FUKUDA Kousuke SHIRAYURI COLLEGE, LECTURER, 文学部, 専任講師 (30292741)
NAKAJI Yoshikazu GRADUATE SCHOOL OF HUMANITIES AND SOCIOLOGY, THE UNIVERSITY OF TOKYO, PROFESSOR, 大学院・人文社会系研究科, 教授 (50188942)
TAMURA Takeshi GRADUATE SCHOOL OF HUMANITIES AND SOCIOLOGY, THE UNIVERSITY OF TOKYO, PROFESSOR, 大学院・人文社会系研究科, 教授 (90011379)
|Budget Amount *help
¥3,300,000 (Direct Cost : ¥3,300,000)
Fiscal Year 1999 : ¥900,000 (Direct Cost : ¥900,000)
Fiscal Year 1998 : ¥2,400,000 (Direct Cost : ¥2,400,000)
It has been repeatedly argued that dream is one of the main sources of literary creation in post-romantic France. Various studies, especially those resorting to the methods of mythology, phenomenology or psychanalysis, continue to provide tools for reading the enormous corpus of writings regarding to dream.
Nevertheless, it seems that the methods attempted so far failed to explain thoroughly the reason why the dream remains an important source of creation even today, as prove authors like Michel Butor or Georges Perec. For, dream is far from being a phenomenon that promises an original production, it is rather a world haunted by incredible commonplace. However dear it is to the person who dreams, dream story can so easily be classified into categories, that it seem not to be efficient wherever occurs a creation. The fact that many writers and poets insist on the phenomenon of dream despite this apparent sterlility comes, it seems, from their intuition which recognizes some force in relation to the act of writing in it. The dream remains a previleged theme because it is a source of authentic imagination which invents a new form....
Our research attempts to relate the dream with the force which produces texts and to examinate how it functions as creative method. Four authors, Nerval, Lautreamont, Mauriac, Valery, are studied respectedly, especially with the view of pointing out the awareness in their work, sustaining full tension between dream and awakening.