| Project/Area Number |
02301066
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| Research Category |
Grant-in-Aid for Co-operative Research (A)
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| Allocation Type | Single-year Grants |
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| Research Field |
独語・独文学
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| Research Institution | University of Tokyo |
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Principal Investigator |
SHIBATA Sho University of Tokyo, Faculty of Letters, Professor, 文学部, 教授 (00011312)
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| Co-Investigator(Kenkyū-buntansha) |
DOAI Humio Tokyo Women's Christian University, College of Arts and Science, Assistant Profe, 文理学部, 助教授 (60114576)
SHIMIZU Honyu Tokyo University of Agriculture and Technology, General Education, Assistant Pro, 一般教育部, 助教授 (80139485)
TANIKAWA Michiko Tokyo University of Foreign Studies, Faculty of Foreign Studies, Assistant Profe, 外国語学部, 助教授 (50038501)
ASAI kenjiro University of Tokyo, Faculty of Letters, Assistant Professor, 文学部, 助教授 (30092117)
IKEUCHI Osamu University of Tokyo, Faculty of Letters, Professor, 文学部, 教授 (70083277)
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| Project Period (FY) |
1990 – 1991
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| Project Status |
Completed (Fiscal Year 1991)
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| Budget Amount *help |
¥7,800,000 (Direct Cost: ¥7,800,000)
Fiscal Year 1991: ¥3,000,000 (Direct Cost: ¥3,000,000)
Fiscal Year 1990: ¥4,800,000 (Direct Cost: ¥4,800,000)
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| Keywords | the German literature / the argumentation on the woman / the literary images of the woman / male-centric principle / 女性論・女性像 / 寓意(アレゴリ-) / 象徴(シンボル) / 近代イデオロギ- / ロマン派 / 母権 / モ-ド / 文学 |
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| Research Abstract |
Although the equality of the human species was the slogan of modern European ideas, the male-centric principle as a device of oppression continued to operate and it has been forcing the female sex to endure the position of the weak in social and cultural domains. On the other hand modern literature and arts, which were also supported by the majority of men, continued to describe the woman as an aesthetic image and to idealize it. If we focus on the "aesthetic image of the woman", it becomes impossible to overlook this double-sided contradiction. An erotic desire which the system of male-centric principle cherishes lies in the base of the consciousness of expression that bore aesthetic images of the woman, and we can recognize a Utopistic intention or hope in this desire. But it can be called a Utopianism, only because the male-centric principle, which aims for self-justification and self-preservation, was seeking the complete self-realization and salvation of itself. The aesthetic image of the woman should be put into this Utopistic order as the "accepter". The rebellion of modernism meant not only the destruction of this image but also the transition to the consciousness of the beauty of the expressive medium. Even at this moment, however, the criticism of the male-centric principle has not begun, which determines the criteria of beauty. The current general reconsideration of male-centric culture made this criticism possible for the first time.
If we decode the images of women in modern German literature in the relationship with the argumentation on the woman, we obtain the new perspective to elucidate the mechanism of historical conversion of the social structure and that of aesthetic consciousness.
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