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

本研究的最重要的目的是从多角度综合地重新审视象征主义运动，而不是把象征主义仅仅局限于诗歌或美术，这也是为什么我们试图在许多艺术领域，如罗马、音乐、电影中寻找象征主义的影响。在1993年至1997年的四年中，我们每两周举行一次会议，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，我们研究了出现在图画中的象征主义（莫罗、德拉克洛瓦、高更等），音乐（德彪西等）费里尼（Fellini）第二章以魏尔伦、洛特雷阿蒙、勒纳尔、克劳岱尔、帕斯科里等诗人为研究对象，考察了象征主义对这一时期几乎所有文学现象的影响。第三章试图在罗马人身上找到象征主义的痕迹。这一观点至今被完全忽视。第四章将象征主义置于思想史的语境中，考察它与费尼翁的无政府主义以及哈特曼、亥姆霍兹、列维等的思想之间的关系。此外，通过考察费诺洛萨的汉字思想，我们可以清晰地看到象征主义在东方的回声。最后，在混乱的V中，象征主义带来的文学技巧被考虑在内。我们特别对待杜雅尔丹的内心独白，嵌套盒子的技术，以及象征主义诗歌的解释，这通常被认为是难以理解的。从这五个角度出发，我们在一个更广阔的视野中重新审视了象征主义，而不是把它局限在一个特定的艺术领域。在接下来的研究中，我们将探讨1910 - 30年代的先锋艺术。

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.