Influence of the Haiku on the French Modem Poetry

经过三年的研究，我们终于了解了俳句在法国现代诗歌中的影响，直到1970年，特别是诗人伊夫·邦尼福伊，菲利普·雅克特，安德烈·杜·布歇和雅克·杜邦。起初，“湮没”这个话题是本研究的中心。最初，我的研究是关于日本和法国诗歌中“抹去”这个话题的定义。这个话题其实并不存在于俳句的写作中，而是属于法国诗歌的现代美学。日本和法国诗人之间的比较显示了这种差异（“Etude comparative sur la notion du seuil”）。Bocho Yamamura和Rene Char”)。法国诗歌对俳句写作的理解更多是法国人接受的结果，而不是真正的日本俳句。1970年以前法国对俳句的接受及其演变这一主题在我的研究的第二部分进行了研究，并在东京的一次研讨会上结束。这次研讨会的结论表明，如果俳句最初的接受是一种简单的异国情调，那么在1950年左右，它变得更加复杂，并为法国诗歌领域开辟了一种新的语言方式，极简主义和与自然的接触成为现代诗歌的价值观。这个关于现代艺术中极简主义价值的话题是在法国（梅斯大学，2004年9月）的另一个研讨会上的主题，我在那里谈到了雅克·杜邦和他与日本俳句的关系。在这种情况下，极简主义更多的是一种原始能量的体验，而不是一种自我淡化的幻觉。第三年，对原始能量这一主题进行了更深入的思考，并与俳句建立了新的联系。我把这种联系称为“假释能量”。

After three years of research, we finished to understand the influence of haiku inside French Modern Poetry until 1970, in particular with the poets Yves Bonnefoy, Philippe Jaccottet', Andre du Bouchet and Jacques Dupin. At first, the topic of "effacement" was the center point of this research. Initially, my research was about the definition of this topic of "effacement" inside Japanese and French poetry. This topic doesn't really exist inside haiku's writing but belongs to the modern esthetic of French poetry. A comparison between Japanese and French poets show this difference ("Etude comparative sur la notion du seuil. Bocho Yamamura et Rene Char"). Understanding in French Poetry of haiku's writing is more the result of the French reception than of the real Japanese haiku. This topic of the reception of haiku and its evolution in France prior to 1970 was studied in the second part of my research and finished by a symposium in Tokyo. The conclusion of this symposium indicated that if haiku's reception was at first a simple exoticism, it became more complex around 1950 and opened the French poetry field to a new approach of language where minimalism and contact with nature became modern poetry values. This topic of values of minimalism in Modern Art was the topic of an another symposium in France (University of Metz, September 2004) where I spoke about Jacques Dupin and his relation with Japanese haiku. In that case, minimalism is more an experience of primitive energy than an illusion of self-effacement. The third year, this topic of primitive energy was more deeply thinking and established a new link with the haiku. I called this link the "parole-energie".