2004 Fiscal Year Final Research Report Summary
Influence of the Haiku on the French Modem Poetry
| Project/Area Number |
14510562
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
仏語・仏文学
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| Research Institution | University of Tsukuba |
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Principal Investigator |
VILLAIN Franck University of Tsukuba, Graduate School of Humanities, and Social Sciences, Assistant Professor, 大学院・人文社会科学研究科, 講師 (20334071)
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| Co-Investigator(Kenkyū-buntansha) |
ARIYOSHI Toyotaro University of Tsukuba, Graduate School of Humanities, and Social Sciences, Professor, 大学院・人文社会科学研究科, 教授 (00039984)
KAWANABE Yasuaki University of Tsukuba, Graduate School of Humanities, and Social Sciences, Professor, 大学院・人文社会科学研究科, 教授 (10169740)
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| Project Period (FY) |
2002 – 2004
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| Keywords | Haiku / Dislocation / French Poetry / Jacques Dupin / Andre du Bouchet / Yves Bonnefoy / Philippe Jaccottet / Self-effacement |
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| Research Abstract |
After three years of research, we finished to understand the influence of haiku inside French Modern Poetry until 1970, in particular with the poets Yves Bonnefoy, Philippe Jaccottet', Andre du Bouchet and Jacques Dupin. At first, the topic of "effacement" was the center point of this research. Initially, my research was about the definition of this topic of "effacement" inside Japanese and French poetry. This topic doesn't really exist inside haiku's writing but belongs to the modern esthetic of French poetry. A comparison between Japanese and French poets show this difference ("Etude comparative sur la notion du seuil. Bocho Yamamura et Rene Char"). Understanding in French Poetry of haiku's writing is more the result of the French reception than of the real Japanese haiku. This topic of the reception of haiku and its evolution in France prior to 1970 was studied in the second part of my research and finished by a symposium in Tokyo. The conclusion of this symposium indicated that if haiku's reception was at first a simple exoticism, it became more complex around 1950 and opened the French poetry field to a new approach of language where minimalism and contact with nature became modern poetry values. This topic of values of minimalism in Modern Art was the topic of an another symposium in France (University of Metz, September 2004) where I spoke about Jacques Dupin and his relation with Japanese haiku. In that case, minimalism is more an experience of primitive energy than an illusion of self-effacement. The third year, this topic of primitive energy was more deeply thinking and established a new link with the haiku. I called this link the "parole-energie".
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