| Co-Investigator(Kenkyū-buntansha) |
SUZUKI Keiji Nagoya Gakuin University Faculty of Foreign Studies, Lecturer, 外国語学部, 講師 (90196808)
MATSUSHIMA Tadashi KYOTO UNIVERSITY,Faculty of Integrated Human Studies, Professor, 総合人間学部, 教授 (90031476)
YOSHIDA Jo KYOTO UNIVERSITY,Faculty of Letters, Professor, 大学院・文学研究科, 教授 (80127315)
TANAKA Masakazu KYOTO UNIVERSITY,Institute for Researchin Humanities, Assciate, Associate Profes, 人文科学研究所, 助教授 (00188335)
OURA Yasusuke KYOTO UNIVERSITY,Institute for Research in Humanities, Professor, 人文科学研究所, 助教授 (60185197)
富永 茂樹 京都大学, 人文科学研究所, 助教授 (30145213)
阪上 孝 京都大学, 人文科学研究所, 教授 (70047166)
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| Budget Amount *help |
¥5,200,000 (Direct Cost: ¥5,200,000)
Fiscal Year 1997: ¥400,000 (Direct Cost: ¥400,000)
Fiscal Year 1996: ¥1,400,000 (Direct Cost: ¥1,400,000)
Fiscal Year 1995: ¥3,400,000 (Direct Cost: ¥3,400,000)
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| Research Abstract |
The most important purpose of this study was to reconsider the symbolism movement synthetically and from various points of view, without the prejudice that the symbolism belonged only to the poetry or the fine art. This is why we tried to find symbolist influences in many art domains such as roman, music, movies. During four years (from 1993 to 1997), we held the meeting every two weeks, and we published the ultimate result as Light and Shadow of Symbolism (Minerva-Shobo, 1997). In the first chapter, we study the symbolism appeared in pictures (Moreau, Delacroix, Gauguin, etc.), music (Debussy, etc.) and movies (Fellini). In the chapter II,we examine its various influences on the almost all literary phenomena of the period, taking as objects of the study poets such as Verlaine, Lautreamont, Renard, Claudel, Pascoli, etc. In the chapter III,we try to find symbolist traces in romans. This viewpoint has been completely neglected till now. In the chapter IV,we put the symbolism in the context of the history of ideas, studying its relationships with Feneon's anarchism and the thoughts of Hartmann, Helmholtz, Levi, etc. In addition, by examining Fenollosa's thought on Chinese characters, we brought out in relief a symbolist echo in the Orient. Finally, in the chaoter V,the literary technics the symbolism has brought are taken in consideration. We treat especially the interior monologue of Dujardin, the technic of nested boxes, and the interpretation of symbolism poetry which is generally considered difficult to understand. From these five point of view, we reexamined the symbolism in a more widened field of view without limiting it in a particular domain of arts. In the next study, we will approach to the avant-garde art from 1910's to 1930's.
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