著者

高村 新一

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.30, no.1, pp.225-227, 1979-09-20

著者

山本 英治

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.44, no.1, pp.p111-122, 1993-09

著者

宮本 淳子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.62, no.1, pp.89-127, 2011-09

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This paper attempts to enumerate research performed to investigate the use and distribution of kana in Zenchiku's writing.Zenchiku was Zeami's son-in-law and is well-known as a writer of Noh plays and Noh theory. This investigation focuses on where Zenchiku placed kana in his words (e.g. at the beginning of a word sets). In order to make it clear where he placed the kana and which kana he chose, the researcher counted the number of alternative kana, and considered why they were used in the initial or terminal position. The results showed:(1) Zenchiku used more kinds of kana than Zeami.(2) Most of Zenchiku's kanas were in two kana combinations that represented one syllable (50.0%).(3) Certain kanas tended to be used in the initial position, while others were rarely used. It is possible that they were selected depending on their position in the word.(4) Some kanas tend to used in the second initial position in compound words. It can be said that Zenchiku's writing style helps us understand what Zenchiku thought about the unity of words.金春禅竹(1405~1471)は世阿弥(?1363~?1443)の女婿であり、能作者としても活躍、数々の著作を残したことでも知られている。本稿では、禅竹が平仮名をどのように使用していたのか、その使用実態を探る。今回扱う、禅竹自筆『五音三曲集』は近年になって発見されたもので、先行する用字法研究では扱われてこなかったものである。本稿では、同じ一音に対し複数の字母がどのように併用されているか、一音二字母の場合に焦点をあて語の位置別(語頭・非語頭・付属語)に分類、その特徴をまとめた。分析の結果、禅竹筆『五音三曲集』では世阿弥自筆本よりも多くの種類の字母が使用されており、語頭・非語頭で偏りが見られることが明らかとなった。最後に語頭専用と思われる字母「志」を例に複合語・二字漢語の語中で使用されている点に注目した。語頭・非語頭での使用分析により、禅竹自身が一語と捉えていた範囲を明らかにする一つの手がかりとなると思われる点についても論及した。

著者

宮本 淳子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.62, no.1, pp.89-127, 2011-09

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金春禅竹(1405~1471)は世阿弥(?1363~?1443)の女婿であり、能作者としても活躍、数々の著作を残したことでも知られている。本稿では、禅竹が平仮名をどのように使用していたのか、その使用実態を探る。今回扱う、禅竹自筆『五音三曲集』は近年になって発見されたもので、先行する用字法研究では扱われてこなかったものである。本稿では、同じ一音に対し複数の字母がどのように併用されているか、一音二字母の場合に焦点をあて語の位置別(語頭・非語頭・付属語)に分類、その特徴をまとめた。分析の結果、禅竹筆『五音三曲集』では世阿弥自筆本よりも多くの種類の字母が使用されており、語頭・非語頭で偏りが見られることが明らかとなった。最後に語頭専用と思われる字母「志」を例に複合語・二字漢語の語中で使用されている点に注目した。語頭・非語頭での使用分析により、禅竹自身が一語と捉えていた範囲を明らかにする一つの手がかりとなると思われる点についても論及した。

著者

黒崎 政男

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.61, no.1, pp.27-53, 2010-09

著者

森 一郎 森 一郎(1962-) モリ イチロウ

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.59, no.2, pp.1-18, 2009-03

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In one passage of his The Gay Science, Nietzsche said that to live a life is to let all the dying parts of us and others' successively go to ruin. This cruel thought has a good deal of truth. Our life is indeed a kind of struggle for existence between the older and younger. The history of philosophy may be illustrative of the battle fought by generation after generation. It is, however, also true that a pair of temporally far located generations can build up a close connection with each other. If a book survives its author by hundreds, or even thousands of years and acquires plenty of new readers again and again, diachronic encounters and cooperative relationships with the far generations are born. Around the text can the temporality of our being-in-the-world temporalizes itself plurally and perpetually. In his posthumous work Contributions to philosophy, Heidegger describes such a hermeneutic event in terms of "playing-forth (Zuspiel)" between the First Beginning (in antiquity) and the Other (for the future). He names a few dead poets and thinkers "the ones to come." The possible revival in different ages implies man's way of attaining immortality by a certain path through generations. The other passages of The Gay Science indicate that Nietzsche was fully aware of this type of reversibility, that is, how to outstrip the generation order.『愉しい学問』の或る断章でニーチェは、「生きるとは、自己や他者における死のうとするものすべてを、絶えず突き放すことだ」と述べた。この残酷な思想はそれなりの真実を蔵している。われわれの生には、老いた人びとと若い人びとの間の生存競争という面があるからである。哲学史とは、世代間の戦場の実例であろう。だが、隔たった世代のあいだにはいっそう緊密な連携が成り立つということも確かである。ある書物が著者の死後、数百年、数千年と読まれ続け、新たな読者を次々に獲得したとすれば、時代を隔てた世代どうしの出会いと共同事業が起こったということになる。テクストをめぐって、世界内存在の時間性が複数的かつ永続的に時熟するということがありうるのである。そのような解釈学的出来事を、ハイデガーは遺著『哲学への寄与』において、(古代の)第一の始まりと(将来の)あらたな始まりとのあいだの「遣り合い」という形で、描いている。ハイデガーは少数の詩人や思索者を、「将来する者たち」と呼ぶのである。別の時代に復活する可能性があるということは、世代を行き来する道を辿って不死性を手に入れる人間的な仕方があることを意味する。『愉しい学問』の他のいくつかの節は、ニーチェがこのタイプの可逆性、つまり世代の乗り越え方を知悉していたことを示している。

著者

河村 望

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.49, no.1, pp.59-84, 1998-09-24

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Japanese capitalist society has been treated thus far as a concept which has nothing to do with Japanese culture and the Japanese nation. Karl Marx described a capitalist society as a society in which the bourgeoisie, which has money and capital, exploits and rules the proletariate, which has nothing but their own ability to work. Thus, ecomony was considered the base or infrastructure of the society, while legal and political institutions and many forms of ideas were seen as superstructures. In this way, the capitalist culture has been merely seen as a means for the greedy pursuit of profit. According to Marx, religion is an "opiate of the people." Also, Marx was not interested in any indigenous culture, including that of the West. In contrast to this position, Max Weber defined modern capitalism as a rational profit-making organization based on the Protestant ethic. The Puritans had protested against the traditional idea which divided this world and the next world. The souls of the people could not be relieved in this world; they could be relieved only in heaven. Thus, the traditionalism which thought of religion as a means of proding relief in heaven prevailed before modernization. Weber emphasized that the Puritans, especially the Calvinists, taught that, instead of being worried whether or not one is saved, one should devote one's life to increasing the glory of God on Earth. To increase the glory of God is to sacrifice oneself to his calling and to practice an ascetic life. According to Weber, the accumulation of money as the natural result of this shows the grace of God. However, this thin overcoat which man could take off anytime became an iron cage in which he was locked. Thus, rational capitalism and its spirit are products only of the West, that is, of the Protestant Christian culture. Confucianism, which values outward forms, cannot be the spirit of rational capitalism. In the Oriental family-and community-based society there have been distinctive differences between the inner ethic and the outer ethic and between the inner economy and the outer economy. This dualism has hampered the establishment of universalism in the fields of ethics and the economy. In his "Introduction" to the Paperback Edition of Tokugawa Religion (1985), Robert Bellah said that a central point of his argument was that Japan had found an adequate "functional equivalent" for the universal ethic of Protestant Christianity, which had contributed so signally in the West to modern developments in the economy, in politics, and so on. Therefore, Bellah evaluated his own book as "one of the few sustained efforts to apply a Weberian sociological perspective to a case that Weber himself did not seriously study. The questions it raises are perennial ones in Japanese studies." Bellah pointed out that, in Japan, the Jodo Shinshu of Buddhism, the study of the mind by Ishida Baigan, the moral and economic teachings of Ninomiya Sontoku, etc. played the same role as the Protestant ethic. However, he denied the ability of Japan to sustain an ethical universalism, saying that most Japanese are still closely tied into groups that demand their loyalty and so cut them off from sympathy with outsiders. He could not understand an ethical universalism which was not based on individualism. In Japan, the basic unit of the community is not the individual but the household, that is, husband and wife. In Japan, a grave is a family grave, and a husband and wife who live in this world are thought also to live together in the next world. Naturally, therefore, in Japan the rational capitalistic organization has been based on the household. The Japanese business organization, like the Japanese household, has an eternal continuity beyond that of individuals. Such a characteristic comes from the religion of Mahanaya Buddhism, which teaches an altruistic moral theory. Like the Protestant, the Mahanaya Buddhist must devote himself to his calling and practice asceticism in order to thank Buddha for his earthly benefits. An altruistic activity is one which repays one's debt of gratitude to Buddha, who saves all persons, whether good or wicked. The spirit of Japanese capitalism once seemed set to disappear before Japan's wholesale Westernization, and it seemed that the Japanese spirit and Japanese technology were being replaced by the Western spirit and Western technology. Just as English has not become the Japanese national language, though, the so-called Japanese tradition, Japanese culture, and Japanese spirit have not lost their significance and have not been replaced by the Western spirit of capitalism.

著者

遠山 清子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.34, no.1, pp.1-16, 1983-09-25

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In As I Lay Dying and Kyoko no le (Kyoko's Saloon), both William Faulkner and Mishima Yukio were keenly conscious of the ultimate nothingness of human existence. That is to say, humans cannot be conscious of the existence of their own consciousness; and furthermore consciousness can define itself only when it reacts against the outside world with its characteristic modes of reactions. Deprived of these modes, person's existence is scattered in the flow of time without actualizing himself as a character. Both in As I Lay Dying and in Kyoko no le, the characters are presented almost as caricatures in order to emphasize their particular modes of reaction. In As I Lay Dying, the members of the Bundren family actualize each other as they journey to Jefferson to bury their mother Addie. Anse, her husband, is the man of words who does not lift a finger but manipulates others by words to act on his behalf. Cash is a carpenter who speaks very little but makes concrete things. When he has lost his leg and cannot move, he begins to grope for words to express himself. Dahl sees too much. In every event he observes everything without having his own mode of response. In other words he stays paralyzed with his eyes wide open. Only after he begins to exist completely outside of himself, i.e. driven to madness, can he accept himself and the world. Jewel is the man of action. Heplunges right into activity, but with no direction or calculation. Dewey Dell always chooses to stay in the world of senses refusing to recognize facts, and refusing to stabilize her perceptions by putting them into words. Vardman can be sure of his existence only by sharing experiences with others. In Kyoko's Saloon (Kyoko no le), four young men present themselves. Kyoko functions as a mirror by reflecting each figure in listening to them talk. Shunkichi, a boxer, has a determination to fill his life with only actions. When his boxing career ends after a chance fight with a nogooder, he chooses to belong to a radical rightest group in order to keep acting. Natsuo is a born artist who happily stabilizes a world of motion while he paints. Osamu, an actor, not sure if he really exists, can find confirmation of his existence only in pain and blood, i.e. death. Seiichiro is determined to counterbalance his inner desolation with his outer existence as a future executive of a big corporation. While Faulkner makes the basically Christian concept of 'words incarnated' as an axis of As I Lay Dying, Mishima bases Kyoko no le on the expectation of the total annilation of the world. Mishima, much like Dahl in As I Lay Dying, tried to give himself an identity by totally negating every positive human value and choosing to die a sensational death. Holding to the same recognition of the fundamental nothingness of human existence, Mishima ends as "a knight of the negative" while Faulkner unveils himself a man of the affirmative.

著者

伊藤 虎丸 田代 安見子 樋口 容子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.45, no.2, pp.93-110, 1995-03-08

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Professor Chi Myong-kwan (1924-), as chief editor of The Realms of Ideology and college teacher, was one of the major leaders of democratization movement in Korea in the 1960's. Being exhausted by the conflicts in North Korea, he left his country and became a research fellow of the Department of Politics at the graduate school of Tokyo University in October, 1972. However, after he moved to Tokyo, he was requested to commit himself to the Korean democratization movement in Japan. After the former President of South Korea, Kim Tezong was kidnapped in Japan, Mr. Chi had to protect himself from dangers. As a result, he has been obliged himself to be an exile for over twenty years. Being supported by WCC and NCC, he was invited to be a visiting professor of philosophy at Tokyo Woman's Christian University in April, 1974. Later he became an exchange professor of the Institute of Comparative Studies at Tokyo Woman's Christian University, and a professor of the Junior College of the University. After retiring from the College of Communication and Culture of the University in March, 1993, he returned to Korea. This paper is written by Yasumiko Tashiro and Yoko Higuchi, his ex-students: They researched Mr. Chi's biography and publications which are written in Japanese. The introduction by Toramaru Ito, one of Mr. Chi's colleagues discusses mainly Mr. Chi's ideology and actions as an expresson of his preparation of a new bridge that may allow Japan, Korea and other Asian countries to be associated more closely with each other in the future. It is made clear how the relationship between the churches in Japan and those outside of Japan was affected by the issue of Mr. Chi's immigration into Japan; his association with Japanese intellectuals, and especially the role of Tokyo Woman's Christian University, which played an important part for him, are also discussed. Moreover, the introduction explains his new ideology which seems to have developed out of his own experience in Japan. One aspect of his thinking about comparative culture is discussed here from this viewpoint.

著者

伊藤 虎丸

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.35, no.1, pp.141-142, 1984-09-25

著者

井村 実名子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.38, no.2, pp.159-184, 1988-03-10

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I (chap. 10〜13): Le petit Cenacle et ses relations avec Victor Hugo. De 1831 a 1832, Nerval et Gautier, avec d'autres jeunes artistes et poetes comme J. Duseigneur, P. Borel, A. Maquet, Ph. O'Neddy, C. Nanteuil, forment une association nommee le Petit Cenacle. Victor Hugo est le roi idolatre de cette jeunesse ivre de liberte dans l'Art et exaltee par le triomphe d'Hernani. Nerval ebauche plusieurs pieces dramatiques, mais aucune ne sera representee. Gautier s' essaye plutot a la poesie et aux contes fantastiques. Tous les deux publient des poemes et des articles dans les memes periodiques tels que Mercure de France au 19^e siecle, Le Cabinet de lecture, etc. Pour defendre la nouvelle ecole romantique, ils assistent a la premiere representation de Marion De Lorme (11 aout 1831). Dans la preface de ce drame, Hugo fait appel aux jeunes gens, en declarant qu'il est "bien fier de leur appartenir et bien glorieux d'avoir vu quelquefois son nom dans leur bouche". Les deux disciples rendent hommage a l'auteur de Motre-Dame de Paris en faisant chacun des vers consacres a la vieille Cathedrale. Gautier y ajoute volontiers le theme pittoresque si cher a Hugo: "Coucher du soleil". Quand Duseigneur a expose un buste de Hugo et les portraits en medaillons de la <<camaraderie>>, Gautier en fait un article elogieux. Le Maitre et ses disciples se soutiennent ainsi reciproquement. Les membres du Cenacle font en toute occasion la louange du grand poete. L'ode artistique dediee par Gautier au sculpteur Duseigneur, et tout le volume de Rhapsodies, par P. Borel dit le Lycanthrope, parseme de citations de tous les camarades, en offrent deux exemples typiques: ils veulent avant tout celebrer leur amitie, leur solidarity leur haine commune contre le siecle in fame domine par la bourgeoisie. II (chap. 14〜16): Problemes d'attribution et de restitution: recit des quiproquos et cas du Gastronome. On sait qu'un grand nombre d'articles anonymes ou sous divers pseudonymes sont trop genereusement attribues a Nerval. L'etude recente de Michel Brix nous a eclaires sur chaque attribution douteuse, et on peut constater par exemple la perte entiere des douze <<contes fantastiques>> qui furent recueillis dans le second tome des CEuvres completes de G. de Nerval (Champion, 1928). Le probleme difficile d'attribution se presente des le debut de la vie litteraire de Nerval et de Gautier. Nous examinons en particulier deux textes, non signes, parus en 1831 dans Le Gastronome: Cauchemar d'un mangeur, longtemps attribue a Nerval puis restitue a Gautier depuis 1961, et Un repas au desert d'Egypte, le premier article du jeune Gautier, decouvert par Lovenjoul. Ensuite nous etudions les suppositions qui indiquent W. Irving comme sources de leurs recits fantastiques (Cauchemar d'un mangeur, La Cafetiere, Le Monstre vert). Si les ecrivains contemporains echangent frequemment des themes nouveaux, des images seduisantes, des idees en vogue, cela n'a rien de surprenant, surtout a cette epoque ou les adaptations libres et les emprunts ne sont pas prohibes, et on rencontre par consequent de nombreuses imitations, banales ou "creatrices". Il est donc hasardeux de deduire l'origine ou la parente de tel ecrit anonyme sur la seule foi d'images semblables retrouvees dans d'autres ouvrages. (a suivre)

著者

佐々木 涼子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.52, no.1, pp.165-166, 2001-09-21

著者

井村 実名子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.52, no.2, pp.127-154, 2002-03-07

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Sensible aux eloges repetes du critique de la Presse, Delacroix sollicite son appui a partir des annees 1840. Il lui envoie la serie lithographique de Hamlet (1843) pour le prier d'en faire mention dans son feuilleton, et Gautier repond sans tarder a ses prieres. En 1847, le peintre se rend chez lui pour <le remercier de son article splendide qui [lui] a fait grand plaisir>. La presence, dans la collection de Gautier, de quelques oeuvres de Delacroix (Saint Jerome, Lady Macbeth etc.), dons presumes de l'artiste au critique, ainsi que ses plusieurs lettres cordiales, prouvent l'amitie et la ferme confiance que le peintre accordait a l'ecrivain. Leurs rapports, fondes sur de profondes affinites esthetiques et sur un respect mutuel, ne connaissent pas de tension, au contraire du cas de Baudelaire. Pour l'artiste, Gautier represente la puissance et la competence de la plume, tandis que Baudelaire n'est qu'un dilettante capricieux ou un boheme dont les extravagances le contrarient parfois, et vis-a-vis duquel ce dandy courtois veut prudemment garder ses distances. Dans la notice necrologique que Baudelaire redige en 1863, il laisse echapper son ressentiment secret en parlant de la froideur, la mechancete, l'avarice de son maitre adore. Lors de l'Exposition universelle de 1855, nos deux poetes rendent chacun hommage au genie de Delacroix qui, avec la grande retrospective de sa peinture, <apparait dans l'eclat d'une gloire sereine, desormais incontestable>. L'insertion de deux poemes de Gautier dans son article, en meme temps que son celebre quatrain dedie a Delacroix, atteste la joie et la fierte de Baudelaire d'avoir contribue au triomphe definitif du peintre, a la suite de cet eminent guide qu'est pour lui Gautier. Baudelaire y tisse un beau reve triangulaire d'union entre trois esprits sympathisants. L'autre convergence esthetique significative, c'est la predilection marquee de tous trois pour l'ecole anglaise, dont Gautier fait un commentaire elogieux qui frappe surtout Baudelaire, lui aussi attire par l'originalite de cette ecole: <bizarre jusqu'a la chinoiserie, mais d'une grace fashionable>, caracterisee par sa moderniti, qualites rares dans l'ecole francaise. Le dedicataire des Fleurs du Mai, a la fin de son etude importante consacree au poete disparu, evoque la musique de Weber, <comme un soupir du monde surnaturel, comme la voix des esprits invisibles qui s'appellent>. Dans sa comprehension clairvoyante de la poetique de sorcellerie evocatoire chere a Baudelaire, une reminiscence inavouee surgit a l'esprit de Gautier, celle de ces fanfares mysterieuses, qualifiees par l'auteur des Phares, <d'idees de musique romantique que reveillent les harmonies de la couleur de Delacroix>.

著者

中山 眞彦

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.50, no.1, pp.1-26, 1999-09-20

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Le romanesque se definit par opposition au recit. Alors que le recit, en remettant des choses apparemment disparates dans un rapport de cause et d'effet, cree un ordre nouveau, le romanesque renverse un ordre etabli en perturbant une regie stereotypee de mise en rapport des choses. Le bouleversement de l'ordre qui dominait et gouvernait l'univers produit l'impression d'une liberte infinie; c'est la l'un des effets du romanesque. Effet produit non seulement par les artifices de l'intrigue mais aussi, et surtout, par ce qui est specifique au langage romanesque. Celui-ci conteste et detruit le principe d'identite auquel s'attache le langage ordinaire. Le langage romanesque decouvre dans un meme objet, differents sens caches qui, a chaque instant, detournent la progression de l'histoire ou superposent diverses significations a chacune des actions des protagonistes: autre effet romanesque. Le roman de Murakami nous fait apprecier une grande variete des effets captivants que peut produire un roman vraiment romanesque. Cependant cela amene une grave consequence. L'intrigue et le langage romanesques troublent profondement l'identification des mots et des choses, de telle sorte que, finalement, les protagonistes tombent dans une situation chaotique. Un chatiment necessairement subi par un roman qui ose pousser l'aventure romanesque jusqu'au bout? La traduction francaise du roman, excellente du point de vue linguistique, a cependant un defaut litteraire en ceci qu'elle remplace le romanesque par la rhetorique qui reste fidele au principe d'identite. Cela empeche la version francaise de reproduire l'ensemble des effets litteraires de la version originale qui fait de ce roman japonais l'un des grands monuments de l'aventure romanesque de notre epoque.

著者

小宮 彰

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.32, no.1, pp.13-47, 1981-09-20

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L'ensemble de trois dialogues que composent l'Entretien entre d'Alembert et Diderot, Le reve de d'Alembert et Suite de l'entretien est une des oeuvres capitales de Diderot: les principales idees de sa pensee philosophique s'y trouvent exprimees. On a dit et repete que ces trois dialogues expriment le materialisme athe de leur auteur et lui auraient servi a soutenir la doctrine de l'epigenese de l'etre vivant. C'est a ce niveau de l'analyse que nous posons la question suivante: Pourquoi ecrire un ouvrage d'une composition aussi complexe? Il contient trois dialogues qui reunissent quatre personages: d'Alembert, Diderot, Melle de l'Espinasse et Bordeu le Medecin. Reunis, ils animent le second: en premier plan conversent Melle de l'Espinasse et Bordeu alors que du fond de la scene s'eleve la conversation entre d'Alembert et Diderot qui se poursuit sans interruption dans le reve qu'est en train de faire d'Alembert. Tout au long de ces dialogues Diderot developpe diverses metaphores bien etranges. Pour exemple, celle du ≪clavecin≫ qui se joue et qui a de la sensibilite et de la memoire, ou encore, celle de ≪la toile de l'araignee≫ dans le second dialogue. Nous pensons que ces particularites stylistiques trahissent les intentions implicites de l'auteur. On peut y deceler les deux sujets implicites de l'ouvrage. Il s'agit, en premier lieu, du probleme de la relation du ≪moi≫ et du ≪monde≫ quand la perception du monde s'etablit. En second lieu, celui de l'expression linguistique de cette relation. Mais la demarche de l'auteur n'est pas descriptive et les solutions qu'elle amene se presentent sous forme de ≪metaphores vivantes≫, qui se developpent sans cesse. Nous concluons que Diderot a pour dessein de representer ≪l'experience naissante du monde≫ (selon les termes de M. Merleau-Ponty) d'ou proviennent toutes les connaissances humaines, en moyen d'une metaphore synthetique qui n'est rien d'autre que Le reve de d'Alembert, en tant qu'oeuvre, et contenant les particularites mentionnees ci-dessus.

著者

鳥居 フミ子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.41, no.1, pp.101-142, 1990-09-25