Symbolist Art and French Society from Fin-de-siecle to Belle Epoque

本研究最重要的目的是综合地、多角度地重新审视象征主义运动，而不是偏见地认为象征主义只属于诗歌或美术。这就是为什么我们试图在许多艺术领域，如罗马，音乐，电影中找到象征主义的影响。在四年的时间里（从1993年到1997年），我们每两周召开一次会议，并将最终结果出版为《象征主义的光与影》（Minerva-Shobo, 1997）。在第一章中，我们研究了象征主义在绘画（莫罗、德拉克洛瓦、高更等）、音乐（德彪西等）和电影（费里尼）中的运用。第二章以魏尔伦、劳特雷蒙、勒纳尔、克劳德尔、帕斯科利等诗人为研究对象，考察其对这一时期几乎所有文学现象的各种影响。在第三章中，我们试图在罗马书中找到象征主义的痕迹。这一观点至今被完全忽视了。第四章将象征主义置于思想史的语境中，研究其与费内翁的无政府主义以及哈特曼、亥姆霍兹、列维等人思想的关系。此外，通过对费诺罗萨汉字思想的考察，我们在浮雕中找到了东方的象征主义呼应。最后，在《混沌五》中，对象征主义所带来的文学手法进行了思考。我们特别讨论了杜雅尔丹的内心独白，嵌套的盒子技术，以及通常被认为难以理解的象征主义诗歌的解释。从这五个角度出发，我们不再将象征主义局限在一个特定的艺术领域，而是在更广阔的视野中重新审视象征主义。在接下来的研究中，我们将探讨从20世纪10年代到30年代的前卫艺术。

The most important purpose of this study was to reconsider the symbolism movement synthetically and from various points of view, without the prejudice that the symbolism belonged only to the poetry or the fine art. This is why we tried to find symbolist influences in many art domains such as roman, music, movies. During four years (from 1993 to 1997), we held the meeting every two weeks, and we published the ultimate result as Light and Shadow of Symbolism (Minerva-Shobo, 1997). In the first chapter, we study the symbolism appeared in pictures (Moreau, Delacroix, Gauguin, etc.), music (Debussy, etc.) and movies (Fellini). In the chapter II,we examine its various influences on the almost all literary phenomena of the period, taking as objects of the study poets such as Verlaine, Lautreamont, Renard, Claudel, Pascoli, etc. In the chapter III,we try to find symbolist traces in romans. This viewpoint has been completely neglected till now. In the chapter IV,we put the symbolism in the context of the history of ideas, studying its relationships with Feneon's anarchism and the thoughts of Hartmann, Helmholtz, Levi, etc. In addition, by examining Fenollosa's thought on Chinese characters, we brought out in relief a symbolist echo in the Orient. Finally, in the chaoter V,the literary technics the symbolism has brought are taken in consideration. We treat especially the interior monologue of Dujardin, the technic of nested boxes, and the interpretation of symbolism poetry which is generally considered difficult to understand. From these five point of view, we reexamined the symbolism in a more widened field of view without limiting it in a particular domain of arts. In the next study, we will approach to the avant-garde art from 1910's to 1930's.