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Study on the Plasticity and Transfiguration of Aesop's Fables from the viewpoint of the illustration's Deviation

从插图偏差看伊索寓言的可塑性与变形性

基本信息

批准号：
13610058
负责人：
HIGUCHI Keiko
金额：
$ 0.9万
依托单位：
Daito Bunka University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2001
资助国家：
日本
起止时间：
2001 至 2002
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-13610058/
关键词：
fable illustration Aesop animal

项目摘要

Among various illustrations for Aesop's Fables, we can see some interesting examples like Grenier's <Ant and Cricket> in 1842, illustrated for < Fables> de La Fontaine, where in stead of insects two women are taken place in the seen. This kind of idea, not the image of animals but of the human being are represented, makes reader embarrassed, because in Fables in principle animal behaves as protagonist and under this convention, we understand an allegories that the fable signifies. Grenier's way of illustrate, all the better, deceives the strategy of the Fable and in consequence adduces the rhetorical structure. This way of transfiguration isn't his own patent or other illustrators in 19c in France such as Grandville, Monnier ,etc. We can indicate good examples even in Japan like in <Manji ban Isoho Monogatari> in 17c., without any correlation with such French illustrators, of course. This style of illustration, replacement man for animal, is related the essence of Fable structure. We c … More all sometimes the Fables <Masques>. We can therefore tell that such illustrations only throw off their disguise, and that the illustrators lend a hand to take off the masque and decorticate the personality. The fact is more than that Here the fundamental structure is conceived: that is affinity of Fable with Theater, especially with Comedy. In Fable, the personality should be looked through their guise to show what the fable teils. The strategy of illustration, intentionally displacement of the image of human being, reveals the Fable structure and chisels the type of personality. It makes much more clearer the relative situation of Reader, Narrator and Character, and brings us the idea of Fable as Irony as well.In this study, investigating H.Taine, A-M. Bassy, G.Couton. A.Thilly, and analyzing individual illustration's style by means of PC, I conclude that the meaning of illustration not only as a complement to text, but also the messenger of the idea of Fable-rhetoric as Theater without fail. Less

在《伊索寓言》的各种插图中，我们可以看到一些有趣的例子，如<Ant and Cricket>1842年格雷尼尔为< Fables>德拉方丹所作的插图，其中两个女人代替昆虫出现在画中。这种想法，而不是动物的形象，但人的代表，使读者尴尬，因为在寓言中，原则上动物作为主角，在这种惯例下，我们理解寓言所意味的寓言。格雷尼尔的说明方式，更好地，欺骗了寓言的策略，结果引用了修辞结构。这种变形的方式并不是他自己的专利，也不是19世纪法国的其他插图，如Grandville，Monnier等，我们甚至可以在日本指出好的例子，如<Manji ban Isoho Monogatari>17世纪，当然，这与法国的插图没有任何关系。这种以人代兽的插图风格与寓言结构的本质有关。We C ...更多信息有时候都是寓言<Masques>。因此，我们可以说，这样的插图只是摆脱了他们的伪装，插图画家伸出了一只手，摘下了面具，剥去了人格的外衣。事实是不止于此，这里的基本结构设想：这是寓言与戏剧，特别是与喜剧的亲和力。在寓言中，人格应该透过他们的伪装来展示寓言的意义。通过对人物形象的有意置换，揭示了寓言的结构，塑造了人物的类型。它使读者、叙述者和人物的相对地位更加清晰，也使我们产生了寓言即反讽的观念。巴斯，G.库顿。通过对《寓言修辞》中插图的分析，并运用PC分析方法对插图的风格进行分析，得出插图的意义不仅是对文本的补充，而且是寓言修辞作为戏剧的传达者。少