This thesis aims to figure out two questions about the peculiarity of the American space race in the Cold War era. The first question is why only the US considered Sputnik 1 as a "crisis," even though the other nations of the Western bloc would also be threatened if the USSR completed ICBM. The second question is why the US government proposed, adopted, and executed Apollo Program, although it required 24 billion dollars while knowing it will not have a military effect of such worth, for example a development of ICBMs. Those untested questions will be demonstrated in the first chapter by using the contemporary periodicals such as Life Magazine, New York Times, the Times, Le Figaro, and Pravda.

The key to those questions is "Manifest Destiny in 20th Century America." It is a self-image held by the Americans toward the US from the late 19th century to the 1950s. From some evidences it is obvious that a great deal of Americans believed that the US overwhelms any other nation because of its tremendous industrial and scientific power, and thus it must lead the world in every possible way.

"Manifest Destiny in 20th Century America" is rooted in the late 19th century, the "Gilded Age," and it flourished during the 1950s, the "Space Age." Unlike the original "Manifest Destiny" developed in the early 19th century, the US citizens justified and ensured themselves and their future by their world's most advanced industry and scientific technology; not by God. In the second chapter, to show the prevalence of "Manifest Destiny in 20th Century America" in those periods, the author will provide some examples: a painting, American Progress by John Gast; a publication, Our Country by Josiah Strong; a remark toward the Philippines by the president William McKinley; and advertisements on Life Magazine in the 1950s.

In the third chapter, the author will answer the two questions, by applying "Manifest Destiny in 20th Century America." Because of their historical belief, the Americans could never accept the fact that the USSR completed a world's first satellite, an ultimate product of science and technology. The future always came to the US first. The Sputnik crisis was not only a military threat but also a national identity crisis for the American citizens. That is why only the US dealt with the launch of Sputnik 1 as a crisis.

Likewise, "Manifest Destiny in 20th Century America" led the US to the moon. The US fell far behind the USSR in the early 1960s and they must have caught up and gone far beyond the Russians. Moreover, the Americans could not be defeated by the Old World; a totalitarian, atheistic, and communistic nation. This typological view of history was one of the great drives to send men to the moon and return them safely to the Earth. The US challenged to restore its self-image as the world's most progressed country in every means.

This research concerns the "parallel" and "additive" conjunctives of the Japanese language. Given that "parallel" and "additive" conjunctives such as "soshite", "mata", "sarani", "sonoue", share the same function, it does not imply that they can be replaced one another. Japanese native speakers choose these expressions relating to the meaning they want to express, and its context, in which conjunctive is introduced. Apparently, the style of writing and speaking as well plays an important role for the word selection.

Even though, Japanese conjunctive expressions are used in writing, the numbers of using the conjunctives are different according to text types and the styles of the writing. For instance, based on the survey of the number of using the conjunctives, "oyobi" are often used in newspaper articles while "soshite" are often used in academic papers and essays.

There are many kinds of writing i.e., narrative writing, objective writing, subjective writing, explanatory writing style. This paper observed the number of using the "parallel" and "additive" conjunctives in different style of writing through various magazines. As the fact that magazines are published for a group of specific readers, hence their styles of writing are different.

As the result, "mata", "soshite", "sarani" are often used in formal writing style. It however, showed that in scientific essays, the number of using word "oyobi" is noticeable. Although "mata" and "soshite" are often used in formal writing style, they are also often found in informal writing style, such as in correspondence columns.

The articles in "Chuokoron" and scientific essays are an example of formal writing style but they are different in the variety of the conjunctives. The variety of the conjunctives which contain the meaning of "parallel" and "additive" are remarkably used in "Chuokoron" while the variety of the conjunctives which have the meaning of succession are obviously used in scientific essays.

The difference in the variety of the conjunctives is noticeable by the writing styles: formal, and informal. It seemed that the more formal the text is, the more various conjunctives are used. According to the observation, the number of the expressions in formal style is more than the number of the expression in informal style. This showed that formal writing style requires conjunctives while it is not substantial to informal writing style.

Yone Noguchi (野口米次郎：1875-1947), the father of well-known sculptor Isamu Noguchi, was the first Japanese to publish English poetry books in both the United States and England. He wrote not only about 184 books both in English and Japanese, but also hundreds of articles for newspapers and magazines published both in and outside of Japan. Twenty-four of his works are known as poetry books today while the rest tend to reflect on Japanese culture (such as art, Ukiyoe, Noh, Haiku, and life of the Japanese) and the ways he chose to expose it to the West, as well as various aspects of western culture that he explained to the Japanese, based on his ten years of life spent in England and the United States. When he passed away on July 13, 1947, obituaries were written in not only Japanese newspapers, but also noted in The New York Times.

As many internationally recognized records as Noguchi has, almost nothing about Noguchi is widely known today in Japan, and only a few scholars have studied just limited areas of his life. The gap we see between his incredibly brilliant records and his being practically forgotten is immense.

The biggest reason seems to be attributed to a prelude poem of his first Japanese poetry book Niju Kokusekisha No Shi (Poetry of the Dual Citizenship Holder) published in 1921. In the poem, he wrote that he was not confident in either English or Japanese. He could not be only Japanese nor only western and felt stuck in between the two cultures while not able to define himself clearly. Perhaps he wanted to express his humbleness and self-derision on the surface of the poem while also wanting to show the greatness of living in two languages and cultures as a poet. However, Sakutaro Hagiwara (Japanese poet) read this poetry very literally and thus only received the surface level meaning and unfortunately, following this, many other Japanese poets and literary critics followed. The prelude poetry turned out to be self-destruction. Since then, almost none of Noguchi's actual poems have been criticized or discussed; only the prelude poem of Niju Kokusekisha No Shi. It seems as if Noguchi determined his own fate. In this sense, the poem has been a very significant fact in his life as a poet.

Since he started writing poems with poet Joaquin Miller in California's Bay Area where the Bohemian Club was very active, he became friends and exchanged influences with those that have solid and highly reputable positions in today's history of both American and English literature, such as W.B.Yeats, William Michael Rossetti, and Arthur Ransome. While the English literary world were known to cling strongly to their long history and profound traditions, they still graciously accepted this Japanese young man, Noguchi, who had neither status nor reputation, but merely wrote poetry in their language. The English literary world generously said that their concern was not regarding Noguchi's nationality, but his conception of the poet. His achievement is simply extraordinary; therefore, Noguchi never deserves the level of ignorance currently existing within the Japanese literary world.

Japan, while on one hand very rapidly after the Meiji restoration tried to become westernized, at the same time has always maintained the phenomenon of clinging to "Japaneseness". Therefore, Japan as a whole was not ready to accept or evaluate Japanese people who had international careers. As Isamu later admitted, Noguchi was too ahead of his time. Even though he lived in his own country, he was always isolated and existed as "L'Etranger."

In today's globalizing world, there are a number of people who have lives similar to Noguchi's. The number of people who leave their country and make another country their second home while creating a third culture from their first and second cultures, continues to grow. From this, studying Noguchi and re- evaluating his life is becoming more important than ever before.