3 0 0 0 OA 越境と変容―グローバル化時代におけるスラヴ・ユーラシア研究の超域的枠組みを求めて
- 著者
- 沼野 充義 三谷 惠子 松里 公孝 柳原 孝敦 青島 陽子 小松 久男 乗松 亨平 楯岡 求美 井上 まどか 亀田 真澄 下斗米 伸夫 坂庭 淳史 池田 嘉郎 湯浅 剛 阿部 賢一 安達 祐子 加藤 有子 平野 恵美子 羽場 久美子 柴田 元幸
- 出版者
- 東京大学
- 雑誌
- 基盤研究(A)
- 巻号頁・発行日
- 2013-04-01
ソ連解体後のスラヴ・ユーラシアの変容と越境の様々な様相に焦点を合わせた包括的な研究である。グローバル化時代の世界情勢を考慮に入れ、新たな研究の枠組みの構築を目指した。代表者および19名の分担者の専門は、地域的にはロシア、ウクライナ・コーカサス・中央アジア、中・東欧から、東アジアや南北アメリカに及び、分野も文学・言語・芸術・思想・宗教・歴史から政治・経済・国際関係に至るまで人文社会科学全体にわたる。このようなグループによる超域的・学際的アプローチを通じて、国際学会の組織に積極的に関わり、日本のスラヴ・ユーラシア研究の国際的発信力を高めるとともに、この分野における国際交流の活性化に努めた。
- 著者
- 加藤 有子
- 出版者
- ロシア・東欧学会
- 雑誌
- ロシア・東欧研究 (ISSN:13486497)
- 巻号頁・発行日
- vol.2018, no.47, pp.35-53, 2018 (Released:2019-10-08)
- 参考文献数
- 48
In the interwar period, after the end of the partition, Polish literature was finally freed from national themes, and writers could focus more on language. Moreover, languages of the newly independent nations became national languages of their respective countries. Based on the understanding that artistic and social interest in languages increased during this period, this paper explores the concept of a new language in the futurist manifests (1921) and the novel I Burn Paris (1928), both written by Bruno Jasieński. My aim is to present I Burn Paris—regarded as a communist ideological novel—as a work featuring issues related to language, and to show Jasieński’s consequent longing for a new universal language.First, I discuss the recreation of the traditional Polish messianism (i.e., the suffering Poland would be reborn to save the world) by Jasieński, in one of his futurist manifests: “To the Polish Nation. Manifest of Immediate Futurization of Life” (1921). Jasieński rewrote the messianism as a socialist one, according to which the new Poland would reform the old capitalist Europe. This idea of a new world recurs in I Burn Paris as the concept of a new common language.Second, based on archival research, I show I Burn Paris was simultaneously translated into many languages and went through many printings, through that its different versions circulated. This research also shows the role of the international communist network in circulating literary works. Thanks to the network, East European writers writing in minor languages could join the modernist movement centered in big cities in Western Europe or in Russia. This was true also for the writers writing in Yiddish, a diaspora language. Considering these two diasporic networks, I propose to reconsider the West-Eurocentric map of 20th century modernism.Third, I present an unknown version of I Burn Paris with an alternative ending to the standard Polish version. My archival research shows that this version was circulated in Russian by 1934, when the socialist realist version revised by Jasieński was issued. The alternative ending is set two years after the ending of the standard version and mentions that the global revolution has already been accomplished. The novel’s reception by the Polish community in the USSR suggests that the ending was added to the Russian version to protect Jasieński from the expected criticism for the initial ideologically weak ending and the lack of depiction of class struggles. Further, I suggest that Jasieński wrote the alternative ending because it involves a longing for a new common language, which was his ultimate concern in his 1921 futurism manifest to the 1930 article written in Moscow. Jasieński believed that a new world should have a new common language, understandable by everyone and which, in turn, would create a new society.The repeated rewriting hints at Jasieński’s opportunism, but in fact, it was a result of his view on artistic creation. “Every movement ends with its manifest.” He viewed a novel as a performative “manifest,” which he had to ceaselessly overcome to create new one.
- 著者
- 加藤 有子
- 出版者
- 北海道大学スラブ研究センター
- 雑誌
- スラヴ研究 (ISSN:05626579)
- 巻号頁・発行日
- vol.57, pp.1-25, 2010
This paper attempts to demonstrate Bruno Schulz (1892-1942)'s, a Polish writer and artist, specific view of a book as the topos integrating image and text, by discussing Schulz's illustrations in Sanatorium under the Sign of the Hourglass (1937) and the cliché-verre series titled The Idolatrous Book (1920-22, 1924). The discussions of Schulz's works have generally centered on his prose and developed separately in the fields of art and literary criticism. By focusing on the forgotten fact that he felt great interest in illustrating books, this paper reconsiders Schulz's two books in the triangular relationship between image, text, and book. The first chapter examines Schulz's 33 illustrations in his Sanatorium as elements of the book pages. Most of Schulz's illustrations are realistic visualizations of the characters' described actions and settings, with the exception of three illustrations in the stories "Edzio" and "Father's Last Escape." These three illustrations that have no literal relationships to the text depict the plots or action symbolically or structurally. Examples of the latter are the two illustrations in "Edzio." As a pair, they visually represent a metaphysical view on the "story/history [historia]" described in the text. These two integrate with the text more deeply than the others. The next chapter reconsiders The Idolatrous Book as a book consisting of only images. Particular attention is paid to the technique of cliché-verre, which is a combination of photography and engraving. If we consider that the ancient books were "engraved" on wax, clay, or stone plates, Schulz's act of creating the cliché-verre images is, in effect, an act of simultaneous writing and drawing. Schulz's two books -- Sanatorium and The Idolatrous Book -- are therefore not mere verbal or visual arts; they transcend the traditional dichotomy of words versus images. This chapter also points out reproducibility as another distinctive aspect of the cliché-verre. Schulz, as if defying this characteristic, made every set of The Idolatrous Book different. He gave each set different title pages with different images and set numbers. Moreover, each set is unbound, which makes it possible to change the order of pictures or even change the very pictures included. By accumulating only variations, Schulz erases the difference between the concepts of "original" and "copy." Each set stands alone as a unique work of art. The third chapter demonstrates that "book," as an integration of image and text, is presented in Schulz's short stories as "The Book," which is in fact fragments of illustrated journals and a stamp album. Furthermore, the narrator and his Father Jakub always drew images on paper with words -- on books or journals -- supporting the view that Schulz deemed words and images equal elements of works of art. This chapter also notes that Schulz's books -- Sanatorium, illustrated by him, and The Idolatrous Book, "The Book" in his short stories -- exhibit the characteristics of the literary concept of "liberature" proposed by Fajfer (1999) for books integrating text and all the physical elements of the book as an organically complete literary work. Overall, the discussion explains why "book" is a recurring subject of Schulz's works. A book is a space where Schulz can realize his artistic visions as an author-cum-artist, blurring the boundary between the verbal and the visual in his works.
2 0 0 0 OA 東欧文学における「東」のイメージに関する研究
国民文学の枠組みでの研究、あるいは同様な枠組み同士の比較検討がこれまで主流であったが、本研究はそのような国民文学の枠組みから逸脱する3つの視点(「移動の文学」、「文学史の書き換え」、「ミクロ・ネーションの文学」)に着目し、個別の現地調査の他、国内外の研究者とともに研究会、シンポジウムを開催した。その結果、3つの視点の有効性を確認できたほか、シェンゲン以降の移動の問題(政治学)、国民文学史の位相(歴史学)、マイノリティの記述の問題(文化研究)といったそのほかの問題系およびほかの研究分野と隣接している問題点や研究の可能性を国内外の研究者と共有し、一定の成果をあげた。
2 0 0 0 OA 物語/歴史の操作 : ジョナサン・サフラン・フォアの小説の視覚的要素
2 0 0 0 OA 「〓」と「〓」 : 人麻呂七夕歌の一用字と黄帝神話
- 著者
- 加藤 有子
- 出版者
- 大東文化大学
- 雑誌
- 日本文学研究 (ISSN:03862070)
- 巻号頁・発行日
- vol.42, pp.9-22, 2003-02-25
1 0 0 0 OA ロシア・東欧における人と生活,境界線
- 著者
- 加藤 有子
- 出版者
- ロシア・東欧学会
- 雑誌
- ロシア・東欧研究 (ISSN:13486497)
- 巻号頁・発行日
- vol.2018, no.47, pp.35-53, 2018
<p>In the interwar period, after the end of the partition, Polish literature was finally freed from national themes, and writers could focus more on language. Moreover, languages of the newly independent nations became national languages of their respective countries. Based on the understanding that artistic and social interest in languages increased during this period, this paper explores the concept of a new language in the futurist manifests (1921) and the novel <i>I Burn Paris</i> (1928), both written by Bruno Jasieński. My aim is to present <i>I Burn Paris</i>—regarded as a communist ideological novel—as a work featuring issues related to language, and to show Jasieński's consequent longing for a new universal language.</p><p>First, I discuss the recreation of the traditional Polish messianism (i.e., the suffering Poland would be reborn to save the world) by Jasieński, in one of his futurist manifests: "To the Polish Nation. Manifest of Immediate Futurization of Life" (1921). Jasieński rewrote the messianism as a socialist one, according to which the new Poland would reform the old capitalist Europe. This idea of a new world recurs in <i>I Burn Paris</i> as the concept of a new common language.</p><p>Second, based on archival research, I show <i>I Burn Paris</i> was simultaneously translated into many languages and went through many printings, through that its different versions circulated. This research also shows the role of the international communist network in circulating literary works. Thanks to the network, East European writers writing in minor languages could join the modernist movement centered in big cities in Western Europe or in Russia. This was true also for the writers writing in Yiddish, a diaspora language. Considering these two diasporic networks, I propose to reconsider the West-Eurocentric map of 20th century modernism.</p><p>Third, I present an unknown version of <i>I Burn Paris</i> with an alternative ending to the standard Polish version. My archival research shows that this version was circulated in Russian by 1934, when the socialist realist version revised by Jasieński was issued. The alternative ending is set two years after the ending of the standard version and mentions that the global revolution has already been accomplished. The novel's reception by the Polish community in the USSR suggests that the ending was added to the Russian version to protect Jasieński from the expected criticism for the initial ideologically weak ending and the lack of depiction of class struggles. Further, I suggest that Jasieński wrote the alternative ending because it involves a longing for a new common language, which was his ultimate concern in his 1921 futurism manifest to the 1930 article written in Moscow. Jasieński believed that a new world should have a new common language, understandable by everyone and which, in turn, would create a new society.</p><p>The repeated rewriting hints at Jasieński's opportunism, but in fact, it was a result of his view on artistic creation. "Every movement ends with its manifest." He viewed a novel as a performative "manifest," which he had to ceaselessly overcome to create new one.</p>
1 0 0 0 OA 物語/歴史の操作 : ジョナサン・サフラン・フォアの小説の視覚的要素
- 著者
- 加藤 有子
- 出版者
- 現代文芸論研究室
- 雑誌
- れにくさ : 現代文芸論研究室論集
- 巻号頁・発行日
- vol.3, pp.226-242, 2012-03-30
This paper explores how Jonathan Safran Foer (b.1977) manipulates the visual and material elements of a book, focusing on the endings of his three books, Everything is Illuminated (2002), Extremely Loud & Incredibly Close (2005) and Tree of Codes (2010). By analyzing each ending as a representation of trauma suffered by survivors of the Holocaust and September 11, and as an allusion to the process of conquering this trauma and thereby living on "after" the event, this paper shows how Foer, using the visual elements of his books, demonstrates that the seemingly objective "history" is also a narrative from someone's viewpoint, and has been inevitably modified by deletion or abbreviation when being narrated. His works expand on the concept of "liberature" -- a new literary genre integrating the text and form of a book, proposed by Polish critics Fajfer and Bazarnik -- by demonstrating that such works make visible the manipulation that normally occurs in the narratives / histories we read and narrate. Firstly, comparing the endings of Tree of Codes, a die-cut book based on The Street of Crocodiles of Bruno Schulz, and Everything is Illuminated, this paper points out the common theme between the two, which differs completely in style and form. Both works, by using visual and physical elements of a book, represent the difficulty faced by survivors of the Holocaust and World War II when narrating their personal experiences of these traumatic events as an "I" story / history. Both works reflect popular discussions on memories of the Holocaust in the years 1980-1990, when Foer should have been receiving higher education. Further, this paper analyzes the ending of Extremely Loud & Incredibly Close, which ends with 15 continuous pictures, but in reverse, of a man falling from the World Trade Center on 09.11.2001. Compared with the poem by Wisława Szymborska (1923-2012), "Photograph of September 11" (2002), the ending turns out to symbolize the expectation that the narrator-protagonist will start to re-narrate the event from his personal viewpoint with his own words. The ending is not a visualization of repression of a traumatic event, but liberation from the collective and representative narratives on the event. This paper finally reminds the reader of a similar "manipulation" in a press release announced on the official home page of the Yad Vashem about the removal of the fragments of wall paintings of Bruno Schulz that were discovered in 2001 by the German film maker Geissler in Drohobycz (now in Ukraine), the hometown of Schulz.
This is a translation of Debora Vogel's short story "Acacias Blooming." It is one of the short stories from her collection, Acacias Blooming: Montages, which was first published in Yiddish in 1935, and translated by the author into Polish in the following year. Vogel has long been known as correspondant of Bruno Schulz -- a Polish writer and artist in the interwar period -- and it was from their letters, that Schulz's Cinnamon Shops (1933) grew. However, Vogel herself was a Yiddish and Polish poet, writer, and art critic who published her texts not only in Poland, but also in New York. Born in the Eastern Galicia around 1900 into an intellectual family that adopted Haskalah, Vogel grew up speaking Polish and German, but not Yiddish. In the 1920s, she learned Yiddish of her own accord and chose to write in the language. With her Lvovian Jewish colleagues, she was actively engaged in stimulating the Yiddish literary scene in Galicia, and popularizing the Western modernistic movement in early 20th century art. In the story "Acacias Blooming," objects and scenes from daily life are depicted through their colors, geometric shapes, and the feelings they evoke. This work employs, in literature, the dramatically changed perspective of contemporary art toward objects. Furthermore, the story reflects the concerns of leftist artists in the 1930s with regard to the 'literature of the fact.'Vogel's stories are an interesting example of avant-garde art in Lvov, which has thus far been overlooked in studies on the European avant-garde movement. The illustrations are taken from the Polish original of Acacias Blooming (1936), and were made by Vogel's friend Henryk Streng (Marek Włodarski).翻訳
1 0 0 0 IR 唐の公主と『懐風藻』 (小林敏男教授退任記念号)
- 著者
- 加藤 有子
- 出版者
- 大東文化大学日本文学会
- 雑誌
- 日本文学研究 (ISSN:03862070)
- 巻号頁・発行日
- no.54, pp.22-34, 2015-02