文献一覧: 宮澤淳一 (著者)

5 0 0 0 OA 「福音書」のメフィストフェレス : ブルガーコフ『巨匠とマルガリータ』にひそむもうひとりの悪魔

著者: 宮澤淳一
出版者: 日本ロシア文学会
雑誌: ロシア語ロシア文学研究 (ISSN:03873277)
巻号頁・発行日: no.23, pp.15-27, 1991-10-01

The Jerusalem section of The Master and Margarita (1929?-40) is a story of a man of agony, the cruel fifth Procurator of Judea, Pontius Pilate, who executed a vagrant philosopher, Yeshua Ha-Nozri, knowing his innocense. In this section, which is written as a historical novel independent of supernatural phenomena, there is an enigmatic figure who rules its world secretly: Afranius, the chief of the secret service to the Procurator. The enigma of Afranius lies in his false report to Pilate of the last moment of Yeshua on the cross: the chief didn't tell him the fact that Yeshua had accepted his atonement and died forgiving him for his conviction; on the contrary, he described Yeshua as if he had ridiculed Pilate and gave him the false words of the philosopher that "cowadice is one of the worst human sins." Having heard the report, Pilate became aware of his sin. so that he instigated the chief to assasinate the betrayer Judas of Karioth in revenge for Yeshua's death. In that sense, it was Afranius who kept Pilate on a string to let him do "evil" of the assasination. The figure of Pilate is not a typical Bulgakovian "coward" who often appears in the earlier novels of Bulgakov, such as the hero of The Red Crown (1992): Pilate is not a passive "coward" who finds no hope and is always in despair, but an active "coward" who tries to do anything, even "evil," to expiate one's sins like Frudov of The Flight (1925-8). At the end of the whole novel, Pilate is led to the world of "light or good" for his activeness. He stands in contrast to The Master of the Moscow section who is a typical passive "coward" so that he only has earned "rest". If we admit the systematical consistency of The Master and Margarita and analize the two "cowards" of the two sections in comparison, we must find out the figures who help the decision of their fates as well: in the Moscow section it is Woland, the Faustian devil, who leads The Master to the fate of "rest"; in the Jerusalem section the other who leads Pilate to the fate of "light"-must be Afranius! He is nothing but a Mephistophelian figure which is the "part of that power which eternally wills evil and eternally works good" (the epigraph from Faust). Thus, in The Master and Margarita there is not only a single Mephistopheles who controls the Moscow section and determine the fate of the hero, but also another Mephistopheles in the Jerusalem section to do the same work. Bulgakov has the device to give the function to the the devils to develop the both stories. His effort leads to the reconstruction of the whole novel as a newly organized evangel, "The Evangel by Bulgakov."

2022-03-27 22:14:17
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https://ci.nii.ac.jp/naid/110001249373

2 0 0 0 OA ブルガーコフ『巨匠とマルガリータ』における叙述のダイナミズム : 金曜日を越えて

著者: 宮澤淳一
出版者: 日本ロシア文学会
雑誌: ロシア語ロシア文学研究 (ISSN:03873277)
巻号頁・発行日: no.24, pp.25-41, 1992-10-01

The Master and Margarita(1928?-40)is a "double novel"which consists of two sections: the Moscow in 1920/30's infested by the devils, and the ancient Jerusalem describing the agony of Pontius Pilate. Inspite of its grand conception shouwing the reader a spectacular world, The Master and Margarita is nothing but a five- day short episode of Moscow in the twentieth century starting on a hot evening of Wednesday in May to end on the next Sunday morning. The secret of the dynamic development of the novel lies in the structural device to integrate the two worlds into a single noe. The structural analysis of The Master and Margarita should be focused on time rather than space. The comparative study of the two narratives (the Moscow section and the Jeusalem section) with the gospel narratives (John's Gospel and the Synoptics) concludes that the direct pretext for the Jerusalem section is John's Gospel, but that the Last Supper (Thursday evening) and the Ressurrection (sunday morning) have no correspondances in the Jerusalem section but do in the Moscow section : the black magic performance and the saving of the master and Pilate respectively. Both the Moscow section and the Jerusalem section, therefoe, depend on the gospel world for their pretext and they complement each other to reconstruct the story of Holy Week. The moment when the temporal dynamism of the Moscow and Jerusalem narratives appears is in the first three chapters, where the static parallelism of various settings and characters is obvious. As Andrew Barratt has argued, the chapters consist of the opposition of the"outsider"(Woland, Yeshua) versus the "representative of the status quo"(Berlioz, Pilate). In conversation the former challenges the conventional value and knowledge of the latter. At the point when the latter's mental condition reaches the limit of its endurance, the motif of flash (the detonation of the sun in Jerusalem, inducing the glimpse of the moon in Moscow) triggers the destruction of the spacial, static parallelism to change itself into the temporal, dynamic parallelism between the two sections. After that, the Moscow narrative leaves the Wednesday evening and progresses through Thursday towards Friday, where the Jerusalem time is stopped. Until the end of Book One (Chapter 18), the narrative goes its way on the several plots switching the scenes ingeniously. The reader, however, does not follow the narrative to the Friday unconsciously: he can recognize the temporal parallelism on the way. The first sentence of Chapter 17, which describes the day following the black magic evening, informs the reader that it is Friday. Considering that the previous chapter was the execution of Yeshua of"Good Friday "of the Jerusalem section, he predicts something important will happen on the Friday of Moscow, too. The information at the beginning of Chapter 18 that the funeral of Berlioz strts at 3.00 p.m. (the time of the Expiration) would support the reader's prediction. The reader, therefore, notices that both the Moscow time and the Jerusalem time extend afterward and beforeward corresponding each other with a fulcrum of the contacting Friday. He looks back the narratives before Friday and reads ahead through the Satan's ball to go beyond Friday expecting the organic development of the two sections. From the first chapter of Book Two, Chapter 19, the Moscow narrative progresses on a single plot featuring Margarita. In the same Chapter the Moscow time overtakes the Jerusalem time at the moment when Berlioz's funeral starts at 3.00p.m. After that, the Moscow time surpasses the Jerusalem time to reach Satan's Ball (Chapter 23) between Friday and Monday, which is the parody on the Passion. After the"evocation of the Master"(Chapter 24), the Jerusalem narrative revives as Margarita's reading process of the Master's novel, and concludes itself at the same time when she finishes reading through the novel at the dawn of Saturday in the both sections. The parallelism of th

2017-11-25 10:00:26
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https://ci.nii.ac.jp/naid/110001249199

2 0 0 0 OA デイヴィツド・ヤングの戯曲『グレン・グールド最後の旅』(Glenn)について : ゴルトベルク変奏曲=対位法的ラジオ=カナダ

著者: 宮澤淳一
出版者: 帝京平成大学
雑誌: 帝京平成大学紀要 (ISSN:13415182)
巻号頁・発行日: vol.7, no.2, pp.7-14, 1995-10-31

David Young's Glenn (1992) is a play about the Canadian pianist Glenn Gould (1932-82). There are four characters in the play, which portray the eras of Gould's fifty-year life and his thoughts: Prodigy (6-22), Performer (22-31), Perfectionist (31-48), and Puritan (48-50). These characters act and symphonize their voices in the framework of J.S.Bach's The Goldberg Variations according to the voicing and structure of the music. The use of the framework (the aria, 30 variations and the aria da capo) is a successful device of transfering a musical form into a literary form which is independent of the time-space conventions of the theatre. The play also employs successfully the compositional technique named "contrapuntal radio," which overlaps parallel dialogue and makes coincidental conjunction between voices, because it makes the four Goulds disguise other theatrical Gould-like personae who enliven the inter- actions. For all the complicated plot, the play can be analized clearly if one realizes that the crucial hero is Puritan: the plot is the journey of Puritan who goes back through the whole of Gould's life. The recomposed figure of Glenn Gould in the play is a typical Canadian according to the model of Canadian identity in Margaret Atwood's Survival (1972). Glenn Gould was a man of escape who fled from the "South" to the "North" in order to survive himself, but happened to be a hero in the world as well as in Canada, and is by definition a Canadian anti-hero.