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Studies on the concrete motifs of masks, puppets and doublesin French fantastic literature

法国奇幻文学中面具、木偶、替身的具体母题研究

基本信息

批准号：
60301064
负责人：
SHINODA Chiwaki
金额：
$ 3.46万
依托单位：
NAGOYA UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Co-operative Research (A)
财政年份：
1985
资助国家：
日本
起止时间：
1985 至 1987
项目状态：
已结题

项目摘要

In these studies on fantastic lierature, we aim to find a rational definition of the genre. We therefore deemed it necessary to incorporate non literary angles as diverse as possible: music, fine arts, apiritualism, sociology, etc. Our literary approach itself includes the pre- and para-fantastic corpus, i.e. the "merveilleux", be it written or oral, learned or popular.In order to manage this vast corpus, we resorted to this initial, classic criterium: "the intrusion of the supernatural in daily life". However, rather than ill-defined abstract notions, we have priviledged concrete motifs such as masks, puppets, and double images; Whenever a text presents no realistic description involving one of the afore-mentionned motifs, we consider it non fantastic. We believe that mere metaphysical and abstract reveries are not capable of shcoking society.As for fantastic characters, we looked for modern emissaries of Evil in all guises. They may be musicians swayed by the Dark Side; or labyrinthine urban setting permeated with the spirits of evil. We have even spotted such grimacing spirits lurking in the corners of paintings by Monet and Cezanne. We have been able to establish a list (as exhaustive as could be) of the texts in which a latent presence of Evil can be detected.In most cases, the author strives to describe the strangeness of the human being suffering from the cleavage of the self. Alle men are puppets in teh hands of Fate; but, modern men having done away with the Supreme Being, we do not feel "guides par les haleurs", but make-shift gods, mimicking reflexions of ourselves.

在这些关于奇幻小说的研究中，我们的目标是找到对这一体裁的合理定义。因此，我们认为有必要将非文学角度尽可能多样化地纳入其中：音乐、美术、唯物主义、社会学等。我们的文学方法本身包括前幻想语料库和半幻想语料库，即“merveilleux”，无论是书面的还是口头的，学术的还是流行的。为了管理这个庞大的语料库，我们求助于这个最初的、经典的标准：“超自然事物在日常生活中的侵入”。然而，与定义模糊的抽象概念不同，我们使用了具体的主题，如面具、木偶和双重形象；当一篇文章没有提出涉及上述主题之一的现实描述时，我们认为它不是奇幻的。我们认为，单纯的形而上学和抽象的幻想不能破坏社会。至于神奇的人物，我们寻找各种伪装的现代邪恶使者。他们可能是被黑暗面左右的音乐家，也可能是错综复杂的城市环境，充满了邪恶的灵魂。我们甚至在莫奈和塞尚的画作中发现了潜伏在角落里的这种鬼魂。我们已经能够建立一个文本列表(尽可能详尽地)，在其中可以检测到潜在的邪恶的存在。在大多数情况下，作者努力描述遭受自我分裂的人类的陌生性。所有的人都是命运手中的傀儡；但是，现代人已经抛弃了至高无上的存在，我们不觉得自己是“指导者”，而是临时改变的神，模仿我们自己的反映。