢥൻߩ㓉⋓ߦኻߒߡޔหᤨઍߦ଻቞ᵷߩᛕ⹏ኅߢ޽ࠆࠢ࡝ࠬ

࠻ࡈࠔ࡯࡮ࡉ࠶ࠞ࡯(Christopher Booker, 1937-)ߪᰴߩࠃ߁ߦᛕ್ߒߡ޿ࠆޕ

this youthful world was too dominated by the attitudes of the ‘neophiliacs’ – those in love with newness itself, who paid scant attention to the realities of life beyond their narrow, myth-infused metropolitan concerns. (qtd. in Breward, Gilbert and Lister 12)

ࡉ࠶ࠞ࡯ߪޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߩ⧯⠪ᢥൻࠍ⥄Ꮖḩ⿷⊛ߥᅦᗐߣ⠨߃ޔࡔ࠺ࠖࠕ ႎ㆏߽ߎ߁ߒߚ␹⹤ഃㅧࡊࡠ࠮ࠬߩ৻ㇱߥߩߛߣ߶ߩ߼߆ߒߡ޿ࠆޕታߪޔߎ߁ߒߚุቯ

⊛ᗧ⷗ߪ᡽ᴦ⊛ฝᵷߛߌߩ߽ߩߢߪߥ߆ߞߚޕ70ᐕߦߪޔ෻૕೙⊛ߥ⸒⺰ߩᢙޘߢ‛⼏ࠍ

㉯ߒߡ޿ߚࡆ࡯࠻࡞࠭ߩ࡚ࠫࡦ࡮࡟ࡁࡦ(John Lennon, 1940-80)ߢߐ߃߽ᰴߩࠃ߁ߥ᦭ฬߥ

⊒⸒ࠍߒߡ޿ࠆޕ

the class system and the whole bullshit bourgeois scene is exactly the same, except that there are a lot of middle-class kids with long hair walking around London in trendy clothes. […] Nothing happened except that we all dressed up. (qtd. in Moore-Gilbert and Seed 3)

ࡐࡇࡘ࡜࡯㖸ᭉߦ㕟ᣂࠍ߽ߚࠄߒޔ60ᐕઍߩޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠࠍ‧ᒁߒߚᒰ

੐⠪ߢ޽ࠆࡠ࠶ࠢࡃࡦ࠼ߩਛᔃੱ‛߇ߎߩࠃ߁ߥุቯ⊛ߥ⊒⸒ࠍߒߡ޿ࠆߎߣߪ㕖Ᏹߦ⥝

๧ᷓ޿ޕ⏕߆ߦᔟᭉ⊛࡮੨ᭉ⊛ߥㇺᏒဳᶖ⾌↢ᵴ߇ࠗࠡ࡝ࠬ␠ળࠍᄌ⽩ߐߖߡ޿ߞߚߎߣ ߪ੐ታߢ޽ࠆ߇ޔᨐߚߒߡ⧯⠪ߚߜߪࠕࡔ࡝ࠞဳᏒ႐⚻ᷣߩᄢ㊂ᶖ⾌␠ળߩਛߢᢥሼㅢࠅ ޟ〭ࠄߐࠇߡ޿ߚޠߛߌߥߩߛࠈ߁߆ޕᧄᒰߦޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߪᓐࠄߩਥ૕

⊛ߥ␠ળᗧ⼂߆ࠄ⊒ାߐࠇߚᢥൻᵴേ߆ࠄᚑ┙ߒߚ␠ળᢥൻ⊛ᗧ⟵ߩ޽ࠆ⃻⽎ߢߪߥ߆ߞ ߚߩߛࠈ߁߆ޕ

એ਄ߩࠃ߁ߦ⾥ุਔ⺰޽ࠆޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߢ޽ࠆ߇ޔᧄ⺰ߪߘߩ⇼໧ߦኻ ߔࠆ࿁╵ࠍឭ␜ߔߴߊޔห⃻⽎ࠍ᭴ᚑߔࠆฦᢥൻ㗔ၞߩᄌ㕟⁁ᴫߣߘࠇࠄߩㅪേᕈࠍᄙ㕙

⊛ߦౣᬌ⸽ߒޔߘߩᢥൻ⊛․⾰ߣᱧผ⊛૏⟎ߠߌࠍⷙቯߒޔห⃻⽎ߩ␠ળᢥൻ⊛ᗧ⟵ࠍ⷗

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಴ߘ߁ߣߔࠆ⹜ߺߢ޽ࠆޕ2000ᐕ೨ᓟ߆ࠄ20਎♿ᓟඨࠍ✚᜝ߒࠃ߁ߣߔࠆࠗࠡ࡝ࠬᢥൻ

⎇ⓥߩേะ߇޽ࠅޔᚢᓟࠗࠡ࡝ࠬ⧯⠪ᢥൻࠍᛒ߁⎇ⓥ߽ዋߥ߆ࠄߕⴕࠊࠇᆎ߼ߡ߅ࠅޔඨ

਎♿એ਄ߩᱦ᦬ࠍ⚻ߚ੹ޔߘߩ␠ળᢥൻ⊛ᗧ⟵ࠍౣᬌ⸛ߔߴ߈ᤨᦼࠍㄫ߃ߡ޿ࠆߣ⸒߃ࠆޕ ߘߩᄙߊߪޔޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠߪᢥൻࠍㅢߒߡ␠ળ⊛ᄌ㕟ࠍ߽ߚࠄߒߚߣ޿߁⢐

ቯ⊛⹏ଔߢ৻⥌ߒߡ޿ࠆޕ^㧝ᧄ⺰ߢߪޔߘ߁ߒߚవⴕ⎇ⓥࠍ♖ᩏߒߥ߇ࠄ߽ޔߘࠇࠄ߇⷗

⪭ߣߒ߇ߜߥ50ᐕઍ߆ࠄߩᢥൻ⊛ㅪ⛯ᕈߦ⌕⋡ߒޔ60ᐕઍࠗࠡ࡝ࠬ⧯⠪ᢥൻࠍ൮᜝⊛ߦ

ౣ⠨ߒߡ޿ߊޕ߹ߚޔએ㒠ߩࠗࠡ࡝ࠬ␠ળᢥൻߦ߅޿ߡޟࠬ࠙ࠖࡦࠡࡦ࡮ࡠࡦ࠼ࡦޠ߇ߤ ߩࠃ߁ߥᓇ㗀ࠍਈ߃ߡ޿ࠆߩ߆ࠍᬌ⸽ߒޔߘߩࠕࠢ࠴ࡘࠕ࡝࠹ࠖࠍឭ␜ߒߚ޿ޕ

㧝 2000ᐕ೨ᓟ߆ࠄᚢᓟࠗࠡ࡝ࠬ⧯⠪ᢥൻߦߟ޿ߡߩవⴕ⎇ⓥߪᨎ᜼ߦᥜ߇ߥ޿ޕ଀߃߫ޔ

(Marwick 1998)ޔ(Green 1999)ޔ(Levy 2003)ޔ(Donnelly 2005)ޔ(Sandbrook 2006)ޔ(Fowler 2008)ޔ (Miles 2010)ޔ(Rycroft 2011)ߥߤ߇޽ࠆޕ

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8

╙㧝┨

ࠗࠡ࡝ࠬᢥൻ⺰ߩ♽⼆

㧝㧚ߪߓ߼ߦ

ᧄ⺰ߪޟ⧯⠪ᢥൻޠࠍ࠲ࠗ࠻࡞ߦឝߍߡ޿ࠆޕฦ┨ߢߪޔᢥൻߩฬߩਅߦޔߐ߹ߑ߹ߥ ᢥൻ㗔ၞߣਥ㗴ࠍᛒ߁ߎߣߦߥࠆ߇ޔߘߩ೨Ბߣߒߡߘ߽ߘ߽ᢥൻߣߪ૗ߥߩ߆ޔ߹ߚᢥ ൻࠍ⠨ኤߔࠆߎߣߦߪߤߩࠃ߁ߥᗧ⟵߇޽ࠆߩ߆ߣ޿߁໧㗴ࠍᢛℂߒߡ߅ߊᔅⷐ߇޽ࠆߛ ࠈ߁ޕߘߎߢᧄ┨ߢߪޔ⃻ઍߩ␠ળᢥൻࠍ⺆ࠆ਄ߢਇนㆱߥࠗࠡ࡝ࠬᢥൻ⺰ߩ♽⼆ࠍㄡࠅޔ ߘߩᱧผ⊛ᄌㆫࠍឭ␜ߔࠆߎߣࠍ⋡⊛ߣߔࠆޕ

ޟᢥൻޠ(culture)ߣ޿߁᭎ᔨࠍ᣿⏕ߦቯ⟵ߔࠆߎߣߪᭂ߼ߡ࿎㔍ߢ޽ࠆޕߘࠇߪ20਎♿

ࠗࠡ࡝ࠬࠍઍ⴫ߔࠆᕁᗐኅ࡟ࠗࡕࡦ࠼࡮࠙ࠖ࡝ࠕࡓ࠭(Raymond Williams, 1921-88)߇ޡࠠ࡯

ࡢ࡯࠼ㄉౖޢ(Keywords: A Vocabulary of Culture and Society, 1976)ߦ߅޿ߡᢥൻߩᗧ๧ౝኈߩ ᱧผ⊛ᄌㆫࠍㄡࠅޔ“Culture is one of the two or three most complicated words in the English language.” (87) ߣㅀߴߡ޿ࠆࠃ߁ߦޔᢥൻ߇ࠦࡦ࠹ࠢࠬ࠻ߦࠃߞߡᄙ⟵⊛ߥᗧ๧ࠍᜬߜᓧ ࠆ߆ࠄߦઁߥࠄߥ޿ޕߘ߽ߘ߽ᢥൻߣ޿߁⸒⪲ߪޔ࡜࠹ࡦ⺆ߩޟၭ㙃࡮⠹૞ޠ(colere)ࠍ⺆

Ḯߣߒޔ15਎♿ߦࠗࠡ࡝ࠬߦᵹ౉ߒߚޕᒰೋߪޟᩱၭ࡮㙃ᱺޠ(cultivation)ޔޟㄘᬺޠ(agriculture) ߥߤߩᵷ↢⺆ߦ⷗ࠄࠇࠆࠃ߁ߦޟ⥄ὼ⊛ߥ↢⢒ޠ(nature)ࠍᗧ๧ߔࠆ⸒⪲ߢ޽ߞߚ߇ޔ16

਎♿ߦ㓝༙߳ߩᄌൻ߇↢ߓߡޟੱ㑆ߩ⊒㆐ㆊ⒟ޠࠍᗧ๧ߔࠆ⸒⪲ߣߥࠅޔੱ㑆♖␹ࠍୃ㙃 ߔࠆ⍮⊛ᵴേߣ޿߁ᗧ๧ว޿߇ᒝ߹ߞߚޕᢥൻߣ޿߁⸒⪲߇৻⥸ൻߒߚߩߪ19਎♿એ㒠ߩ ߎߣߢ޽ࠅޔࡅࡘ࡯ࡑ࠾࠭ࡓߦ߅ߌࠆ♖␹⊛࡮㆏ᓼ⊛ߥะ਄ߣ⚿߮ߟ޿ߡࠛ࡝࡯࠻㓏⚖ߩ ᶩ㙃ߔࠆᢎ㙃߿⧓ⴚߩᢥൻᒻᘒࠍ⁛භ⊛ߦᗧ๧ߔࠆࠃ߁ߦߥߞߚޕ

੹ᣣߦ⥋ࠆ߹ߢߘߩࠛ࡝࡯࠻ਥ⟵⊛ᢥൻ⺰ߩᓇ㗀ߪᄢ߈ߊޔᢥൻߣ޿߁ߣฎౖᢥቇޔࠢ

࡜ࠪ࠶ࠢ㖸ᭉޔࡃ࡟ࠛޔṶ഍ߥߤߩޟ㜞⚖ᢥൻޠ(high culture)ࠍᜰߒޔᄢⴐዊ⺑ޔᤋ↹ޔࡐ ࡇࡘ࡜࡯㖸ᭉޔ࠰࡯ࡊ࡮ࠝࡍ࡜ߥߤߩޟᄢⴐᢥൻޠ(mass culture)޽ࠆ޿ߪޟࡐࡇࡘ࡜࡯ᢥ

ൻޠ(popular culture)ߪޟૐ⚖ᢥൻޠ(low culture)ߣߒߡኻᭂߦ૏⟎ߠߌࠄࠇߡ߈ߚޕ߿߇ߡ

20਎♿ߦ౉ࠅޔࠕࡔ࡝ࠞဳᄢ㊂ᶖ⾌␠ળߩ೔᧪ߦ઻߁ࠕࡔ࡝ࠞᄢⴐᢥൻߩࠗࠡ࡝ࠬᵹ౉ߣ

޿߁␠ળ⊛ᄌേᦼࠍㄫ߃ޔᢥൻߣ␠ળߩⷰὐ߆ࠄᢥൻ᭎ᔨ߇ᧄᩰ⊛ߦᬌ⸛ߐࠇࠆࠃ߁ߦߥ ߞߡ޿ߊߩߢ޽ࠆޕ

㧞㧚ࠛ࡝࡯࠻ਥ⟵⊛ᢥൻ⺰

19 ਎♿ਛ⪲ޔࠗࠡ࡝ࠬߩ⹞ੱ࡮ᛕ⹏ኅ࡮ᢎ⢒ኅࡑࠪࡘ࡯࡮ࠕ࡯ࡁ࡞࠼(Matthew Arnold, 1822-88)ߪޡᢎ㙃ߣή⒎ᐨޢ(Culture and Anarchy, 1869)ߦ߅޿ߡޔએ㒠ߩᢥൻ⺰ߩ⿠ὐߣߥ ࠆޟᢥൻѳᢎ㙃ޠߣ޿߁ᢥൻ᭎ᔨࠍឭ໒ߒߚޕ࠲ࠗ࠻࡞ߩޟή⒎ᐨޠߣߪޔ18਎♿ᓟඨ߆ ࠄ19਎♿ߦ߆ߌߡޟࡄࠢࠬ࡮ࡉ࡝࠲࠾ࠞޠࠍ⃻಴ߐߖߚᄢ⧷Ꮲ࿖ߩ㓉⋓ᦼߦዷ㐿ߐࠇߚ↥

ᬺ㕟๮ߩᏫ⚿ߣߒߡ↢ߓߚᷙᴋߣߒߚ␠ળ⁁ᴫࠍᜰߒߡ޿ࠆޕᒰᤨߩࠗࠡ࡝ࠬߪ1845ᐕߦ ࡈ࡝࡯࠼࡝ࡅ࡮ࠛࡦࠥ࡞ࠬ(Friedrich Engels, 1820-95)߇ޡࠗࡦࠣ࡜ࡦ࠼ߦ߅ߌࠆഭ௛⠪㓏⚖

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9

ߩ⁁ᘒޢ(The Condition of the Working-Class in England, 1845)ߦ߅޿ߡႎ๔ߒߡ޿ࠆࠃ߁ߦޔ

⾗ᧄኅߦࠃࠆഭ௛⠪ߩ៦ขߣ޿߁⾗ᧄਥ⟵ߩᧄ⾰⊛ߥ␠ળ㑐ଥ߇ᚑ┙ߒߡ޿ߚޕߘߩࠃ߁ ߥ⢛᥊ߦ߅޿ߡޔ1830ᐕઍᓟඨ߆ࠄ 40ᐕઍᓟඨߦ߆ߌߡߩ࠴ࡖ࡯࠹ࠖࠬ࠻ㆇേߦ⽎ᓽߐ ࠇࠆഭ௛⠪㓏⚖ߩ␠ળෳ↹ޔ51ᐕߦ㐿௅ߐࠇߚ਎⇇ೋߩਁ࿖ඳⷩળߢ⹶␜ߐࠇߚᄢ⧷Ꮲ࿖

ߩ❥ᩕޔ59ᐕߦ⊒⴫ߐࠇߚ࠴ࡖ࡯࡞࠭࡮࠳࡯࠙ࠖࡦ(Charles Darwin, 1809-82)ߩޡ⒳ߩ⿠Ḯޢ

(On the Origin of Species, 1859)߇ࠠ࡝ࠬ࠻ᢎ␠ળߦਈ߃ߚⴣ᠄߆ࠄ߽᣿⊕ߥࠃ߁ߦޔᤨઍߪ

ᄢ߈ߥ߁ߨࠅߩਛߦ޽ߞߚޕ

ࠕ࡯ࡁ࡞࠼ߪࡧࠖࠢ࠻࡝ࠕᦺ␠ળࠍ⾆ᣖ㓏⚖ޔਛ↥㓏⚖ޔഭ௛⠪㓏⚖ߦ඙ಽߒޔ⾆ᣖ㓏

⚖ࠍ⁚⁸߿㊁ᄖㆆᚨߦᴚ㗡ߔࠆޟ㊁ⱄੱޠ(Barbarians)ޔਛ↥㓏⚖ࠍ᜙㊄ਥ⟵ߢૐଶߥᇅᭉ ߦ᣿ߌ᥵ࠇࠆޟଶ‛ޠ(Philistines)ޔഭ௛⠪㓏⚖ࠍ‛⾰⊛↢ᵴߩᔅⷐᕈߦㄼࠄࠇߡ௛߈⛯ߌ ࠆޟᄢⴐޠ(Populace)ߣ๭߮ޔ㓏⚖␠ળߩવ⛔⊛ਃ㓏⚖ࠍⷙቯߒߚޕߐࠄߦޔࠕ࡯ࡁ࡞࠼ߪ

․ߦ࿖ኅࠍవዉߔߴ߈ਛ↥㓏⚖߇ᯏ᪾ᢥ᣿ߩ‛⾰⊛໡Ꮏᬺਥ⟵ߦ♖␹ࠍᲥߐࠇߡଶ‛⊛ᕈ

⾰ࠍᏪ߮ᆎ߼ߡ޿ࠆߣਥᒛߔࠆޕ࡚ࠫࡦ࡮ࠬ࠴ࡘࠕ࡯࠻࡮ࡒ࡞(John Stuart Mill, 1806-73)߇ ޡ⥄↱⺰ޢ(On Liberty, 1859)ߦ߅޿ߡㅊ᳞ߒߚഞ೑⊛ߥ⥄↱ਥ⟵߇᥉෸ߒޔࠨࡒࡘࠛ࡞࡮

ࠬࡑࠗ࡞࠭(Samuel Smiles, 1812-1904)߇ޡ⥄ഥ⺰ޢ(Self-Help, 1859)ߦ߅޿ߡផᅑߒߚਛ↥㓏

⚖ߩ࡝ࠬࡍࠢ࠲ࡆ࡝࠹ࠖߩℂᔨ߇ᒻ㜈ൻߔࠆਛޔ࿖ኅ⴮ㅌߦෂᯏᗵࠍ൐ࠄߖߚࠕ࡯ࡁ࡞࠼

ߪޡᢎ㙃ߣή⒎ᐨޢߦ߅޿ߡᢥൻࠍᰴߩࠃ߁ߦቯ⟵ߒޔߘߩ㊀ⷐᕈࠍജ⺑ߔࠆޕ

The whole scope of the essay is to recommend culture as the great help out of our present difficulties; culture being a pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world; and through this knowledge, turning a stream of fresh and free thought upon our stock notions and habits, which we now follow staunchly but mechanically, vainly imagining that there is a virtue in following them staunchly which makes up for the mischief of following them mechanically.(6)

ࡑ࡞ࠢࠬਥ⟵ᢥ⧓ᛕ⹏ኅߩ࠹࡝࡯࡮ࠗ࡯ࠣ࡞࠻ࡦ(Terry Eagleton, 1943-)߇ޡᢥൻߣߪ૗߆ޢ

(The Idea of Culture, 2000)ߦ߅޿ߡᜰ៰ߒߡ޿ࠆࠃ߁ߦޔࠕ࡯ࡁ࡞࠼ߩᢥൻ᭎ᔨߪޟᢎ㙃ޠ

(Bildung)ߣ޿߁ⷐ⚛߇ో㕙⊛ߦᒝ⺞ߐࠇߡ޿ࠆ(6)ޕߟ߹ࠅޔࠕ࡯ࡁ࡞࠼ߪ⑼ቇߣቬᢎ߇ኻ

┙ߔࠆ♖␹⊛⽺࿎ߩᤨઍߦ߅޿ߡޔቬᢎߩ⟎឵‛ߣߒߡᢎ㙃ࠍផᅑߒߚߩߢ޽ࠆޕౕ૕⊛

ߦߪޔฎઍࠡ࡝ࠪࡖ࡮࡜࠹ࡦᢥቇ߿ືቇޔ㖸ᭉ߿⛗↹ߥߤฎౖਥ⟵⊛ߥᕁᗐ࡮⧓ⴚో⥸ߢ

޽ࠅޔᢎ㙃޽ࠆ․ᮭ⊛ࡑࠗࡁ࡝࠹ࠖߦࠃߞߡℂ⸃࡮⛽ᜬߐࠇࠆ㜞⚖ᢥൻ߇ᔨ㗡ߦ⟎߆ࠇߡ

޿ࠆޕᢎ㙃ࠍ੨ฃߢ߈ࠆ․ᮭ⊛ࡑࠗࡁ࡝࠹ࠖߣߪޔࠕ࡯ࡁ࡞࠼⥄り߇Ꮻዻߒߚਛ↥㓏⚖ߢ

޽ࠅޔࠕ࡯ࡁ࡞࠼ߪߘߩࠛ࡝࡯࠻ਥ⟵⊛ᢥൻ⺰ࠍゲߦ࿖ኅ⺰ࠍዷ㐿ߔࠆޕ

ࠕ࡯ࡁ࡞࠼ߪޟࡢ࡯࠭ࡢ࡯ࠬ⺰ޠ(“Wordsworth”, 1888)ߦ߅޿ߡޔ“Poetry is at bottom a criticism of life.” (129) ߣ⹞ߩ␠ળᢥൻ⊛ᯏ⢻ࠍ⾥⟤ߒߡ޿ࠆࠃ߁ߦޔ㜞⚖ᢥൻߩਛߢ߽ฎ

ౖਥ⟵⊛ߥੱᢥ⑼ቇߦ․ᮭ⊛࿾૏ࠍਈ߃ߡᢥൻ⊛ⷙ▸ߣߔࠆߎߣߢޔࡄࡉ࡝࠶ࠢ࡮ࠬࠢ࡯

࡞ߦ߅޿ߡஜోߥଔ୯ⷰߣ㆏ᓼⷰࠍᜬߟࠛ࡝࡯࠻㓏⚖߇㙃ᚑߐࠇߡ࿖ኅߩਛᨔࠍᜂ޿ޔ␠

ળ⊛ή⒎ᐨߪ⸃ᶖߐࠇࠆߣ⠨߃ߚޕࠡ࡝ࠪࡖਥ⟵⊛ߥࡋ࡟࠾࠭ࡓ♖␹ࠍᮨ▸ߣߒޔᢎ㙃ߦ ࠃߞߡ⍮ᕈߣᗵᕈࠍ౗ߨ஻߃ߚ୘ੱߩੱᩰ⊛ߥቢᚑࠍ㆐ᚑߒޔߘࠇ߇␠ળߩో૕⊛ߥቢᚑ

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10 ࠍ߽ߚࠄߔߣ޿߁ࡅࡘ࡯ࡑ࠾࠭ࡓ⊛ℂᗐ⺰ߢ޽ࠆޕ

ࠕ࡯ࡁ࡞࠼ߩᢥൻ⊛㒻ಃߩ⊒ᗐߪฬ㐷ࡄࡉ࡝࠶ࠢ࡮ࠬࠢ࡯࡞ߩ࡜ࠣࡆ࡯ᩞߩᩞ㐳 (1828-41)ࠍോ߼ޔᓟߦࠝ࠶ࠢࠬࡈࠜ࡯࠼ᄢቇ⃻ઍผᢎ᝼(1841-42)ߦዞછߒߚᢎ⢒ኅ࡮ᱧผ ኅ࠻ࡑࠬ࡮ࠕ࡯ࡁ࡞࠼(Thomas Arnold, 1795-1842)ࠍῳߦᜬߟᓇ㗀ޔ⥄り߽࡜ࠣࡆ࡯ᩞࠍ⚻

ߡࠝ࠶ࠢࠬࡈࠜ࡯࠼ᄢቇㅴቇᓟߦหᄢ⹞ቇᢎ᝼(1857-67)ޔਗⴕߒߡⷞቇቭ(1851-86)ࠍോ߼

ߚ⚻㛎߆ࠄߢ޽ࠈ߁ޕ୘ੱߩᢎ㙃ߩ㓸Ⓧ߇␠ળ⊛ะ਄ߦߟߥ߇ࠆߣᄞᗐߒߚࠕ࡯ࡁ࡞࠼ߦ ߣߞߡߪޟᢥൻѳᢎ㙃ޠߢ޽ࠅޔ⍮⊛ߢᵞ✵ߐࠇߚ㜞⚖ᢥൻߣߘࠇએᄖߩଶ‛⊛ߢ☻㊁ߥ ૐ⚖ᢥൻߣ޿߁ᢥൻ⊛඙ಽߪޔޟ਄૏㧛ਅ૏ޠޔޟᡰ㈩㧛ᓥዻޠޔޟㇺᏒ㧛࿾ᣇޠޔޟਛᔃ㧛๟✼ޠ ߣ޿ߞߚ᭴࿑ࠍᒻᚑߔࠆޕหᤨઍߦዊ⺑ኅ߆ࠄ଻቞ౄౄ㚂࡮㚂⋧߳ォりߒߚࡌࡦࠫࡖࡒࡦ࡮

࠺ࠖ࠭࡟࡯࡝(Benjamin Disraeli, 1804-81)߇ޡࠪࡆ࡞ޢ(Sybil or, The Two Nations, 1845)ߦ߅޿

ߡޔን⵨ጀߣ⽺࿎ጀ߆ࠄ᭴ᚑߐࠇࠆޟ2ߟߩ࿖᳃ޠ(two nations)ࠍᖤⷰߒߚࠃ߁ߦ(96)ޔࠕ

࡯ࡁ࡞࠼ߩࠛ࡝࡯࠻ਥ⟵⊛ᢥൻ⺰ߪޔ㓏⚖⊛ᩰᏅߣ␠ળ⊛ਇᐔ╬ࠍഥ㐳ߔࠆੑర⊛ᢥൻ⺰

ߩḮᵹߣߥߞߚߩߢ޽ࠆޕ

㧟㧚 ޟ⧷ᢥቇޠߩ․ᮭൻ

߿߇ߡ 20 ਎♿ࠍㄫ߃ࠆߣޔ1870 ᐕઍ߆ࠄߩᘟᕈ⊛ਇᴫޔ1901 ᐕߩࡧࠖࠢ࠻࡝ࠕᅚ₺

(Queen Victoria, 1819-1901)ߩᱫ෰ޔ╙ੑᰴࡏ࡯ࠕᚢ੎(1889-1902)ߦࠃࠆ࿖㓙⊛ᆭାߩᄬ჈ޔ

╙৻ᰴ਎⇇ᄢᚢ(1914-18)ߩ✚ജᚢߦ઻߁∋ᑷߦࠃߞߡᄢ⧷Ꮲ࿖ߩ⴮ㅌ߇ᶋ߈ᓂࠅߣߥߞ ߚޕ࿖㓙␠ળߢߪบ㗡ߔࠆࠕࡔ࡝ࠞ߇᡽ᴦ⚻ᷣ⊛ⷓᮭࠍីࠅޔਔᄢᚢ㑆ᦼߦߪࠕࡔ࡝ࠞဳ

ߩᶖ⾌␠ળ߇ᒻᚑߐࠇᆎ߼ޔᢥൻࠣࡠ࡯ࡃ࡝࠯࡯࡚ࠪࡦ߇㗼࿷ൻߒᆎ߼ࠆޕࠕࡔ࡝ࠞ߳ߩ ᓥዻࠍ૛௾ߥߊߐߖࠄࠇߚࠗࠡ࡝ࠬߦߪޔᤋ↹߿࡜ࠫࠝޔࡐࡇࡘ࡜࡯㖸ᭉߥߤ໡ᬺਥ⟵⊛

ߥࠕࡔ࡝ࠞᄢⴐᢥൻ߇ޔഭ௛⠪㓏⚖ࠍਛᔃߦฦ㓏⚖ߩᣣᏱ↢ᵴߦᵹ౉ߒߡ޿ߊ⃻ታ߇޽ߞ ߚޕߘߩ⁁ᴫߦᦨೋߦ㍈ᢅߥ෻ᔕࠍ␜ߒߚߩ߇ޔࠗࠡ࡝ࠬߩ⍮⊛‎ၔߦߒߡᮭᆭ⊛⽎ᓽߢ

޽ࠆࠝ࠶ࠢࠬࡉ࡝࠶ࠫߩ଻቞⊛ߥᢥቇ⎇ⓥ⠪ߚߜߢ޽ߞߚޕᓐࠄ߇ᢥൻࠍ໧㗴ⷞߒߚߩߪޔ

ࠗࠡ࡝ࠬߩᢎ㙃ਛᔃ⊛ߥᢥൻ⊛વ⛔߇ࠕࡔ࡝ࠞᄢⴐᢥൻߦଚ㘩ߐࠇࠆ੐ᘒࠍ㒐ⴡߒޔ⥄࿖

ߩᢥൻ⊛ࠕࠗ࠺ࡦ࠹ࠖ࠹ࠖࠍ⛽ᜬ࡮ᒝൻߒࠃ߁ߣ޿߁ᗧ࿑߆ࠄߢ޽ࠅޔࠕࡔ࡝ࠞߩᢥൻᏢ

࿖ਥ⟵ߦኻߔࠆᢥൻ⊛ᛶ᛫ߢ޽ߞߚߣ⸒߃ࠆޕ

ߘߩേะ߆ࠄᰴ╙ߦࠛ࡝࡯࠻㓏⚖ߩ㙃ᚑᯏ㑐ߢ޽ࠆࡄࡉ࡝࠶ࠢ࡮ࠬࠢ࡯࡞߿ࠝ࠶ࠢࠬࡉ

࡝࠶ࠫߢߪޔੱᢥ⑼ቇߩਛߢ߽⥄࿖ߩ⧷ᢥቇߦ㊀ὐࠍ⟎ߊࠃ߁ߦߥࠆޕޟࡐࠬ࠻ࠦࡠ࠾ࠕ࡝

࠭ࡓޠ(Postcolonialism)ߩᛕ⹏ℂ⺰ࠍ⏕┙ߒߚࠛ࠼ࡢ࡯࠼࡮ࠨࠗ࡯࠼(Edward Said, 1935-2003) ߇ޡᢥൻߣᏢ࿖ਥ⟵ޢ(Culture and Imperialism, 1993)ߦ߅޿ߡޔᛕ್ߒߚࠃ߁ߦޔ19਎♿ߩ

⧷ᢥቇߪࠗࡦ࠼ߥߤߩᬀ᳃࿾ߦ߅޿ߡ⃻࿾ੱࠍᢥ᣿ൻߔࠆߣ޿߁ᄢ⟵ฬಽߩਅޔᏢ࿖ਥ⟵

ࠍᱜᒰൻߔࠆࠗ࠺ࠝࡠࠡ࡯ⵝ⟎ߣߒߡᯏ⢻ߒߡ߈ߚޕ1893ᐕߦߪࠝ࠶ࠢࠬࡈࠜ࡯࠼ᄢቇߦޔ 1917ᐕߦߪࠤࡦࡉ࡝࠶ࠫᄢቇߦ⧷ᢥቇ⑼߇ഃ⸳ߐࠇߡߪ޿ߚ߽ߩߩޔ⧷ᢥቇ߇ࠗࠡ࡝ࠬ࿖

ౝߦㅒャ౉ߐࠇࠆᒻߢ1ߟߩ࠺ࠖࠪࡊ࡝ࡦߣߒߡᧄᩰ⊛ߦ⏕┙ߐࠇߚߩߪޔ╙৻ᰴ਎⇇ᄢ ᚢᓟߢ޽ߞߚޕ╙৻ᰴ਎⇇ᄢᚢ⋥ᓟߦޔࠗࠡ࡝ࠬ᡽ᐭߪᢎ⢒ౣ✬ࠍᬌ⸛ߒޔฦಽ㊁ߩᢎ⢒

ᬌ⸛ᆔຬળࠍ⸳⟎ߔࠆޕޟ⧷⺆⧷ᢥቇޠ(English Language and Literature)ㇱ㐷ߩ⼏㐳ߦߪ⹞ੱ

ߢ߽޽ࠆࡋࡦ࡝࡯࡮࠾ࡘ࡯ࡏ࡞࠻෌(Sir Henry Newbolt, 1862-1938)߇ዞછߒߚޕ࠾ࡘ࡯ࡏ࡞

࠻෌ߪߔߢߦ1906ᐕߦޟ⧷⺆⧷ᢥቇදળޠ(English Association)ߣ޿߁᥉෸࿅૕ࠍ⚵❱ߒޔ

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11

⧷ᢥቇᢎ⢒ផㅴߩᏓ⍹ࠍᛂߞߡ޿ߚޕߘߒߡޔ1921ᐕߦ⊒⴫ߐࠇߚ᡽ᐭߩ౏ᑼႎ๔ᦠޟ࠾

ࡘ࡯ࡏ࡞࠻࡮࡟ࡐ࡯࠻ޠ(“Newbolt Report”, 1921)ߦࠃߞߡޔ⧷ᢥቇߪቇᩞᢎ⢒ߦ߅޿ߡᱜᑼ ߥࠞ࡝ࠠࡘ࡜ࡓߦណ↪ߐࠇޔ⁛┙ߒߚ࠺ࠖࠪࡊ࡝ࡦߣߒߡᚑ┙ߒߚߩߢ޽ࠆޕ^㧝

ߎߩࠃ߁ߥ࿖ኅ⊛ᡰេࠍฃߌޔࠤࡦࡉ࡝࠶ࠫᄢቇߢߪ 20 ਎♿⧷ᢥቇߩᆎ␲ߣߥࠆ I.A.

࡝࠴ࡖ࡯࠭(Ivor Armstrong Richards, 1893-1979)߇ޡ⑼ቇߣ⹞ޢ(Science and Poetry, 1926)ߦ߅

޿ߡ⑼ቇߦࠃࠆੱ㑆ᕈߩ༚ᄬࠍᢇᷣߔࠆߩߪ⹞ߢ޽ࠆߣߔࠆᣇ㊎ࠍ⴫᣿ߒߚࠃ߁ߦޔߘࠇ

߹ߢߩᢥ₂ቇ⊛࡮⸒⺆ቇ⊛ߥ⧷ᢥቇࠍ⣕ළߒޔࠕ࡯ࡁ࡞࠼ߩ⴩㋬ࠍ⛮ߋᒻߢᢎ㙃ਥ⟵⊛ߥ

⧷ᢥቇࠍ೙ᐲൻߒࠃ߁ߣߔࠆㆇേ߇ᆎ߹ߞߚޕߐࠄߦ࡝࠴ࡖ࡯࠭ߪޔ⺰ℂታ⸽ਥ⟵ߩ┙႐ ߆ࠄᢥቇ࠹ࠢࠬ࠻ࠍ♖ኒߦ⺒⸃ߒߡቴⷰ⊛⹏ଔࠍ߼ߑߔታ〣⊛ߥᢥ⧓ᛕ⹏ߦࠃߞߡ⧷ᢥቇ ߩቇ໧⊛ᚑ┙ࠍ߽ߚࠄߒߚޕ࡝࠴ࡖ࡯࠭߇ޡᢥ⧓ᛕ⹏ߩේℂޢ(The Principles of Literary Criticism, 1924)߿ޡታ〣ᛕ⹏ޢ(Practical Criticism, 1929)ߦ߅޿ߡ⊒⴫ߒߚߘߩᚻᴺߪޔ߿߇ ߡޟ࠾ࡘ࡯ࠢ࡝࠹ࠖࠪ࠭ࡓޠ(New Criticism)ߣ޿߁ᛕ⹏ℂ⺰ߣߒߡ⏕┙ߐࠇޔᄢ⷏ᵗࠍ⿧

߃ߡ30ᐕઍ߆ࠄ40ᐕઍߦ߆ߌߡࠕࡔ࡝ࠞᢥቇ⇇ࠍᏨᏎߒߚޕ

ߘߩᓟޔ⧷ᢥቇࠍߐࠄߦ⊒ዷߐߖߚߩ߇ޔࠝ࠶ࠢࠬࡈࠜ࡯࠼ᄢቇ⧷ᢥቇ⑼ߩೋᦼୃੌ↢

ߢ޽ߞߚ F.R.࡝࡯ࡧࠖࠬ(Frank Raymond Leavis, 1895-1978)ߣ Q.D.࡝࡯ࡧࠖࠬ(Queenie

Dorothy Leavis, 1906-81)ߩᄦᆄߢ޽ߞߚޕ1930ᐕߦࠤࡦࡉ࡝࠶ࠫᄢቇ⧷ᢥቇᢎ᝼ߦዞછߒ

ߚF.R.࡝࡯ࡧࠖࠬߪޡᄢⴐᢥ᣿ߣዋᢙᢥൻޢ(Mass Civilisation and Minority Culture, 1930)ߦ ߅޿ߡޔࠕࡔ࡝ࠞ⊛ߥޟᄢⴐᢥ᣿ޠߩၿ⪭ࠍགྷ߈ޔ⧷ᢥቇࠍਛᔃߣߔࠆޟዋᢙᢥൻޠߢ߆ ߟߡሽ࿷ߒߚฎ߈⦟߈ᤨઍߩޟ᦭ᯏ૕⊛␠ળޠ(organic society)ࠍᓳᵴߐߖߥߌࠇ߫ߥࠄߥ

޿ߣਥᒛߒߚޕ߹ߚޔᄦߩᵴേߦ⾥หߔࠆᛕ⹏ኅߩ1ੱߣߒߡQ.D.࡝࡯ࡧࠖࠬߪޡዊ⺑ߣ

⺒⠪ޢ(Fiction and the Reading Public, 1932)ߦ߅޿ߡޔᄢⴐዊ⺑߿ᄢⴐ㔀⹹ޔ࠲ࡉࡠࠗ࠼ᣂ

⡞ߩჇടߦࠃߞߡ࡝࠹࡜ࠪ࡯⢻ജ߇ૐਅߒޔ⺒ᦠࠍ⥄Ꮖ㒻ಃߩᚻᲑߣߺߥߒߡ޿ߚࡊࡠ࠹

ࠬ࠲ࡦ࠻⊛વ⛔߇༚ᄬߒߡ޿ߊ੐ᘒࠍᘷᘦߒߚޕ

ᄢⴐᢥൻ߳ߩኻ᛫╷ߣߒߡޔᓐࠄߪ㜞⚖ᢥൻࠍ⽎ᓽߔࠆ਄⾰ߥᢥቇߩଔ୯ࠍ⏕┙࡮଻ሽ ߔࠆᔅⷐᕈࠍ⺑߈ޔ࠙ࠖ࡝ࠕࡓ࡮ࠪࠚࠗࠢࠬࡇࠕ(William Shakespeare, 1564-1616)߿࡚ࠫ

ࡦ࡮ࡒ࡞࠻ࡦ(John Milton, 1608-74)ߥߤ⧷ᢥቇߩ㗂ὐߦำ⥃ߔࠆޟᢥቇ⊛ᱜౖޠ(literary canon)ߩⓍᭂ⊛ౣ⹏ଔࠍⴕ޿ޔ⧷ᢥቇߩ⊒ዷࠍਥዉߒߚޕᓐࠄࠍขࠅᏎߊᛕ⹏ኅߚߜߪޔ ߘߩೀⴕ⹹ޡࠬࠢ࡞࡯࠹ࠖ࠾࡯ޢ(Scrutiny: A Quarterly Review, 1932-53)߆ࠄޟࠬࠢ࡞࡯࠹ࠖ

࠾࡯ᵷޠ(Scrutiny Group)ޔ޽ࠆ޿ߪޟ࡝࡯ࡧࠖࠬᵷޠ(Leavisites)ߣߒߡ⍮ࠄࠇࠆޕF.R.࡝࡯

ࡧࠖࠬߩޡౣ⹏ଔޢ(Revaluation, 1936)߿ޡஉᄢߥવ⛔ޢ(The Great Tradition, 1948)ߪߘߩઍ

⴫⊛૞ຠߢޔએ㒠ߩ⧷ᢥቇᛕ⹏ߦ⛘ᄢߥᓇ㗀ࠍਈ߃ߚޕᓐࠄߪ⟤ቇ⊛㐓⾨⢻ജߩ޽ࠆዋᢙ

ࠛ࡝࡯࠻ߎߘ߇ޔᢥൻࠍᒻᚑߔࠆߣ޿߁⹺⼂߆ࠄޔክ⟤⊛⢻ജߩၮ⋚ࠍ፣უߐߖߡ޿ߊࠕ ࡔ࡝ࠞᄢⴐᢥൻߩ૞↪ࠍ㕖㔍ߒߡ޿ࠆ߇ޔ․ᮭ⊛ࡑࠗࡁ࡝࠹ࠖߩሽ࿷ᗧ⟵ࠍᱜᒰൻߔࠆߘ ߩ⠨߃ߪࠕ࡯ࡁ࡞࠼ߩᑧ㐳✢਄ߦ૏⟎ߒޔࠛ࡝࡯࠻ਛᔃ⊛ᢥൻ⺰ߩᠩ⼔ߢ޽ࠆߣ⸒߃ࠆޕ

ޟࠬࠢ࡞࡯࠹ࠖ࠾࡯ᵷޠߩᓇ㗀ࠍฃߌߡޔ⧷ᢥቇ⇇ߢߪ30ᐕઍ߆ࠄ40ᐕઍೋ㗡ߦ߆ߌ ߡ␠ળ᭴ᚑຬࠍޟࡂࠗࡉ࡜࠙ޠ(highbrow)ߣޟࡠ࠙ࡉ࡜࠙ޠ(lowbrow)ߦ඙ಽߔࠆ⴫⃻߇ᵹ ⴕߒߚޕߘࠇߪޟࠝ࡯࠺ࡦ࡮ࠣ࡞࡯ࡊޠ(Auden Group)ࠍ₸޿ߚ⹞ੱW.H.ࠝ࡯࠺ࡦ(Wystan Hugh Auden, 1907-1973)ߩࠛ࠶࠮ࠗޟࡂࠗࡉ࡜࠙ߣߪ૗߆㧫ޠ(“What is a Highbrow?”, 1933)

߿ޟࡉ࡞࡯ࡓ࠭ࡌ࡝࡯࡮ࠣ࡞࡯ࡊޠ(Bloomsbury Group)ߦዻߒߚᅚᵹ૞ኅࡧࠔ࡯ࠫ࠾ࠕ࡮࠙

࡞ࡈ(Virginia Woolf, 1882-1941)ߩࠛ࠶࠮ࠗޟࡒ࠼࡞ࡉ࡜࠙ޠ(“Middlebrow”, 1942)ߦ଀⸽ߐࠇ

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12 ߡ޿ࠆޕ

߹ߚޔޟࠬࠢ࡞࡯࠹ࠖ࠾࡯ᵷޠߪ଻቞⊛ߥⷞὐ߆ࠄᄢ㊂↢↥ߣ↹৻ൻߦࠃࠆࠕࡔ࡝ࠞᄢ ⴐᢥൻᛕ್ࠍዷ㐿ߒߚ߇ޔߘࠇߪหᤨߦᓟߩࡔ࠺ࠖࠕ࡮࡝࠹࡜ࠪ࡯ᢎ⢒ߦߟߥ߇ࠆ಴⊒ὐ ߢ߽޽ߞߚޕᓐࠄߪᢥ᣿㐿ൻ⊛ߥ૶๮ᗵ߆ࠄޔࡑࠬࡔ࠺ࠖࠕൻߦࠃࠆᢥൻߩૐଶൻߣᚢ޿ޔ ᢎ㙃⊛࡝࠹࡜ࠪ࡯ࠍ቞ߞߡ޿ߊవዉ⊛ߥᓎഀࠍ⧷ᢥቇᢎ⢒ߩ⃻႐ߦᦼᓙߒߚߩߢ޽ࠆޕߘ ࠇߪᢎ⢒ࠍㅢߓߡᄢⴐߦવ⛔⊛ߥᢎ㙃⊛ᢥൻࠍ᥉෸ߐߖߡ޿ߊ࠺ࡕࠢ࡜࠹ࠖ࠶ࠢߥน⢻ᕈ ࠍ⢦⢝ߒߡ޿ߚߣ⸒߃ࠆޕ

㧠㧚 ᢥൻ᭎ᔨߩ᜛ᒛ㧦୘ੱ߆ࠄ␠ળ߳

╙ੑᰴ਎⇇ᄢᚢᓟޔߘࠇ߹ߢߩࠛ࡝࡯࠻ਛᔃ⊛ᢥൻ⺰ࠍ〯ⷅߒߟߟޔᢥൻ᭎ᔨࠍߐࠄߦ

᜛ᒛߐߖߚߩ߇ޔ⹞ੱ࡮഍૞ኅ࡮ᛕ⹏ኅߩT.S. ࠛ࡝ࠝ࠶࠻(Thomas Stearns Eliot, 1888-1965) ߢ޽ࠆޕ1927ᐕߦࠕࡔ࡝ࠞ߆ࠄࠗࠡ࡝ࠬߦᏫൻߒߚࠛ࡝ࠝ࠶࠻ߪޔหᤨߦࠕࡦࠣࡠ࡮ࠞ࠻

࡝࠶ࠢߦᡷቬߒߡ޿ࠆޕએ㒠ߩ૞ຠߢߪޔࠠ࡝ࠬ࠻ᢎ⊛਎⇇ⷰ߇⦡Ớߊ෻ᤋߐࠇߡ߅ࠅޔ

╙ੑᰴ਎⇇ᄢᚢ೨ᄛߩ1939ᐕߦߪޡࠠ࡝ࠬ࠻ᢎ␠ળߩℂᔨޢ(The Idea of a Christian Society, 1939)ޔᚢᓟߩ1948ᐕߦߪޡᢥൻߩቯ⟵ߩߚ߼ߩⷡᦠޢ(Notes towards the Definition of Culture,

1948)ߣ޿߁2ߟߩᢥൻ⺰ࠍ⊒⴫ߒߡ޿ࠆޕ

ࠛ࡝ࠝ࠶࠻ߪ೨⠪ߢࠠ࡝ࠬ࠻ᢎ␠ળࠍℂᗐൻߒߚ਄ߢޔᓟ⠪ߢߪޔ“My aim is to help to define a word, the word culture.” (13) ߣ޿߁᣿⊕ߥ⹜ߺࠍት⸒ߔࠆޕߘߒߡޔᢥൻࠍޟ୘ੱޠ (individual)ޔޟ㓸࿅߽ߒߊߪ㓏⚖ޠ(group or class)ޔޟ␠ળో૕ޠ(whole society)ߩ3ߟߩ࡟ࡌ

࡞ߦಽ㘃ߒޔ“it is the culture of the society that is fundamental, and it is the meaning of the term

‘culture’ in relation to the whole society that should be examined first.” (21) ߣਥᒛߒߚ਄ߢޔ“no culture can appear or develop except in relation to a religion.” (27) ߣᜬ⺰ࠍዷ㐿ߔࠆޕߎߩࠃ߁ ߦࠛ࡝ࠝ࠶࠻ߪᢥൻߣ␠ળߣߩኒធߥ㑐ଥᕈࠍ೨ឭߣߒޔᢥൻ߇⊒ዷߔࠆߚ߼ߩᔅⷐ᧦ઙ ߣߒߡቬᢎࠍ૏⟎ߠߌߚޕߘߒߡޔ2 ᐲߩᄢᚢߦࠃߞߡ⛘ኻ⊛ଔ୯ⷰ߇ំࠄ߉ޔ޽ࠄࠁࠆ ଔ୯ⷰ߇⋧ኻൻߐࠇߚᚢᓟ࡛࡯ࡠ࠶ࡄ␠ળߦ߅޿ߡޔߘߩ♖␹⊛⨹ᑄ߇ᢥൻ⊛ᴚ⪭ࠍ᜗޿

ߡ߅ࠅޔߘߩᓳ⥝ߦߪࠠ࡝ࠬ࠻ᢎࠍၮ⋚ߣߒߚ⛔৻⊛ߥ࡛࡯ࡠ࠶ࡄᢥൻߩౣ↢߇ᔅⷐߛߣ

⚿⺰ߠߌߡ޿ࠆޕ

ࠕ࡯ࡁ࡞࠼߇ቬᢎ⊛᳞ᔃജࠍシⷞߒߚ৻ᣇߢޔࠛ࡝ࠝ࠶࠻ߩᢥൻ⺰ߪቬᢎࠍਛᩭߣߔࠆ ὐߢ㕖Ᏹߦ⁛ഃ⊛ߢ޽ࠆޕߒ߆ߒߥ߇ࠄޔߘࠇߪᢎ㙃ߩ⟎឵‛ߣߒߡቬᢎࠍፏ᜙ߒߡ޿ࠆ ߛߌߢ޽ߞߡޔᢥൻ⊛ᮭᆭࠍᔅ㗇ߣߔࠆὐߢࠕ࡯ࡁ࡞࠼ߩࠛ࡝࡯࠻ਥ⟵⊛ᢥൻ⺰ߣᧄ⾰⊛

ߦᄢᏅߪߥ޿ޕࠛ࡝ࠝ࠶࠻⥄り߽“We can distinguish between higher and lower cultures;” (18) ߣㅀߴߡ޿ࠆࠃ߁ߦޔ଻቞⊛ᢥൻ⺰ߩౖဳߢ޽ࠆߣ޿߁ὐߢߪ㓏⚖␠ળߩੑర⊛ᢥൻ⺰ࠍ

⣕ළߔࠆߦߪ⥋ߞߡ޿ߥ޿ޕ

ߒ߆ߒߥ߇ ࠄޔࠛ࡝ ࠝ ࠶࠻ߪᢥൻ ੱ㘃ቇ⠪ ߩ ࠛ࠼ࡢ࡯࠼ ࡮࠲ࠗ࡜ ࡯(Edward Tylor, 1832-1917)߇ޡේᆎᢥൻޢ(Primitive Culture, 1871)ߦ߅޿ߡឭ໒ߒߚ“Culture or Civilization […] is that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society.” (1) ߣ޿߁᦭ฬߥቯ⟵ࠍ ᗧ⼂ߒߟߟޔᢥൻࠍ“the whole way of life of a people” (31) ߣࠃࠅ൮᜝⊛ߦቯ⟵ߒޔߘߩౕ

૕଀ࠍᰴߩࠃ߁ߦ೉᜼ߔࠆޕ

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13

It includes all the characteristic activities and interests of a people: Derby Day, Henley Regatta, Cowes, the twelfth of August, a cup final, the dog races, the pin table, the dart board, Wensleydale cheese, boiled cabbage cut into sections, beetroot in vinegar, nineteenth-century Gothic churches and the music of Elgar. The reader can make his own list. (31)

ߎߎߦߪࠕ࡯ࡁ࡞࠼߇࿕ၫߒߚᢎ㙃⊛ⷐ⚛ߛߌߢߥߊޔฦ㓏⚖ߩ↢ᵴᢥൻ߇฽߹ࠇߡ߅ࠅޔ ߘࠇࠄ߆ࠄ᭴ᚑߐࠇࠆ␠ળో૕߇᣿⏕ߦᗧ⼂ߐࠇߡ޿ࠆޕࠛ࡝ࠝ࠶࠻ߩഞ❣ߪࠕ࡯ࡁ࡞࠼

ߩᢥൻ᭎ᔨߩਛᔃߦᝪ߃ࠄࠇߚޟ୘ੱޠ߆ࠄޟ␠ળޠ߳ߣᢥൻߩ኿⒟ࠍ᜛ᒛߐߖߚὐߦ޽

ࠅޔᢥቇએᄖߩ༡ὑߦߟ޿ߡ߽ᢥൻߩ▸⇵ߦ⚵ߺㄟࠎߛߩߢ޽ࠆޕ߹ߚหᤨߦޔࠛ࡝ࠝ࠶

࠻߇“Culture is not merely the sum of several activities, but a way of life […].” (41) ߣ৻୘ੱߩ

ੱ↢ߦ߹ߢ⸒෸ߒߡ޿ࠆὐߪ⷗ㅏߖߥ޿ޕࠛ࡝ࠝ࠶࠻ߩ⊒ᗐߢߪޔࠛ࡝࡯࠻ߪ᡽ᴦኅޔື

ቇ⠪ޔ⧓ⴚኅޔ⑼ቇ⠪ࠍ฽ࠎߢ߅ࠅޔฦ㓏⚖ࠍ಴⥄ߣߔࠆኾ㐷⊛ߥ⡯⢻㓸࿅ߦㄭ޿ߣ⸒߃ ࠆޕ୘ੱߩᢥൻߪ޽ࠆ㓸࿅߽ߒߊߪ㓏⚖ߩᢥൻߦଐሽߒޔ߹ߚߘࠇࠄߩዻߔࠆ␠ળో૕ߩ ᢥൻߦଐሽߔࠆߣ޿߁⠨߃ߪޔᚢᓟߩᤨઍ♖␹߿␠ળ⁁ᴫߩᄌൻ߇෻ᤋߐࠇߡ߅ࠅޔࠛ࡝

࡯࠻㓏⚖એᄖߩ␠ળ᭴ᚑຬߩ␠ળ⊛ሽ࿷ᗧ⟵ࠍ⹺⼂ߒߡ޿ࠆߣ⸒߃ࠆޕ

㧡㧚⥄ὼ⑼ቇߣߩਵ㔌

ᢎ⢒ߦ߅ߌࠆ⧷ᢥቇࠍਛᔃߣߔࠆੱᢥ⑼ቇߩ․ᮭൻߦߟ޿ߡߪޔᒰὼߥ߇ࠄ⥄ὼ⑼ቇ߆ ࠄߩ෻⊒ࠍ᜗޿ߚޕ‛ℂቇ⠪಴りߩዊ⺑ኅC.P.ࠬࡁ࠙(Charles Percy Snow, 1905-1980)ߪ1959 ᐕߦࠤࡦࡉࠫ࠶ࠫᄢቇߢⴕߞߚ࡝࡯࠼⻠Ṷ෸߮ߘߩౝኈࠍᦠ☋ൻߒߚหฬߩޡ2 ߟߩᢥൻ ߣ⑼ቇ㕟๮ޢ(The Two Cultures and the Scientific Revolution, 1959)ߦ߅޿ߡޔ⥄ὼ⑼ቇࠍ1ߟ ߩᢥൻߣߒߡ૏⟎ߠߌޔ⃻ઍ␠ળࠍ᭴ᚑߔࠆੱᢥ⑼ቇߣ⥄ὼ⑼ቇߣ޿߁ޟ2 ߟߩᢥൻޠߩ ਵ㔌ߦ⼊㏹ࠍ㡆ࠄߒߚޕ࠲ࠗ࠻࡞ߩޟ⑼ቇ㕟๮ޠߪ20਎♿೨ඨߩ⑼ቇᛛⴚߩᕆㅦߥ⊒ዷࠍ ᜰߒޔࠬࡁ࠙ߪߘࠇ߇࡛࡯ࡠ࠶ࡄߩ⍮⼂ੱ␠ળߦᄢ߈ߥ੉ⵚࠍ߽ߚࠄߒޔޟ2ߟߩᢥൻޠߪ ᢿ⛘ߒߟߟ޽ࠆߣਥᒛߔࠆޕ

A good many times I have been present at gatherings of people who, by the standards of the traditional culture, are thought highly educated and who have with considerable gusto been expressing their incredulity at the illiteracy of scientists. Once or twice I have been provoked and have asked the company how many of them could describe the Second Law of Thermodynamics.

The response was cold: it was also negative. Yet I was asking something which is about the scientific equivalent of: Have you read a work of Shakespeare’s? (16)

ࠬࡁ࠙ߪᢥൻ⊛ߥಽᭂൻߦࠃࠆ࠺ࠖࠬࠦࡒࡘ࠾ࠤ࡯࡚ࠪࡦ߇߽ߚࠄߔᢎ⢒ߩᯏ⢻ਇోࠍགྷ ߈ޔߘߩⷐ࿃ߣߒߡᢎ⢒ߦ߅޿ߡ⥄ὼ⑼ቇߦᲧߴߡੱᢥ⑼ቇ߇ఝ⿧⊛․ᮭࠍઃਈߐࠇߡ߈ ߚ੐ታࠍᛕ್ߒߚߩߢ޽ࠆޕࠬࡁ࠙ߪ⑼ቇᛛⴚߦᙬ⇼⊛ߥੱᢥ⑼ቇ⠪ߚߜߩ஍⁜ᕈ߿ឃઁ

ᕈࠍޟ↢߹ࠇߟ߈ߩ࡜࠶࠳ࠗ࠻ޠ(natural Luddites)ߣៃឦߒߡ޿ࠆ(22)ޕߎࠇߪ᣿ࠄ߆ߦ⧷

ᢥቇ⇇ߩ㊀㎾ߢ޽ߞߚ F.R.࡝࡯ࡧࠖࠬࠍᮡ⊛ߣߒߡ߅ࠅޔᓐߩਥዉߔࠆੱᢥ⑼ቇߩવ⛔߿

(18)

14

଻቞ᕈࠍ᡹᠄ߒߚߩߢ޽ࠆޕߘߒߡޔࠬࡁ࠙ߪ⚿⺰ߣߒߡޔᢎ⢒ᝄ⥝ߢ⥄ὼ⑼ቇߩ࿾૏ࠍ ะ਄ߐߖޔੱᢥቇ߳ߩ஍㊀ࠍᤚᱜߔࠆߎߣߢᢎ⢒ో૕ߩ⾰⊛ะ਄߇ᦼᓙߢ߈ࠆߣ޿߁ᑪ⸳

⊛ᗧ⷗ࠍឭ⸒ߒߡ޿ࠆޕ

৻ᣇޔࠬࡁ࠙ߩ⍦వࠍᢅᗵߦ⥄ⷡߒߚF.R.࡝࡯ࡧࠖࠬߪ62ᐕߦޟ2ߟߩᢥൻ㧫―C.P.ࠬ ࡁ࠙ߩᗧ⟵ޠ(“The Two Cultures?: The Significance of C.P.Snow”, 1962) ߣ㗴ߒߚ࡝࠶࠴ࡕࡦ

࠼⻠Ṷߦ߅޿ߡޔࠬࡁ࠙ߩឭ⸒⥄૕ߦߪ․ߦ෻⺰ߖߕߦޔࠬࡁ࠙ߩᕁᗐ⊛㛽ᩰߩ⣀ᒙᕈࠍ

⓭߈ޔࠬࡁ࠙ߩዊ⺑ߪ৻⺒ߩଔ୯߽ߥ޿ߣ⟒ୟߒߡ޿ࠆޕࠬࡁ࠙ߣห᭽ߩⷰὐ߆ࠄޔޟ࠳࡯

࠙ࠖࡦߩ⇟›ޠ(Darwin’s Bulldog)ߩ⇣ฬࠍᜬߟ↢‛ቇ⠪ T.H.ࡂࠢࠬ࡝࡯(Thomas Henry Huxley, 1825-95)߽1880ᐕߦޟ⑼ቇߣᢎ㙃ޠ(“Science and Culture”, 1880)ߣ㗴ߒߚࡃ࡯ࡒࡦ

ࠟࡓ⻠Ṷߦ߅޿ߡޔㅴൻ⺰ᠩ⼔ߩ┙႐߆ࠄࠕ࡯ࡁ࡞࠼ߩฎౖ⊛ੱᢥਥ⟵ࠍᛕ್ߒߡ޿ࠆޕ ߘࠇߦኻߒߡޔࠕ࡯ࡁ࡞࠼ߪ2ᐕᓟߦޟᢥቇߣ⑼ቇޠ(“Literature and Science”, 1882)ߣ㗴ߒ ߚ࡝࡯࠼⻠Ṷߦ߅޿ߡޔ⥄ὼ⑼ቇߩᭉᄤਥ⟵ࠍᛕ್ߒߡ޿ࠆޕߎߩࠃ߁ߥ਎♿ࠍ⿧߃ߡ➅ ࠅ㄰ߐࠇࠆੱᢥ⑼ቇߣ⥄ὼ⑼ቇߩኻ┙߿⺰੎ޔߘߩ෻㗀߆ࠄ߽ቇⴚ⇇ߦ߅޿ߡવ⛔⊛ߥᢎ 㙃⊛ੱᢥ⑼ቇ߇޿߆ߦᡰ㈩⊛ߛߞߚ߆߇ℂ⸃ߢ߈ࠃ߁ޕ

㧢㧚 ޟᄢⴐᢥൻޠߩౣቯ૏

╙ੑᰴ਎⇇ᄢᚢᓟߩ⾗ᧄਥ⟵⚻ᷣߩ❥ᩕߪޔᶖ⾌␠ળߩ㓉⋓ࠍ๔ߍޔࡐࠬ࠻ࡕ࠳࠾࠭ࡓ ߇಴⃻ߔࠆߎߣߦߥࠆޕࠕࡔ࡝ࠞ࠽ࠗ࠯࡯࡚ࠪࡦ߇ᢥൻ⊛ࠣࡠ࡯ࡃ࡝࠯࡯࡚ࠪࡦߣห৻ⷞ ߐࠇࠆࠃ߁ߦޔ਎⇇৻ߩ⿥ᄢ࿖ߣߥߞߚࠕࡔ࡝ࠞᄢⴐᢥൻߩࠗࠡ࡝ࠬ߳ߩᵹ౉ߪ৻᳇ߦട ㅦߒޔഭ௛⠪㓏⚖ࠍਛᔃߦฃኈߐࠇޔߘߩ↢ᵴᢥൻߪ഍⊛ߦᄌൻߒߟߟ޽ߞߚޕࡑ࡞ࠢࠬ

ਥ⟵ᢥ⧓ᛕ⹏ኅߩࡈ࡟࠼࡝࠶ࠢ࡮ࠫࠚࠗࡓ࠰ࡦߪޡࡐࠬ࠻ࡕ࠳࠾࠭ࡓ޽ࠆ޿ߪᓟᦼ⾗ᧄਥ

⟵ߩᢥൻ⺰ℂޢߦ߅޿ߡޔᚢᓟߩᶖ⾌␠ળൻࠍޟᓟᦼ⾗ᧄਥ⟵ޠ(late capitalism)ߩᲑ㓏ߣߒޔ

“in postmodern culture, “culture” has become a product in its own right; […]. Postmodernism is the consumption of sheer commodification as a process.” (x) ߣㅀߴޔࡐࠬ࠻ࡕ࠳࠾࠭ࡓߦ߅ߌ ࠆޟᢥൻߩ໡ຠൻޠࠍᜰ៰ߒߡ޿ࠆޕട߃ߡޔࠫࠚࠗࡓ࠰ࡦߪ“the effacement in them of the older (essentially high-modernist) frontier between high culture and so-called mass or commercial

culture” (2)ߣㅀߴޔᢥൻ⊛ఝഠࠍ␜ߔႺ⇇✢ߩᶖṌࠍਥᒛߔࠆޕ࿑ࠄߕ߽ޔᢥൻߣ޿߁໡

ຠ߇ᄢ㊂↢↥࡮ᄢ㊂ᵹㅢ࡮ᄢ㊂ᶖ⾌ߐࠇࠆ⁁ᴫߦ߅޿ߡߪޔߘࠇ߹ߢૐ⚖ᢥൻߣߒߡシ⬦

ߐࠇߡ߈ߚᄢⴐᢥൻߦᔅὼ⊛ߦ⋡߇ะߌࠄࠇࠆࠃ߁ߦߥࠆޕ㜞⚖ᢥൻ߇࿖╷ߣߒߡᏒ႐߆ ࠄ଻⼔ߐࠇߡ޿ߚߩߦኻߒޔᄢⴐᢥൻߪ㔛ⷐߣଏ⛎ߩ᷵ᏎߊᏒ႐ߦ߅޿ߡᵴ⊒ߦᶖ⾌ߐࠇ ߡ޿ߚޕࠣࡠ࡯ࡃ࡞ߥᏒ႐⚻ᷣߦ⚵ߺㄟ߹ࠇߚᄢⴐᢥൻߪޔฃኈߣᄌኈࠍ➅ࠅ㄰ߒޔ߹ߔ

߹ߔᄙ᭽ൻߒߡ޿ߊߩߢ޽ࠆޕ

F.R.࡝࡯ࡧࠖࠬ߿ࠛ࡝ࠝ࠶࠻߇ᢥൻࠍ໧㗴ߦߒߚหᤨᦼߦޔߘߩ⁁ᴫࠍኤ⍮ߒߡᦨೋߦ ഭ௛⠪㓏⚖ߩ↢ᵴᢥൻߦౝ஥߆ࠄࠕࡊࡠ࡯࠴ߒߚߩ߇૞ኅߩ࡚ࠫ࡯ࠫ࡮ࠝ࡯࠙ࠚ࡞(George

Orwell, 1903-1950)ߢ޽ࠆޕ਄ጀਛ↥㓏⚖಴り⠪ߣߒߡߩੱ↢⚻㛎߆ࠄᏢ࿖ਥ⟵߿㓏⚖␠ળ

ߦ⿏⟋ᗧ⼂ࠍᛴ޿ߡ޿ߚࠝ࡯࠙ࠚ࡞ߪޡࡄ࡝࡮ࡠࡦ࠼ࡦ᡼ᶉ⸥ޢ(Down and Out in Paris and London, 1933)߿ޡ࠙ࠖࠟࡦᵄᱛ႐߳ߩ㆏ޢ(The Road to Wigan Pier, 1937)ߣ޿ߞߚ࡞ࡐ࡞࠲

࡯ࠫࡘ૞ຠߦ߅޿ߡഭ௛⠪㓏⚖ߩౝታߦធㄭߒޔޟ࡜ࠗࠝࡦߣ৻ⷺ₞ޠ(“The Lion and the Unicorn: Socialism and the English Genius”, 1941)ߦ߅޿ߡޔ᳃ਥ⊛␠ળਥ⟵ߩ┙႐߆ࠄ“the