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The ''RMS Titanic'' has played a prominent role in popular culture since her sinking in 1912, with the loss of over 1500 of the 2200 lives on board. The disaster and the ''Titanic'' herself have been objects of public fascination for many years. They have inspired numerous books, plays, films, songs, poems, and works of art. The ship's story has been interpreted in many overlapping ways, including as a symbol of technological hubris, as basis for fail-safe improvements, as a classic disaster tale, as an indictment of the class divisions of the time, and as romantic tragedies with personal heroism. It has inspired many moral, social and political metaphors and is regularly invoked as a cautionary tale of the limitations of modernity and ambition. ==Themes== ''Titanic'' has been commemorated in a wide variety of ways in the century since she sank in the North Atlantic Ocean on 15 April 1912. As D. Brian Anderson has put it, the sinking of ''Titanic'' has "become a part of our mythology, firmly entrenched in the collective consciousness, and the stories will continue to be retold not because they need to be retold, but because we need to tell them." The intensity of the public interest in the ''Titanic'' disaster in its immediate aftermath can be attributed to the deep psychological impact that it had on the public, particularly in the English-speaking world. Wyn Craig Wade comments that "in America, the profound reaction to the disaster can be compared only to the aftermath of the assassinations of Lincoln and Kennedy ... the entire English-speaking world was shaken; and for us, at least, the tragedy can be regarded as a watershed between the nineteenth and twentieth centuries." John Wilson Foster characterises the sinking as marking "the end of an era of confidence and optimism, of a sense of a new departure." Just two years later, what Eric Hobsbawm referred to as "the long nineteenth century" came to an end with the outbreak of the First World War. There have been three or four major waves of public interest in ''Titanic''. The first came immediately after the sinking, but ended abruptly a couple of years later due to the outbreak of World War I, which was a far bigger and much more immediate concern for most people. The second came in 1955 with the publication of Walter Lord's book ''A Night to Remember'', with the highly successful film of the same name three years later. The discovery of the wreck of the ''Titanic'' by Robert Ballard in 1985 sparked a new wave of interest which has continued to the present day, boosted by the release of James Cameron's hugely successful film of the same name in 1997. The fourth and final came in 2012 with the sinking of the ''Costa Concordia'', just months before the centenary of the ''Titanic'' disaster. Even at the time, the high level of public interest in the disaster produced strong dissenting reactions in some quarters. The novelist Joseph Conrad (who was himself a retired sailor) wrote: "I am not consoled by the false, written-up, Drury Lane () aspects of that event, which is neither drama, nor melodrama, nor tragedy, but an exposure of arrogant folly." As Foster points out, however, ''Titanic'' herself can be seen as a stage, with her rigid segregation between the classes and the ''ersatz'' historical architecture of her interiors. The maiden voyage itself had theatrical overtones; the advance publicity highlighted the historic nature of the maiden voyage of the world's largest ship, and a substantial number of passengers were aboard specifically for that occasion. The passengers and crew can be viewed as archetypes of stock roles, which Foster summarises as "Rich Man, Socialite, Unsung Hero, Coward, Martyr, Deserter of Post, Stayer at Post, Poor Emigrant, Manifest Hero, etc." In such interpretations, the story of the ''Titanic'' can be seen as a kind of morality play. An alternative view, according to Foster, sees the ''Titanic'' as somewhere between a Greek and an Elizabethan tragedy; the theme of hubris, in the form of wealth and vaingloriousness, meeting an indifferent Fate in a final catastrophe is very much one that is drawn from classical Greek tragedies. The story also matches the template for Elizabethan tragedians with its episodes of heroism, comedy, irony, sentimentality and ultimately tragedy. In short, the fact that the story can so easily be seen as fitting an established dramatic template has made it hard not to interpret it that way. Describing the disaster as "one of the most fascinating single events in human history," Stephanie Barczewski identifies a number of factors behind the continuing popularity of the ''Titanic''s story. The creation and destruction of the ship are symbols of "what human ingenuity can achieve and how easily that same ingenuity can fail in a brief, random encounter with the forces of nature." The human aspects of the story are also a source of fascination, with different individuals reacting in very different ways to the threat of death – from accepting their fate to fighting for survival. Many of those aboard had to make impossible choices between their relationships: stay aboard with husbands and sons or escape, possibly alone, and survive but face an uncertain future. Above all, Barczewski concludes, the story serves to jolt people out of hubristic complacency: "at its heart (is ) a story that reminds us of our limitations." The disaster has been called "an event that in its tragic, clockwork-like certainty stopped time and became a haunting metaphor" – not just one metaphor but many, which the cultural historian Steven Biel describes as "conflicting metaphors, each vying to define the disaster's broader social and political significance, to insist that ''here'' was the true meaning, the real lesson." The sinking of the ''Titanic'' has been interpreted in many ways. Some viewed it in religious terms as a metaphor for divine judgement over what they saw as the greed, pride and luxury on display in the ship. Others interpreted it as a display of Christian morality and self-sacrifice among those who stayed aboard so that women and children might escape. It could be seen in social terms as conveying messages about class or gender relations. The "women and children first" protocol seemed to some to affirm a "natural" state of affairs with women subordinated to chivalrous men, a view that campaigners for women's rights rejected. Some saw the self-sacrifice of millionaires like John Jacob Astor and Benjamin Guggenheim as a demonstration of the generosity and moral superiority of the rich and powerful, while the very high level death toll among Third Class passengers and crew members was seen by others as a sign of the working classes being neglected. Many believed that the conduct of the mainly Anglo-American passengers and crew demonstrated the superiority of "Anglo-Saxon values" in a crisis. Still others viewed the disaster as the result of the arrogance and hubris of the ship's owners and the Anglo-American elite, or as a demonstration of the folly of putting one's trust in technology and progress. Such a wide range of interpretations has ensured that the disaster has been the subject of popular debate and fascination for decades. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「RMS Titanic in popular culture」の詳細全文を読む スポンサード リンク
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