| Budget Amount *help |
¥3,600,000 (Direct Cost: ¥3,600,000)
Fiscal Year 2001: ¥1,400,000 (Direct Cost: ¥1,400,000)
Fiscal Year 2000: ¥2,200,000 (Direct Cost: ¥2,200,000)
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| Research Abstract |
This research conducted during the years 2000 and 200 1 examined the fictional paintings of the character Elstir in Proust's work, A la Recherche du temps perdu. The aim of the research was to determine, through factual and comprehensive data, how these paintings came into existence. The research consisted of the following:
1. An exhaustive collection of information was gathered regarding Elstir and the paintings appearing in Proust's work and letters.
2. At the same time, investigation and research was made of specialized books and art magazines related to paintings from the end of the nineteenth century to the beginning of the twentieth century, of the state of private collections, and of exhibition catalogs.
3. Through continued research of the author's unpublished drafts found in institutions such as the Bibliotheque nationale de France, an effort was made to determine the process by which the fictional paintings of Elstir became established in the novel.
4. By comparing the documents
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of the above 1, 2, and 3, specification was made of when, and by what occasion the aulhor came into contact with paintings that became models for Elstir's paintings. As a result, it has become evident that even in the case of portraits such as "Miss Sacripant," or a scenic painting of the sea such as "Carquethuit Port," actual models such as Manet, Whistler, and Turner existed, and that a montage was made from several different actual paintings. The scenes not only resemble original paintings, but are also often based on reference works and prints recorded in collection catalogs.
5. The above circumstances surrounding the author's creations were made known in a thesis that included the items of the research presentation, ard through a lecture at the Proust Symposium held in France. However, regarding Proust's style of describing these fictitious paintings, it has become clear that the issue of the evolution of metaphor arises. This could not be incorporated into the overall conclusion, and will be a subject for further study. Less
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