| Co-Investigator(Kenkyū-buntansha) |
TAMURA Takeshi The University of Tokyo, Graduate School of Humanities and Sociology, Professor Emeritus, 大学院人文社会系研究科, 名誉教授 (90011379)
TSUKAMOTO Masanori The University of Tokyo, Graduate School of Humanities and Sociology, Associate Professor, 大学院人文社会系研究科, 助教授 (90242081)
SUZUKI Masao The University of Tokyo, Graduate School of Humanities and Sociology, Assistant, 大学院人文社会系研究科, 助手 (30431878)
TAKEUCHI Shuichi The University of Tokyo, Graduate School of Literature, Associate Professor, 大学院文学研究科, 助教授 (40345244)
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| Budget Amount *help |
¥3,300,000 (Direct Cost: ¥3,300,000)
Fiscal Year 2006: ¥1,300,000 (Direct Cost: ¥1,300,000)
Fiscal Year 2005: ¥2,000,000 (Direct Cost: ¥2,000,000)
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| Research Abstract |
We have explored how, in the historical context of modern French poetry from the mid-Nineteenth century to nowadays, the particular poets' creative activities were influenced by the print journalism (newspapers and magazines) and journalists: (1)the period of the Second Empire (the mid-Nineteenth century) of which Charles Baudelaire was representative; (2)the Third Republic of which Stephane Mallarme was representative; (3)the movement of the magazine La Vogue for which the poets, one generation younger than Mallarme, gathered to attempt to produce the new poetry against the Naturalism which was prosperous at that time; (4)Andre Breton who had been the leader of the surrealist movement in the 1920's at Paris and exiled himself to the United States during the World War II to establish the publishing organization there; (5)the influence of magazines on the Michel Leiris's (a representative poet and writer of the Twentieth century) creation of works and formation of himself. These five re
… More
searches are presented in the separate volume.
The 'writers', engaged in the 'literature' in it's modern meaning which appeared in the first half of the Nineteenth century, were obliged to be concerned with newspapers or magazines. This developed the newspaper novels. Even poets, whose works were read by relatively less readers, just could not be devoted to the pure beauty or to the isolation, far from the public, for they also lived an everyday life and their works needed reading. Consequently, according to each poet's individual originality and to their historical conditions, we can see their 'historical and strategic' compromise. The first three researches (1, 2, 3) on the Nineteenth century demonstrate that poets unwillingly adopted the 'tortuous way of creation'; they got to produce more free verses and prose poems, easing the strict norm and the condensed lyricism in the rhyme avoided by the public reader, and dealing with the scandalous affairs attracting the journalism, whilst, in the depth of their works, they turned over the superficial and hypocrite morals maintained by the journalism. The fourth and fifth researches on the Twentieth century concretely show that the poets struggled to find out their own creation through the conflict between the poetry production and the journalism. Indeed our researches are not exhaustive ; however, it is possible to say that our researches will be the ground for comprehensive researches on this subject. Less
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