"Paris Photography" and Literature in the 20th Century : Language, Images, and Representations of the "Paris Myth"

三年的研究按计划进行，研究结果于2003年6月10日由白杉出版社出版，共630页。[LMAHASHI, Eiko：“巴黎摄影”与20世纪白穗社，2003]这本书是这个项目资助成果的总结。它包含了以文章形式出现的材料，由14章组成，分为三个部分，所有的发现都是通过这项资助可能的。结果包括以下关键点。[1]将介于纪实摄影与艺术之间的巴黎市景摄影确定为“巴黎摄影”，并在世界上首次对其从19世纪末到20世纪末的演变进行了详细的追溯。[2]这证明“巴黎摄影”除了与文学有着密切的联系外，还为探索语言和图像的相互联系的系统案例研究提供了重要的材料……更多。[3]绝大多数“巴黎摄影”的倡导者都是外国人，尤其是来自中欧。介绍了来自匈牙利、罗马尼亚、立陶宛和荷兰等日本摄影学者不熟悉的国家的摄影师的作品，同时展示了这一作品直接有助于“跨文化理解”的事实。[4]过去的研究方法在历史和批评两种极端之间摇摆。本项目采用文化研究的方法，并将研究范围扩大到文学领域，为日本摄影学术研究提供了新的视角。[5]欧洲城市景观摄影研究的详尽参考书目汇编。十多年来，作者一直在探索“巴黎神话”。随着这本书的出版，这些发现现在形成了三部曲：渴望异国情调：巴黎和日本艺术家。1862-1930年[伊藤shohkei: Nihcnjin no Pari， Kashiwashobo 1993: Heibonsha 2001]；《贫穷与街道的诗学：20世纪30年代的巴黎与外国艺术家》（巴黎：《从新到新》，1930年）和《巴黎摄影与20世纪》（巴黎：《无精木》，白穗社2003年）。少

The three years spent on this study proceeded as planned, and thefindings were published by the Hakusuisha publishing company on the 10th of June, 2003, as a 630 page bock. [LMAHASHI, Eiko : "Paris Photograhy" and the 20th Century Hakusuisha, 2003] This book is the summation of the fruits of this project grant. It contains material that has appeared in article form, and consists of 14 chapters that have been divided into three parts, all findings having been node possible by this funding.esults include the following key points.1] Photographs of the cityscape of Paris that fall between the documentary photograph and art were identified as "Paris Photography", and its evolution from the end of the 19th century to the end of the 20th has been traced in detail for the first time in the world.2] The proof that "Paris Photography" provides important material for systematic case studies that explore the interconnections of language and image, in addition to possessing close ties to literature … More .3] The vast majority of the exponents of "Paris Photography" were foreign, particularly Central European in origin. The work of photographers who came from countries such as Hungary, Romania, Lithuania and the Netherlands - nationalities that Japanese photography scholars had not been familiar with - was intoduced, while demonstrating the fact that this body of work contributes directly to "inter-cultural understanding".4] Approaches in the past swung between the extremes of either history or criticism. This project has employed the methodologies of cultural studies, and broadened the scope to include fhe field of literature, providing a new perspective for Japanese scholarly studies of photography.5] The compilation of an exhaustive bibliography of studies on European photography of cityscapes. The author has continued to explore the "Paris Myth" for more than a decade.With the publication of this book, the findings now form a trilogy :Yearning for the Exotic : Paris and Japanese Artists. 1862-1930s [Ito shohkei : Nihcnjin no Pari, Kashiwashobo 1993 : Heibonsha 2001] ; Poetics of Poverty and the Streets : Paris and Foreign Artists in the1930s [Pari : Hinkon to Gairo no Shigaku-1930nendai Gaikokujin Gei jyutuka tachi, Toshi Syuppan 1998] and Paris Photography and the 20th Century [ Pari Shashin" no Seiki, Hakusuisha 2003] . Less