筆者名（日本人はローマ字読み）のアルファベット順
| 筆者 | 読み | 題名 | 巻・号 | ページ |
|---|---|---|---|---|
| 阿部公彦 | ABE, Masahiko | A Note on the Grammar of Stevens's ‘This’ | 1999 | 27-40 |
| 阿部公彦 | ABE, Masahiko | Is It Really the Bird that Said, Go, Go, Go?: Circulation of Desire in Four Quartets | 70-2 | 223-237 |
| 阿部曜子 | ABE, Yoko | Boundaries of Familiarity:Epistolary Theory and the Publication of Private Correspondence in Seventeenth-Century England | 2001(42) | 1-19 |
| 秋孝道 | AKI, Takamichi | On a Derivative Construction: That is for you to decide | 1987 | 79-96 |
| 青山誠子 | AOYAMA, Seiko | Antony and Cleopatra における「高貴性」について | 64-2 | 197-209 |
| 新井英永 | ARAI, Hidenaga | The Invisible Core of Resistence: The Anti-aesthetic and Anti-organic Tendency in Aaron's Rod | 72-2 | 255-268 |
| 荒木映子 | ARAKI, Eiko | Haunted Portraits --- Yeats's Epitaphic Rhetoric | 1993 | 33-50 |
| 有元將剛 | ARIMOTO, Masatake | 冗語要素の分布と補文構造 | 66-1 | 65-80 |
| 有元將剛 | ARIMOTO, Masatake | 英語助動詞の構造 | 64-2 | 243-263 |
| 浅川順子 | ASAKAWA, Junko | “here bygynneth game”--- Troilus and Criseyde の語りの構造 --- | 63-1 | 3-12 |
| 粟野修司 | AWANO, Shuji | Jude the Obscure: Hardy's Apocalypse? “It Do Seem Like the Judgement Day”(342) | 75-2 | 219-236 |
| 粟野修司 | AWANO, Shuji | Irony and Heroism: Biblical and Classical Allusions in The Return of the Native | 1997 | 17-34 |
| Derek Brewer | BREWER, Derek | Traditional Stories | 1988 | 3-14 |
| Stephen Clark | CLARK, Stephen | Blake, Locke, and the Poetry of Sensibility | 1995 | 33-61 |
| Angus P. Collins | COLLINS, Angus P. | Food in Forster: Howards End in the Context of the Early Work | 1992 | 39-60 |
| Bernard Dhuicq | DHUICQ, Bernard | Religion in Aphra Behn's Works: Representation and Misrepresentation | 71-2 | 93-112 |
| 道木一弘 | DOKI, Kazuhiro | Doubling Dublin: Joyce's Discovery of the Language System through Repetitions in Dubliners | 67-2 | 173-188 |
| 海老根静江 | EBINE, Shizue | Did Milly Die of Tuberculosis? --- “The Physical”and “the Spiritual”in The Wings of the Dove | 1993 | 51-63 |
| Ralph W. V. Elliott | ELLIOTT, Ralph W. V. | Literary Dialect in Chaucer, Hardy, and Alan Garner | 1989 | 37-36 |
| 遠藤不比人 | ENDO, Fuhito | “Perhaps poetry grew from mud”: A Reading of “the hollow”in Between the Acts | 72-2 | |
| 遠藤健一 | ENDO, Kenichi | 比喩の効能 --- 文学の自立に纏わる Shaftesbury --- | 67-1 | 3-15 |
| 遠藤健一 | ENDOU, Kenichi | Shaftesbury の詩学に占める崇高の位置 | 63-2 | 227-239 |
| 遠藤喜雄 | ENDOU, Yoshio | 疑似受動文の特質 | 63-2 | 271-283 |
| 圓月勝博 | ENGETSU, Katsuhiro | Monarchy and Patriarchy in Paradaise --- Milton's Paradise Lost Toward Locke's Two Treatises of Government | 1993 | 15-31 |
| 藤田耕司 | FUJITA, Koji | Case Checking and a Theory of LF Binding | 70-2 | 149-170 |
| 藤田耕司 | FUJITA, Koji | Operator-Binding, LF Pied-Piping and the Syntax of Wh-in-Situ | 1991 | 19-34 |
| 藤田耕司 | FUJITA, Koji | On Deriving the Subjacency Effects from the ECP | 65-2 | 229-243 |
| 福地肇 | FUKUCHI, Hajime | 伝達機能からみたBelief-Context | 64-2 | 265-279 |
| 舟川一彦 | FUNAKAWA, Kazuhiko | もうひとつの「大学の理念」 --- J. S. ミルの名誉学長就任講演 | 71-2 | 143-157 |
| 郷健治 | GO, Kenji | “Argufying”in Empson's “Aubade” | 1994 | 31-46 |
| 後藤和彦 | GOTO, Kazuhiko | 告白への道程−−小説 The Adventures of Tom Sawyer の位置 | 75-1 | 61-73 |
| 後藤昭次 | GOTO, Shoji | 音と超越 --- Henry Thoreau における思索の方法 --- | 78-1 | 17-30 |
| Michael Guest | GUEST, Michael | Embodiment in Samuel Beckett's Theater and Prose | 76-1 | 13-31 |
| 濱松純司 | HAMAMATSU, Junji | The Licensing of Genitive Case and DP-internal Topicalization in English | 2000 | 67-85 |
| 原田範行 | HARADA, Noriyuki | Regenaration from Vanity: Johnson's Satire Mode in The Vanity of Human Wishes | 73-2 | 265-278 |
| 原田博 | HARATA, Hiroshi | The Role Robert Fellowes Plays in Shelley's Alastor | 1992 | 19-37 |
| 橋本功 | HASHIMOTO, Isao | To die the death の起源について | 62-2 | 253-273 |
| 畠山悦郎 | HATAKEYAMA, Esturo | “The Exstasie における諷刺構造" | 69-2 | 217-232 |
| 服部美樹 | HATTORI, Miki | カスターブリッジの町長の女性性 | 77-1 | 29-40 |
| 平林美都子 | HIRABAYASHI, Mitoko | Maudにおける隠遁の地：森と庭と海 | 65-1 | 17-31 |
| 平林美都子／ベヴァリ−・カレン | HIRABAYASHI, Mitoko / CURRAN, Beverley | 開かれたテクストを目指して−−Ana Historic における「女の物語」 | 75-1 | 75-86 |
| 平井雅子 | HIRAI, Masako | 父親不在の paradox --- Sons and Lovers をめぐって --- | 63-1 | 75-94 |
| 平出昌嗣 | HIRAIDE, Shoji | Conrad と Forster のダブルヴィジョン | 69-2 | 233-246 |
| 平出昌嗣 | HIRAIDE, Shoji | Lawrence の三つの夢 --- Women in Love について | 72-1 | 55-68 |
| 平出昌嗣 | HIRAIDE, Shoji | Isabel の“maternal strain”について --- Henry James の The Portrait of a Lady --- | 73-1 | 61-73 |
| 平出昌嗣 | HIRAIDE, Shoji | Joyce's Philosophy of Rhythm in A Portrait of the Artist as a Young Man | 1997 | 51-65 |
| 平出昌嗣 | HIRAIDE, Shoji | “to make you see”と Heart of Darkness | 67-1 | 49-62 |
| 平田一郎 | HIRATA, Ichiro | 補部に見られる島の効果について | 74-1 | 47-59 |
| 廣瀬雅弘 | HIROSE, Masahiro | 動揺するsense: What hath been cannot be --- All's Well That Ends Well 試論 --- | 62-2 | 329-342 |
| 堀田隆一 | HOTTA, Ryuichi | The Spread of the s-Plural in Early Middle English : Its Origin and Development | 79-2 | 142 |
| 市川千恵子 | ICHIKAWA, Chieko | 「レディー」としての戦略 --- 『ジェイン・エア』とコンダクト・ブック | 79-2 | 89-101 |
| 市川真理子 | ICHIKAWA, Mariko | Shakespeare 劇における人物の登場と退場 --- 退場とのオーヴァーラップについて--- | 71-1 | 1-18 |
| 市川真理子 | ICHIKAWA, Mariko | Shakespeare 劇における人物の退場 --- 開始から完了までにかかる時間について | 68-2 | 189-206 |
| 市川真理子 | ICHIKAWA, Mariko | Shakespeare の劇場における「登場」と「退場」 --- 舞台の周縁部分の使い方について --- | 77-1 | 1-13 |
| 井出新 | IDE, Arata | Christopher Marlowe and the Kentish Connection | 1996 | 17-35 |
| 井出新 | IDE, Arata | クリストファー・マーロウと書籍商 --- 『タンバレイン』の出版を中心に --- | 73-1 | 1-14 |
| 今泉容子 | IMAIZUMI, Yoko | 女が象徴する精神作用 --- ブレイクの『ジェルサレム』 --- | 63-2 | 241-256 |
| 今岡直美 | IMAOKA, Naomi | 『八月の光』における主題と構成への一考察 | 68-1 | 121-136 |
| 井上一郎 | INOUE, Ichiro | 大人になることの意味について --- C. McCullers の The Meaning of the Wedding | 70-1 | 49-61 |
| 井上一郎 | INOUE, Ichiro | Flannery O'Connor の原風景 | 67-1 | 79-90 |
| 井上一郎 | INOUE, Ichiro | 「パーカーの背中」と F.オコーナーの課題 | 65-1 | 33-45 |
| Kenneth R. Ireland | IRELAND, Kenneth R. | Carry on Dickens! Dickens in the 1980s: Peter Ackroyd, Graham Swift, Salman Rushdie | 69-1 | 45-61 |
| 入子文子 | IRIKO, Fumiko | Chillingworth のゆくえ --- The Scarlet Letter 再考 | 71-2 | 127-141 |
| 入子文子 | IRIKO, Fumiko | Mistress Prynne の罪と罰 --- The Scarlet Letter と初期植民地の階級 --- | 74-1 | 29-45 |
| 石幡直樹 | ISHIHATA, Naoki | メアリ・ウルストンクラフトの分別と多感 | 77-1 | 15-28 |
| 石井倫代 | ISHII, Michiyo | Two Political Implications of Shaw's Major Barbara | 1987 | 21-32 |
| 石居康男 | ISHII, Yasuo | Purpose Clauses: A Dynamic Approach | 1985 | 71-87 |
| 石割隆喜 | ISHIWARI, Takayoshi | Anti-Oedipa: Masochism, Self-Portrait, and The Crying of Lot 49 | 76-2 | 125-140 |
| 石塚久郎 | ISHIZUKA, Hisao | Thel's “Complaint”: A Medical Reading of Blake's The Book of Thel | 73-2 | 245-263 |
| 伊藤誓 | ITO, Chikai | 自由精神のための二つの書 --- スターンとディドロ --- | 68-1 | 15-26 |
| 伊藤正範 | ITO, Masanori | 退化論言説とモダニズム --- The Secret Agent における語りのパラドックス --- | 79-2 | 103-121 |
| 伊藤詔子 | ITOH, Shoko | A Study of Cape Cod: From Wilderness to Wasteland | 65-2 | |
| 岩澤勝彦 | IWASAWA, Katsuhiko | 遊離数量詞の叙述性と述語焦点化機能 | 65-1 | 75-87 |
| 岩田託子 | IWATA, Yoriko | 『幕間』の世界 --- Virginia Woolf 最後の祈り | 68-1 | 107-119 |
| 岩田託子 | IWATA, Yoriko | 〈芸術家小説〉から〈メタフィクション〉へ --- モダニズム小説における画家という設定の破綻 --- | 72-1 | 69-80 |
| 和泉邦子 | IZUMI, Kuniko | Governing the Governess --- The Turn of the Screw をめぐる社会的・歴史的コンテクスト | 67-1 | 63-77 |
| Gregory K. Jember | JEMBER, Gregory K. | Literal and Metaphorical: Clues to Reading the Old English Riddles | 65-1 | 47-56 |
| Wendy Jones | JONES, Wendy | Pope as Augustan Letter Writer | 1987 | 3-19 |
| 加賀信広 | KAGA, Nobuhiro | The Syntax of Be and Have: AUX or Main Verb | 62-2 | 275-292 |
| 蒲池美鶴 | KAMACHI, Mitsuru | The Purblind Argus: A Hidden Emblem in Troilus and Cressida | 1985 | 21-35 |
| 上島建吉 | KAMIJIMA, Kenkichi | 詩人 Hardy とロマン主義 | 61-2 | 239-251 |
| 神尾美津雄 | KAMIO, Mitsuo | 幽霊城の内と外 --- ラドクリフ『ユードルフォの神秘』--- | 63-1 | 61-74 |
| 上岡伸雄 | KAMIOKA, Nobuo | Engulfed in the Ecstatic Vertigo: A Study of Quentin's Section in The Sound and the Fury | 67-2 | 189-207 |
| 上岡伸雄 | KAMIOKA, Nobuo | Catharine Maria Sedgwick and James Fenimore Cooper: Indians, Landscapes, and History | 1990 | 91-108 |
| 要田圭治 | KANAMEDA, Keiji | Bleak House における見えないもの | 68-2 | 243-255 |
| 金子幸男 | KANEKO, Yukio | Far from the Madding Crowd における時間の管理者たち | 74-2 | 123-132 |
| 兼武道子 | KANETAKE, Michiko | The Speaker and the Reader in Keats's Odes | 74-2 | 165-180 |
| 唐木田茂明 | KARAKIDA, Shigeaki | A Note on Grammatical Gender in Vices and Virtues | 1992 | 75-90 |
| 片渕悦久 | KATAFUCHI, Nobuhisa | Henderson the Rain King の時代錯誤、あるいは適時性−−Saul Bellow と 1950 年代アメリカ−− | 77-2 | 117-130 |
| 片山悦男 | KATAYAMA, Etsuo | 視点の技法の新展開 --- The Spoils of Poynton 再考 --- | 73-1 | 75-87 |
| 片山麻美子 | KATAYAMA, Mamiko | グレイと18世紀中葉の文学をとりまく状況 --- The Progress of Poesy の解釈の試み --- | 73-2 | 193-205 |
| 加藤幹郎 | KATO, Mikiro | Ulysses の謎 --- 第15挿話“Circe”を中心に | 63-2 | 299-313 |
| 加藤洋介 | KATO, Yosuke | Sons and Lovers and Problems of Text-Editing | 1999 | 19-26 |
| 加藤行夫 | KATO, Yukio | Shakespeare 劇における〈不在〉の意味 | 61-2 | 183-198 |
| 河合祥一郎 | KAWAI, Shoichiro | Disguise in Shakespeare / Shakespeare in Disguise | 69-2 | 291-305 |
| 川崎明子 | KAWASAKI, Akiko | Voicing and Silencing Madness: A Reading of Jane Eyre | 78-2 | 87-103 |
| 川田潤 | KAWATA, Jun | 『ユートピア』と境界線 | 74-1 | 1-14 |
| 川津雅江 | KAWATSU, Masae | Wollstonecraft's Politicized Landscapes in Scandinavia | 2000 | 37-53 |
| Douglas Kenning | KENNING, Douglas | The Progress of Despair in Keats: Establishing the Order of Composition of the Great Poems of 1819 | 1995 | 77-88 |
| Douglas Kenning | KENNING, Douglas | Wordsworth's O'erwatching Stones | 1994 | 21-29 |
| 菊地朗 | KIKUCHI, Akira | On Wh-Ever Concessive Clauses | 1986 | 39-57 |
| 菊池清明 | KIKUCHI, Kiyoaki | Repetition in The Owl and the Nightingale | 1986 | 17-38 |
| 木村宣美 | KIMURA, Norimi | 等位接続構造の句構造規則に基づく分析 | 62-1 | 127-139 |
| 小林桂一郎 | KOBAYASHI, Keiichiro | A Small Clause Analysis of As If-Constructions | 70-2 | 171-191 |
| 小林宜子 | KOBAYASHI, Yoshiko | Spider's Web in Edmund Spenser's Amoretti | 1998 | 1-22 |
| 古口博之 | KOGUCHI, Hiroyuki | “Existence with a wall”: Emily Dickinson's Prison Imagery | 1994 | 65-80 |
| 古口博之 | KOGUCHI, Hiroyuki | “With gay apostasy”: Emily Dickinson's Pagan World | 1996 | 53-66 |
| 古口博之 | KOGUCHI, Hiroyuki | “A Snake is summer's treason”: Emily Dickinson's Vision of Evil | 67-2 | 143-157 |
| 小泉直 | KOIZUMI, naoshiこいずみなおし | 右節点繰り上げ構文の生成について | 69-1 | 91-104 |
| 小紫重徳 | KOMURASAKI, Shigenori | 『妖精の女王』第５巻における「身体」のイメジャリ | 63-1 | 13-28 |
| 近藤きょうこ | KONDO, Kyoko | The Rainbow in Focus: A Study of the Form of The Rainbow by D. H. Lawrnce | 1985 | 53-69 |
| 小武秀男 | KOTAKE, Hideo | 「子供」のモチーフ --- Kurt Vonnegut 作品研究 --- | 62-2 | 241-252 |
| 小寺里砂 | KOTERA, Risa | Our Mutual Friend: Dickens's ”Unreal City” | 69-2 | 307-322 |
| 小柳康子 | KOYANAGI, Yasuko | 「ものを説く」十七世紀ピューリタン女性 --- Rachel Speght と Elizabetn Jocelin --- | 73-2 | 179-192 |
| 久保田正人 | KUBOTA, Masahito | why to VP は容認可能である | 66-1 | 51-64 |
| 倉持三郎 | KURAMOCHI, Saburo | D. H. Lawrence: Apocalypse の成立 | 62-1 | 63-74 |
| 楠明子 | KUSUNOKI, Akiko | Changing Attitudes Toward women of Action in Elizabethan and Jacobean Drama | 1988 | 15-33 |
| Philip Jay Lewitt | LEWITT, Philip Jay | Thoreau as the First American Dharma Bum | 1990 | 109-121 |
| J. D. Macarthur | MACARTHUR, J. D. | The Narrative Voice in James Kelman's The Burn | 72-2 | 181-195 |
| Graham McMaster | MACMASTER, Graham | Levi-Strauss in the Scottish Highlands: a Structuralist account of scott's The Lady of the Lake | 61-1 | 3-25 |
| David Malcolm | MALCOLM, David | Victorian Modernism: Wilkie Collins | 61-1 | 39-51 |
| 真鍋和瑞 | MANABE, Kazumi | １４世紀英語における使役構文の不定詞標識及び使役動詞 do と make の競合関係 | 73-1 | 107-115 |
| Rebecca E. Martin | MARTIN, Rebecca E. | Spectacle and Closure in the Gothic: Lessons from Film Theory | 1998 | 23-39 |
| 丸橋良雄 | MARUHASHI, Yoshio | Katharina 像に見られる ambivalence について | 61-2 | 199-211 |
| 丸田忠雄 | MARUTA, Tadao | コントロールについて --- 意味関数に基づく分析 | 61-1 | 85-97 |
| 正木恒夫 | MASAKI, Tsuneo | Shakespeare's Use of the New World in The Tempest | 1993 | 3-13 |
| 正木恒夫 | MASAKI, Tsuneo | シェイクスピアのデウスたち --- 喜劇的解決の方法について --- | 62-1 | 3-16 |
| 桝田隆宏 | MASUDA, Takahiro | 『私のアントニーア』論 --- 〈時間のドラマ〉としての内容と形式について | 64-1 | 83-95 |
| 松田美作子 | MATSUDA, Misako | The Renaissance Concept of Opportunity and Richard II | 1992 | 3-18 |
| 松井千枝 | MATSUI, Chie | Constraints on Gapping | 65-1 | 57-74 |
| 松井みどり | MATSUI, Midori | The Submerged Self: the Displacement and Return of the Lyric Subjected in T. S. Eliot's Early Poems | 1987 | 61-77 |
| 松井みどり | MATSUI, Midori | The Tactics of Difference: Notes toward the Definition of T. S. Eliot's Intentional Metaphor | 61-2 | 269-285 |
| 松本マスミ / 藤田耕司 | MATSUMOTO, Masumi / FUJITA, Koji | The English Middle as an Individual-Level Predicate | 72-1 | 95-111 |
| 松下知紀 | MATSUSHITA, Tomonori | 強屈折動詞体系の継続性と不透明化 | 63-1 | 95-121 |
| 松下知紀 | MATSUSHITA, Tomonori | Word-Stress Assignment in Late Middle English Poetry | 62-1 | 109-126 |
| 松家理恵 | MATSUYA, Rie | “Lamia”と「不毛の夢」 | 68-1 | 43-59 |
| Sergio Mazzarelli | MAZZARELLI, Sergio | An Elizabethan Philosopher and Machiavelli | 76-1 | 1-11 |
| 三馬志伸 | MINMA, Shinobu | MARIANNE, MARY, AND JANE AUSTEN: A VIEW OF SENSE AND SENSIBILITY | 68-2 | 287-203 |
| 三馬志伸 | MINMA, Shinobu | Mansfield Park and English Society in the Early Ninteenth Century | 1990 | 39-56 |
| Margaret Mitsutani | MITSUTANI, Margaret | Kate Chopin's The Awakening: The Narcissim of Edna Pontellier | 1986 | 3-15 |
| 宮原一成 | MIYAHARA, Kazunari | The Inheritors: 「獣」へ向けての架橋 | 74-1 | 15-27 |
| 宮原一成 | MIYAHARA, Kazunari | “Alice in Hysterialand”:War as a Travesty of Nonsense in Pat Barker's The Ghost Road | 2002(43) | 13-30 |
| 宮川美佐子 | MIYAKAWA, Misako | 「肉屋と警官の間で」--- 『闇の奥』における食と暴力 | 79-1 | 1-14 |
| 宮本なほ子 | MIYAMOTO, Nahoko | “That Silent Sea”: The Ancient Mariner as a Romantic World Map | 1996 | 37-51 |
| 宮本陽一郎 | MIYAMOTO, Yoichiro | Gravity's Rainbow and the Question of Postmodernism | 65-2 | 209-227 |
| 森慎一郎 | MORI, Shinichiro | The Revised Edition of Tender is the Night, Reconsidered | 1999 | 41-54 |
| 森岡伸 | MORIOKA, Shin | On Pater's Androgynous Vision | 67-1 | 17-33 |
| 森岡伸 | MORIOKA, Shin | The Fate of Personality of Walter Pater | 61-1 | 53-70 |
| 森田由利子 | MORITA, Yuriko | Featureless Faces: Virginia Woolf and Portrait-Painting | 2001(42) | 21-38 |
| 本橋哲也 | MOTOHASHI, Tetsuya | ‘Banish Plump Jack, and Banish All the World’: Comedy and Ambiguity | 64-2 | 281-295 |
| 村主幸一 | MURANISHI, Koichi | 料理と妊娠 --- Titus Andronicus の復讐 | 71-1 | 19-31 |
| 村田俊一 | MURATA, Shunichi | T. S. Eliot の風景について | 66-1 | 17-32 |
| 村田俊一 | MURATA, Shunichi | T. S. ELIOT の‘Recognition Scene’について | 64-1 | 51-65 |
| 武藤浩史 | MUTO, Hiroshi | D. H. Lawrence's Forgotten Dream: The Significance of “A Dream of Life”in His Late Works | 1991 | 3-17 |
| 長畑明利 | NAGAHATA, Akitoshi | 「立つこと」と「立たぬこと」−−Poems,1920 の Sweeney詩篇再読−− | 75-1 | 31-41 |
| 長岡みゆき | NAGAOKA, Miyuki | はじめに欲／情／律・動ありき --- Sweeney Agonistes を読む | 68-2 | 273-286 |
| 永澤二郎 | NAGASAA, Jiro | Dove dottage Manuscripts 98, 99 と The Forth and Clyde Canal | 63-2 | 257-270 |
| 長島佐恵子 | NAGASHIMA, Saeko | Transition in the House-Imagery of Waugh's Novels | 1998 | 53-67 |
| Daisuke Nagashima | NAGASIMA, Daisuke | Samuel Johnson: The Road to the Dictionary | 1995 | 63-75 |
| 中川葉子 | NAKAGAWA,Youko | 賃金の浪費：精液の浪費−−『はつかねずみと人間』におけるセクシュアリティ−− | 77-2 | 103-115 |
| 中井亜佐子 | NAKAI, Asako | “I Know As Much As Sammy Now”: Joyce Cary's Epistemology of Africa | 1998 | 41-51 |
| 中島平三 | NAKAJIMA, Heizo | 空範疇の厳密原理 | 61-1 | 71-84 |
| 中島剛 | NAKAJIMA, Tsuyosi | All's Fair in Love and War: The Sexual Codes from Victorian Women in Wilkie Collins' No Name | 73-1 | 29-45 |
| 中村良夫 | NAKAMURA, Yoshio | 重名詞句移動の A 移動分析と寄生的空所現象について | 69-2 | 275-289 |
| 中村嘉男 | NAKAMURA, Yoshio | The Significance of Fiction in Henry James's “The Birthplace” | 66-2 | 255-269 |
| 中村嘉男 | NAKAMURA, Yoshio | J. conrad の“The End of the Tether”に見る中心の周縁化 | 62-2 | 215-226 |
| Wendy Jones NAKANISHI | NAKANISHI, Wendy Jones | Virginia woolf's Letters | 1990 | 77-90 |
| 中岡洋 | NAKAOKA, Hiroshi | ‘Gondal’再構成のために | 61-1 | 27-38 |
| 中谷ひとみ | NAKATANI, Hitomi | Reading Readking --- Vladimir Nabokov's Pale Fire (1962) | 1992 | 61-74 |
| 中谷ひとみ | NAKATANI, Hitomi | The Veen's Three Swans and Incest's Artful Guise: Vladimir Nabokov's Ada(1969) | 1996 | 67-80 |
| 中山徹 | NAKAYAMA, Toru | 騒音の芸術−−Ulysses、未来派、ファシズム−− | 77-2 | 131-144 |
| 新野緑 | NIINO, Midori | David Copperfield におけるロマンスの構築あるいは解体 | 68-1 | 61-73 |
| 西垣内泰介 | NISHIGAUCHI, Taisuke | 「無差別束縛」と論理形式におけるWH-移動 | 63-2 | 285-298 |
| 野田学 | NODA, Manabu | Theatrical Presence and the Discourse of Videocentrism from Addison to Lamb | 70-2 | 207-221 |
| 野田学 | NODA, Manabu | The Legibility of Passions and the Unity of Appearance: The Representability of Acting from Neoclassicism to Romanticism | 72-1 | 13-26 |
| Roger Charles Nunn | NUNN, Roger Charles | Empire and Jane Austen: A Contrapuntal Reading | 1999 | 1-17 |
| A. D. Nuttall | NUTTALL, A. D. | Scholarship and Morality | 1995 | 1-13 |
| Peter O'Connor | O'CONNOR, Peter | The Weapon of Language: Basic English and the Battle Against Obscurantism in the Years of Anglo-Japanese Alienation | 1998 | 83-93 |
| 大庭幸男 | OBA, Yukio | 格理論と可視条件 | 69-2 | 261-274 |
| 大庭幸男 | OBA, Yukio | 優位効果と最小連結条件 | 73-1 | 89-106 |
| 小田友弥 | ODA, Tomoya | The Prlude (1799)における Coleridge との対話 | 66-2 | 209-224 |
| 小田友弥 | ODA, Tomoya | The Prelude(1805), XII前半とHome At Grsmere(MS.B), 875-1048の創作経緯と類似性 | 65-1 | 3-15 |
| 小倉美知子 | OGURA, Michiko | Ne ondroed pu and Nelle pu ondroedan for Noli timere | 1988 | 87-101 |
| 大河内昌 | OKOCHI, Sho | Coleridge's Political Symbolism: Rhetoric and Ideology in The Statesman's Manual | 68-2 | 227-241 |
| 大河内昌 | OKOCHI, Sho | A“Sublime Theory”of the Body: Thomas Malthus's Anti-aesthetics in his Essay on the Principle of Population(1789) | 75-1 | 13-29 |
| 大河内昌 | OKOCHI, Sho | Coleridge's Biographia Literaria: Commerce, Literature, and Romantic Ideology | 72-1 | 27-40 |
| 奥恭子 | OKU, Yasuko | The Mask in O'Neill's The Great god Brown and What It Tells Us | 62-1 | 75-93 |
| 奥田宏子 | OKUDA, Hiroko | ‘thynk wel that love is free’--- チョーサー「騎士の話」の悲劇的愛 --- | 66-1 | 3-15 |
| 大熊昭信 | OKUMA, Akinobu | 詩霊の愉しみ --- ブレイクの『天国と地獄の結婚』 | 61-2 | 227-237 |
| 小野浩司 | ONO, Koji | 英語の外来語強勢体系について | 66-1 | 97-109 |
| 小野浩司 | ONO, Koji | リズム強勢について | 62-1 | 95-108 |
| 小野功生 | ONO, Kosei | Milton's Disenchantment with the Arthurian Legend in The History of Britain | 2002(43) | 1-12 |
| 小野良子 | ONO, Yoshiko | Marston の Tragical Satire --- Antonio's Revenge における〈revenger〉考察 | 63-2 | 315-330 |
| 大嶋浩 | OSHIMA, Hiroshi | Romola に付与された二つの Madonna像の意味するものについて | 64-2 | 297-309 |
| 太田一昭 | OTA, Kazuaki | The Quatro of the Second Part of Henry IV as Revised Text | 1996 | 1-16 |
| Tariq Rahman | RAHMAN, Tariq | Maurice and The Longest Journey: A Study of E. M. Forster's Deviation from the Representation of Male Homosexuality in Literature | 1990 | 57-75 |
| Tariq Rahman | RAHMAN, Tariq | A Study of the Under-plot in E. M. Forster's Where Angels Fear to Tread | 1988 | 51-69 |
| Tariq Rahman | RAHMAN, Tariq | The Use of the Millenrian Myth in E. M. Forster's Howards End | 1987 | 33-60 |
| Alan Rosen | ROSEN, Alan | The Monomachia Sequence in Paradise Lost | 65-2 | 159-174 |
| 佐伯惠子 | SAEKI, Keiko | ‘After such Knowledge, What Frogiveness?’--- “The Hollow Men”におけるKurtz的世界との訣別 --- | 68-2 | 257-271 |
| 齋藤美和 | SAITO, Miwa | Tears of Blood: Charles I and the Execution Elegy | 2000 | 1-15 |
| 斎藤兆史 | SAITO, Yoshifumi | The Light of Mediation: A Stylistic Approach to Woolf's Narrative Technique in To the Lighthouse | 66-2 | 271-288 |
| 坂本利子 | SAKAMOTO, Toshiko | The Colonial Daughter's Narrative: Race, Gender and Sexuality in Nadine Gordimer's The Lying Days | 79-1 | 15-36 |
| 佐藤明子 | SATO, Akiko | The Unique Diction in the West Saxon Gospel according to Saint John | 69-2 | 339-351 |
| 佐藤光 | SATO, Hikari | Creative Contradiction in Proverbs of Hell: On the Media and Contents of The Marriage of Heaven and Hell | 2000 | 17-35 |
| 佐藤光 | SATO, Hikari | The Devil's Progress: Blake, Bunyan, and The Marriage of Heaven and Hell | 78-2 | 121-146 |
| 佐藤久美子 | SATO, Kumiko | Post-Faulkner: Toni Morrison's The Bluest Eye and“ Gaze”in the Postcolonial Contexts | 2001(42) | 39-57 |
| 佐藤光重 | SATO, Mitsushige | The Puritan Hall of Fame: Anne Bradstreet and the Renaissance Art of Memory | 2000 | 55-66 |
| 里内克巳 | SATOUCHI, Katsumi | “The Striker's Deed”--- 社会小説としての Billy Budd, Sailor --- | 73-2 | 233-244 |
| 清宮倫子 | SEIMIYA, Michiko | 『ダァバヴィル家のテス』の戦略をもった語り手 | 67-1 | 35-47 |
| 関茂樹 | SEKI, Shigeki | 知覚と提示 | 66-1 | 81-95 |
| 関茂樹 | SEKI, Shigeki | 転位化と焦点化 | 65-1 | 89-102 |
| 島弘之 | SHIMA, Hiroyuki | Yeats's Janus-Faced Sincerity in Last Poems | 62-2 | 293-308 |
| 塩尻恭子 | SHIOJIRI, Yasuko | “An Ideal Husband”? --- Oscar Wilde's Play of Ideas about an Ideal Wife | 1997 | 35-49 |
| 白川恵子 | SHIRAKAWA, Keiko | The Paradox of Independence in Whitman's Franklin Evans | 79-1 | 37-57 |
| 志鷹英行 | SHITAKA, Hideyuki | Degeneration and Regeneration of Man's Language in Paradise Lost | 62-1 | 17-33 |
| 惣谷美智子 | SOYA, Michiko | Lady Susan --- 〈最後の言葉〉をめぐって | 68-1 | 27-42 |
| 惣谷美智子 | SOYA, Michiko | Sense and Sensibility における Jane Austen のレトリック --- 〈盗みとられたパン〉に関する一考察 | 66-2 | 225-238 |
| Frank E. L. Stewart | STEWART, Frank E. L. | A Language of the People: An Analysis of the Use of Proverbs and Language in Chinua Achebe's Novels | 72-2 | 163-180 |
| Frank E. L. Stewart | STEWART, Frank E. L. | Naipaul's Vision of the Land in his Later Works | 65-2 | 175-192 |
| 末松良道 | SUEMATSU, Yoshimichi | Pilate in the Towneley and York Cycles | 62-2 | 197-214 |
| 杉村泰教 | SUGIMURA, Yasunori | Self-Destructive Community and the Improbability of War in Lord of the Flies | 1994 | 47-64 |
| 杉村泰教 | SUGIMURA, Yasunori | Law and the Maternal in The Inheritors by William Golding | 75-1 | 43-60 |
| 杉村泰教 | SUGIMURA, Yasunori | Hallucination and Plotmaking Principle in Pincher Martin by William Golding | 1989 | 21-36 |
| 朱雀成子 | SUJAKU, Shegeko | 「ヒーロー」としての Cleopatra 、「ヒロイン」としての Antony --- Antony and Cleopatra における「ジェンダー」と「セクシュアリティ」 | 73-1 | 15-28 |
| 鈴木英夫 | SUZUKI, Hideo | Campion における詩と音楽 --- “Follow thy fair sun”と“Seek the Lord”をめぐって --- | 61-2 | 213-226 |
| Masashi Suzuki | SUZUKI, Masashi | Origins and Burial in America | 1995 | 15-32 |
| 鈴木雅之 | SUZUKI, Masashi | 戦争と渦巻 --- THE FOUR ZOAS における力 --- | 64-1 | 3-18 |
| 鈴木美津子 | SUZUKI, Mitsuko | Persuasion における二つの物語 | 69-1 | 17-29 |
| 鈴木美津子 | SUZUKI, Mitsuko | Belinda における思想の戦い | 73-2 | 207-219 |
| 鈴木美津子 | SUZUKI, Mitsuko | Emma と「流行」 | 64-2 | 211-225 |
| 鈴木俊次 | SUZUKI, Shunji | 二つの森 --- The White Peacock と Lady Chatterley's Lover --- | 62-2 | 227-240 |
| 杉山寿美子 | SYGIYAMA, Sumiko | Is The Player Queen Tragedy or Farce? | 70-1 | 1-18 |
| 田林葉 | TABAYASHI, Yo | Philip Roth and Therapeutic Narratives: A Reading of The Facts and Patrimony | 69-2 | 323-337 |
| 高橋路子 | TAKAHASHI, Michiko | The Venture of “Or/and (and/or) and/or”:Virginia Woolf's Androgyny Beyond Genres, Genders and Language | 78-2 | 147-157 |
| 高島葉子 | TAKASHIMA, Yoko | 堕落の光景 --- The Rainbow 最終章における炭坑町の風景について --- | 66-2 | 239-253 |
| 竹内康浩 | TAKAUCI, Yasuhiro | Poe 解読：穴と反転 | 70-2 | 193-206 |
| 武田美保子 | TAKEDA, Mihoko | 狂気の政治学： The French Lieutenat's Woman の二重構造 | 69-1 | 31-44 |
| 武田貴子 | TAKEDA, Takako | Twinship: Pudd'nhead Wilson と “Those Extraordinary Twins” の関係 | 72-2 | 197-208 |
| 武田悠一 | TAKEDA, Yuichi | 沈黙のアレゴリー --- 『緋文字』における言語行為 --- | 69-1 | 63-76 |
| 竹本幸博 | TAKEMOTO, Yukihiro | 民衆本『ファウスト博士』と『フォースタス博士』--- 教訓から物語へ --- | 63-1 | 29-40 |
| 竹谷悦子 | TAKETANI, Etsuko | Re-Narativization of the Maypole Incident: Hawthorne and his New England Annalists | 70-2 | 239-257 |
| 竹内勝徳 | TAKEUCHI, Katsunori | 教会堂としての Moby-Dick | 74-2 | 133-146 |
| 竹内康浩 | TAKEUCHI, Yasuhiro | 乗り物と替え玉：The Grate Gatsby を動かす法則 | 70-1 | 35-47 |
| 田子内健介 | TAKONAI, Kensuke | On Some General Characteristics of Prenominal Relative Clauses | 74-2 | 147-164 |
| 田辺洋子 | TANABE, Yoko | Great Expectations の二つの結末：語り手の側からの解読の試み | 71-2 | 113-125 |
| 田辺洋子 | TANABE, Yoko | Our Mutual Friend の表題再考 | 73-1 | 47-59 |
| 田中一彦 | TANAKA, Kazuhiko | 英語における時制の照応について | 67-2 | 159-172 |
| 田中彰一 | TANAKA, Shoichi | The Structure of Prepositional As-Constructions | 64-1 | 97-114 |
| 丹治愛 | TANNJI, Ai | The Sirens Episode in Ulysses: Words Enchanted by Music | 62-2 | 309-327 |
| 巽孝之 | TATSUMI, Takayuki | 作品主権をめぐる暴力 The Narrative of Arthur Gordon Pym 小論 | 61-2 | 253-267 |
| 寺西雅之 | TERANISHI, Masayuki | A Stylistic Analysis of Middlemarch‘Polyphony’in the Context of ‘Pre-Modernism’ | 76-2 | 141-161 |
| 寺澤盾 | TERASAWA, Jun | The Function of The Passive in Old English and Present-Day English | 61-2 | 287-304 |
| ソーントン不破直子 | THORNTON, Naoko Fuwa | 『黄金の林檎』における絵画からの発想 | 69-1 | 77-90 |
| ソーントン不破直子 | THORNTON, Naoko Fuwa | Voices and Aphasia in Eudora Welty's “The Demonstrators” | 1998 | 69-82 |
| 徳見道夫 | TOKUMI, Michio | 『シンベリン』--- 家父長制再生の構図 --- | 68-1 | 3-13 |
| 冨田成子 | TOMITA, Shigeko | The Lifted Veil と George Eliot | 62-1 | 49-62 |
| 辻裕子 | TSUJI, Hiroko | The “Tragic Notes”and the Language of Paradaise Lost, Book IX | 63-1 | 41-59 |
| 常山菜穂子 | TSUNEYAMA, Nahoko | アメリカン・オセロ --- フレデリック・ダグラスと黒人大衆演劇の伝統 | 75-2 | 237-251 |
| 角田信恵 | TSUNODA, Nobue | 遁走する肉体 The Picture of Dorian Grayにおける性とテクストの政治学 | 72-1 | 41-53 |
| 都築雅子 | TSUZUKI, Masako | 英語における二次的述語の考察 --- 結果の述語と描写の述語 --- | 66-1 | 33-50 |
| 植松みどり | UEMATSU, Midori | 『嵐が丘』論 --- 遙かなる脱出への祈り --- | 62-1 | 35-47 |
| 上村盛人 | UEMURA, Morito | “A voice from the Sea”: Whitman's “A Word Out of the Sea” and Swinburne's “Thalassius”and “On the Cliffs” | 68-1 | 75-87 |
| 鵜野ひろ子 | UNO, Hiroko | Optical Instruments and “Compound Vision”in Emily Dickinson's Poetry | 64-2 | 227-243 |
| 浦啓之 | URA. Hiroyuki | On the Structure of “Double Objects”and Certain Difference between British and American English | 72-2 | 269-285 |
| 牛垣博人 | USHIGAKI, Hiroto | The Image of Beowulf as King and Hero: Some Interpretative and Critical Problems | 1985 | 3-20 |
| 若松美智子 | WAKAMATSU, Michiko | Synge's Deirdre and the Dignity of Mortal Sorrows --- The Structure of Deirdre of the Sorrows | 64-1 | 19-36 |
| 渡邊明敏 | WATANABE, Akitoshi | ユートピアにおける共有制と霊魂の救済 | 75-2 | 193-204 |
| 度會好一 | WATARAI, Yoshiichi | ユートピア、The Time Machine、世紀末 | 68-1 | 89-105 |
| 有為楠泉 | WICKS, Izumi | The Rainbow における英国性と異国性 | 70-1 | 19-33 |
| 箭川修 | YAGAWA, Osamu | 英雄と英雄の父 --- Samson Agonistes における Samson と Manoa --- | 69-1 | 1-16 |
| 箭川修 | YAGAWA, Osamu | Paradise Lost の裏側：“Chaos”の意味と政治学 | 75-1 | 1-12 |
| 八木斉子 | YAGI, Naoko | Media and mise en scene in Pinter's Plays | 1997 | 67-79 |
| 山田英二 | YAMADA, Eiji | Syllable-based Edge Parameter Analysis of Old English Stress | 72-1 | 81-94 |
| 山田由美子 | YAMADA, Yumiko | The Staple of News, Kings and Kingdoms | 1990 | 23-38 |
| 山本史郎 | YAMAMOTO, Shiro | Hard Times: Forms and Content --- Dickens, Leavis, and another Tradition? | 1988 | 35-50 |
| 山崎弘行 | YAMASAKI, Hiroyuki | エンプソンとド・マン --- 曖昧と決定不能性 --- | 64-1 | 67-82 |
| 山内正一 | YAMAUCHI, Shoichi | The Labyrinthian Path --- Keats's Melancholy and His 1820 Volume --- | 1989 | 3-20 |
| 山内正一 | YAMAUCHI, Shouichi | Keats の“the warm Love”をめぐって --- Ode to Psyche 論 --- | 73-2 | 221-232 |
| 依田義丸 | YODA, Yoshimaru | King Richard III 再考 --- その構想と劇作術 (The Framework and Dramaturgy of Kingm Richard III) | 72-1 | 1-12 |
| 米本義孝 | YONEMOTO, Yoshitaka | The Waste Land における喜劇性 | 72-2 | 227-238 |
| 米本義孝 | YONEMOTO, Yoshitaka | The Waste Land における内容と形式 --- タイピスト挿話を中心にして | 64-1 | 37-50 |
| Chiyo Yoshii | YOSHII, Chiyo | “It Was All Phantasmagoric”:The Ambassadors and the Impressionistic Style of Consumption | 1995 | 89-104 |
| 好井千代 | YOSHII, Chiyo | The Golden Bowl における商品化の“vicious circle” | 69-2 | 247-259 |
| 吉岡文夫 | YOSHIKAWA, Fumio | Beckoned by the Call of “Nothing”--- Lear's Odyssey in Quest of True Identity --- | 68-2 | 207-225 |
| 吉川朗子 | YOSHIKAWA, Saeko | Topography as Epitaph or Epitaph as Topography: Wordsworth's Excursion | 75-2 | 253-266 |
| 吉中孝志 | YOSHINAKA, Takashi | 解釈への不安 --- 『オセロウ』のハンカチについての図像学的注釈 --- | 75-2 | 205-218 |
| 吉中孝志 | YOSHINAKA, Takashi | The Sundial and the Bee: A Philosophical and Political Reading of the Final Stanza of Marvell's ‘The Garden’ | 1997 | 1-15 |
| 吉中孝志 | YOSHINAKA, Takashi | マーヴェルの女嫌いの庭 再考 | 78-1 | 1-16 |
| 吉中孝志 | YOSHINAKA, Takashiよしなかたかし | ‘My bosom's shop’:Financial Imagery in Shakespeare's Sonnets | 1994 | 3-19 |
| 吉野昌昭 | YOSHINO, Masaaki | Yeats's Logic of Death: The Fairy Poems and the Gregory Poems | 1985 | 37-51 |
| Yoshihiro, Yoshino | YOSHINO, Yoshihiro | Saeswife or Sae Swife? -- A Case for a Bird's-Eye View of an OE Poetic Text --- | 1995 | 105-116 |
| 吉岡ちはる | YOSHIOKA, Chiharu | It Takes Two to Make a Daughter's Story: The Double Bind Structure of To the Lighthouse | 72-2 | 239-254 |
| 吉岡文夫 | YOSHIOKA, Fumio | Theatre, Identity, and Brutus' Grand Illusion | 70-2 | 129-147 |
| 吉岡文夫 | YOSHIOKA, Fumio | In the Name of the Son --- Identity and Self-Authorship in Coriolanus | 72-2 | 145-163 |
| 吉岡文夫 | YOSHIOKA, Fumio | ‘Shadows’Shadows’in A Midsummer Night's Dream | 76-2 | 107-123 |
| 吉岡文夫 | YOSHIOKA, Fumio | Wrecked in Unknown Fate --- Othello's Loss and Recovery of Self | 1990 | 3-22 |
| 吉岡文夫 | YOSHIOKA, Fumio | Hamlet's Miraculous Sea-Change | 64-2 | 181-195 |
| 吉岡文夫 | YOSHIOKA, Fumio | Beyond the division of East and West --- Kazuo Ishiguro's A Pale View of Hills --- | 1988 | 71-86 |
| 吉岡文夫 | YOSHIOKA, Fumio | A Phoenix Entrapped in Dublin --- Mr. Duffy's Painful Case in Dubliners --- | 78-2 | 105-119 |