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The development of the argumentation on the woman and the transition of its literary images in the modern Germany.

近代德国女性论说的发展及其文学形象的变迁.

基本信息

批准号：
02301066
负责人：
SHIBATA Sho
金额：
$ 4.99万
依托单位：
University of Tokyo
依托单位国家：
日本
项目类别：
Grant-in-Aid for Co-operative Research (A)
财政年份：
1990
资助国家：
日本
起止时间：
1990 至 1991
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-02301066/
关键词：
the German literature the argumentation on the woman the literary images of the woman male-centric principle 女性論・女性像寓意(アレゴリ-)象徴(シンボル)近代イデオロギ-ロマン派母権モ-ド文学

项目摘要

Although the equality of the human species was the slogan of modern European ideas, the male-centric principle as a device of oppression continued to operate and it has been forcing the female sex to endure the position of the weak in social and cultural domains. On the other hand modern literature and arts, which were also supported by the majority of men, continued to describe the woman as an aesthetic image and to idealize it. If we focus on the "aesthetic image of the woman", it becomes impossible to overlook this double-sided contradiction. An erotic desire which the system of male-centric principle cherishes lies in the base of the consciousness of expression that bore aesthetic images of the woman, and we can recognize a Utopistic intention or hope in this desire. But it can be called a Utopianism, only because the male-centric principle, which aims for self-justification and self-preservation, was seeking the complete self-realization and salvation of itself. The aesthetic image of the woman should be put into this Utopistic order as the "accepter". The rebellion of modernism meant not only the destruction of this image but also the transition to the consciousness of the beauty of the expressive medium. Even at this moment, however, the criticism of the male-centric principle has not begun, which determines the criteria of beauty. The current general reconsideration of male-centric culture made this criticism possible for the first time.If we decode the images of women in modern German literature in the relationship with the argumentation on the woman, we obtain the new perspective to elucidate the mechanism of historical conversion of the social structure and that of aesthetic consciousness.

虽然人类平等是现代欧洲思想的口号，但作为压迫手段的男性中心原则继续运作，迫使女性在社会和文化领域忍受弱者的地位。另一方面，同样得到男性多数支持的现代文艺，却继续将女性作为审美形象来描写，并将其理想化，如果只关注“女性的审美形象”，就不可能忽视这一双面矛盾。男权中心主义体系所珍视的一种情欲，是以承载女性审美形象的表现意识为基础的，我们可以在这种情欲中看到一种乌托邦的意向或希望。但之所以称之为乌托邦，是因为以自我辩护和自我保护为目的的男性中心原则，是在寻求自我的彻底实现和救赎。女性的审美形象应该作为“接受者”被置于这种乌托邦秩序中。现代主义的反叛不仅意味着对这一形象的破坏，而且意味着向表达媒介之美的意识的过渡。然而，即使在这个时刻，对男性中心原则的批评也没有开始，这决定了美的标准。当前对男性中心文化的普遍反思使这一批评第一次成为可能，如果我们把德国现代文学中的女性形象与关于女性的论述联系起来进行解读，就可以获得阐释社会结构历史转换机制和审美意识历史转换机制的新视角。

项目成果

期刊论文数量（75）

专著数量（0）

科研奖励数量（0）

会议论文数量（0）

专利数量（0）

柴田翔: "快楽の近世と勤勉の近代ーゲ-テ一考" 学鐙. 88. 8-11 (1991)

Sho Shibata：“早期现代快乐和现代努力工作游戏的研究”Gakusuji。88. 8-11 (1991)

DOI：
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0
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通讯作者：

(共著)池内紀: "ドイツ文学を学ぶために" 世界思想社, 280 (1991)

（合著者）池内纪：《学习德国文学》Sekai Shisosha，280（1991）

DOI：
发表时间：
期刊：
影响因子：
0
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通讯作者：

(共著)Miho Matsunaga: "Was wir gemeinsam haben… In:Franen in der Literaturwissenschaft(書名)" Literaturwissenschaftliches Seminar der Universitat Hambung., (1992)

（合著者）Miho Matsunaga：“Was wir gemeinsam haben…In：Franen in der Literaturwissenschaft（书名）”Literaturwissenschaftliches Seminar der Universitat Hambung.，（1992）