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研究発表 シュルリアリズムの絵を先取りした朔太郎の詩
https://doi.org/10.24619/00002116
https://doi.org/10.24619/00002116009083a9-93c1-473f-964b-c9cbfe6a2aa1
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 シュルリアリズムの絵を先取りした朔太郎の詩 (11.8 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-09-01 | |||||
| タイトル | ||||||
| タイトル | 研究発表 シュルリアリズムの絵を先取りした朔太郎の詩 | |||||
| タイトル | ||||||
| タイトル | Hagiwara Sakutarō and Surrealist Paintings | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00002116 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
月村, 麗子
× 月村, 麗子× TSUKIMURA, Reiko |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | The poetry of Hagiwara Sakutaro suggests some of Surrealist paintings. The title image of a baying dog of Hagiwara's epoch-making book, The Howling at the Moon (1917), anticipated Joan Miro's Dog Barking at the Moon (1926). This correspondence indicates that both the poet and the painter used Surrealistically the canine image to express their concept of the creative process: aspiration for and discovery of the unseen reality hidden in the actual world. "A Murder Case" (1914) of Hagiwara and Threatened Assasin (c.1926- 27) of Rene Magritte, both influenced by popular detective films in the 1910s and 1920s, are metaphorically violent variations of the works dealing with a dog howling at the moon. Furthermore, the remaining comparisons this study offers show Hagiwara's and Magritte's ironical meditations of the barren existence of modern man. Here again the Japanese poet's "From Within the Shell of a Landscape "(1923) and "To Fire a Cannon", Published in (1923), preceeds Magritte's The Song of Love (1948) and The Old Gunner (1947). Hagiwara's remarks dating from his formative years , 1914-15, suggest that the role of the unconscious in the creative process is a common ground where Hagiwara and Surrealists meet, though he did not formulate it into a theory of Surrealism. Thus, the Surrealistic feature in Hagiwara can be regarded as an accidental product of both his diverse and keen interest in western cultures and of his passionate and deeply solitary search for a style expressing his jikkan (true feeling), but not of such well-defined systematic activities as in the Surrealist movement in which both Miro and Magritte took part. Despite these differences, the remarkable parallels presented here allow us to place Hagiwara in the international arena of avant-garde art and literature as a major poet of our times whose appeal goes beyond national boundaries. |
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| 書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 11, p. 87-102, 発行日 1988-03-01 |
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| 出版者 | ||||||
| 出版者 | 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
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Cite as
月村, 麗子, TSUKIMURA, Reiko, 1988, Hagiwara Sakutarō and Surrealist Paintings: 国文学研究資料館, 87–102 p.
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