A STUDY OF MODERNIST IMAPACT UPON MODERN BRITISH LITERATURE WITH A PARTICULAR FOCUS ON GRAVES/RIDING ARTISTIC RELATIONSHIP
Grant-in-Aid for Scientific Research (C)
|Research Institution||KYUSHU UNIVERSITY|
SONOI Eishu PROFESSOR AT THE FACULTY OF LETTERS KYUSHU UNIVERSITY, 文学部, 教授 (00069709)
|Project Fiscal Year
1996 – 1998
Completed(Fiscal Year 1998)
|Budget Amount *help
¥2,400,000 (Direct Cost : ¥2,400,000)
Fiscal Year 1998 : ¥400,000 (Direct Cost : ¥400,000)
Fiscal Year 1997 : ¥500,000 (Direct Cost : ¥500,000)
Fiscal Year 1996 : ¥1,500,000 (Direct Cost : ¥1,500,000)
|Keywords||ROBERT GRAVES / LAURA RINDING / MODERNISM / モダニズム / ロバート・グレイヴズ / ローラ・ライディング / モダニスト / グレイヴズ / ライディング / 伝統主義 / ジョージアニズム|
The primary aim of this study has firstly been to prove how modernist impact upon the 20th century literature in Britain in the early tens and twenties was not wholly imbued as might typically be proved by the tenacity of the Georgian sentiment which survived through the war, and secondly, as its case study, to focus on the artistic relationship between Robert Graves and Laura Riding, then a fresh emigr_ out of the American literary taste of the Fugutive movement, and finally to confirm Graves's poetic stance which essentially remained as anti-modernistic despite the intense impact by Riding as proving sui generis strength of the vein of the British poetic sensibility which was traditionally handed down. The points of discussion are summarised as follows :
1) The quality of modernist poetics which was put forth in the early 20th century poetic scene of the British literature, particularly by Pound and Eliot, was not so much a new and fresh repulsion against the Georgian style as simply
a semi-avant-garde style which retained its original nature of the French symboliste poetry, that is elitist, theoretical and obscurant. It is these foreign characteristics that are aesthetically incompatible with the British literary trend whatever it is, which has never been colonised by modernism.
2) The strength of the Georgian sensibility has been preserved by the war poets such as Owen, Sassoon, Edward Thomas, Ivor Gurney and Edmund Blunden. Their poetic insight, although they spoke in the extreme situation of trench warfare and death, unfalteringly reflect such Georgian sentiments as nature, life, memory and experience with ordinary poetic rhythm. It remained as the vernacular poetic sensibility throughout the modernist showing off of human predicaments with its extremely elitist sensibility.
3) The artistic relationship between Graves and Riding involves complex nature of the influencer and the influenced since Graves develops his own poetic quality notwithstanding his recognition of being Riding's prot_g_ through his artistic experience with her. Graves's reintegration of his poetic identity in post Riding period was an artistic necessity.
4) Aesthetic and stylistic characteristics of Graves's poetry remained intact despite their long collaboration period and isolated poetic ambience. Graves's poetic liberation from the impact of modernist Riding coincides with his acute awareness that his intrinsic quality belongs to the traditional sensibility of British poetry.
(4) グレイヴス文学の審美的文体的特徴は究極的にライディングのモダニスティックな影響を受け入れるものではなく、共同文学活動中断以降のグレイヴス詩作はグレイヴス本来の詩的主体性の確立を示すことを明らかにした。最終的にはグレイヴズ/ライディングの文学的状況が、近代イギリス文学における伝統主義とモダニズムの不調和を示唆する事例であること証明した。 Less
Research Output (9results)