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レニエ『顔合わせ』とヴェネツィア －二面性の統合と鏡の照応
http://hdl.handle.net/10487/00016552
http://hdl.handle.net/10487/00016552041742fd-45e7-4133-8069-07a722247c5e
| 名前 / ファイル | ライセンス | アクション |
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02 レニエ『顔合わせ』とヴェネツィア －二面性の統合と鏡の照応 (3.4 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2020-10-13 | |||||
| タイトル | ||||||
| タイトル | レニエ『顔合わせ』とヴェネツィア －二面性の統合と鏡の照応 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | Entrevue and Venice ： Integration of Henri de Régnier's Two Sides and Correspondence of Mirrors | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Venice | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Henri de Régnier | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Entrevue | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | representations | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | mirror metaphors | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Venice | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Henri de Régnier | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Entrevue | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | representations | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | mirror metaphors | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
鳥越, 輝昭
× 鳥越, 輝昭 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 34735 | |||||
| 識別子Scheme | ローカル著者ID | |||||
| 識別子 | 34735 | |||||
| 姓名 | Torigoe, J. I. Teruaki | |||||
| 言語 | en | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | I have taken up Henri de Régnier's Entrevue, a masterpiece whose story unravels in Venice, and by pointing out several interesting points to be found in this French novel, I have attempted to show that its relationship to this Italian city is inseparably close. Régnier loved both the contemporary Venice and the Venice of the eighteenth century. Quite interestingly, however, these two sides of his are split and reunited in Entrevue. The narrator of this novel, a twentieth-century Frenchman who experiences a series of supernatural occurrences, keeps emphasizing his normality, and the normality, in his opinion, resides in his contentment with the contemporary Venice without recourse to its romantic past. This emphasis on the narrator's normality is attributable to Régnier's strategy to prevent the readers'incredulity in the mysterious story by making the narrator disbelieve what he encounters. Régnier's love of eighteenth-century Venice, on the other hand, is also apparent in this nove l. The novel is, in fact. saturated with eighteenth-century Venice: a long-dead Venetian aristocrat of the eighteenth century develops a mysterious relationship with the narrator; a series of bizarre events take place in an eighteenthcentury Venetian apartment gorgeously decorated by the aristocrat; and there is also an important minor character of a Venetian, a kind of magician who lives like an eighteenth-century Venetian. Introduced to the eighteenth-century apartment by this Venetian lover of occultism and living there alone, the narrator encounters its original owner, the eighteenth-century aristocrat, through the large looking glass fixed on a false door in the salon of the apartment. Structurally and metaphorically, it is by means of this mirror that Régnier's love of the contemporary Venice encounters and reunites with his love of eighteenth-century Venice. We find the living and the present on one side of this mirror, while finding the dead and the past on the other side. This, however, is not the only example of symmetry and correspondence found in this novel. There are also others: the symmetry and correspondence between the Venetian architecture and its thousand images reflected in the water mirrors of its lagoons and canals; those between the living room, where the narrator experiences the supernatural, and its reflection in the large mirror, which is interestingly represented as a kind of water mirror; and those between the glass showcase from which the bust of the eighteenth-century aristocrat disappears and the living room, which functions as a kind of glass showcase where the narrator is psychologically confined.M ost of all, the story reaches its climax during a night in a microcosm of the living room in which the large water mirror of the looking glass is reflecting hundreds of small earthenware which are themselves reflecting candle lights, while at the same time this small cosmos lies in a macrocosm which is made up of thousands of the Venetian architecture with their reflections scintillating in the lagoons and canals under the moon. Thus we can say that Entrevue is a novel inseparably related to Venice in two respects: firstly, it can only be written by a writer who is familiar both with the contemporary Venice and the Venice of the eighteenth century, and secondly, in no other city is more effectively presented the correspondence between a macrocosm formed by Venice with its water mirrors of lagoons and canals and a microcosm formed by the living room with its water mirror of the large looking glass. | |||||
| 言語 | en | |||||
| 書誌情報 |
ja : 人文研究 en : Studies in humanities 号 174, p. 1-29, 発行日 2011-09-30 |
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| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 0287-7074 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00123041 | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| 出版者 | ||||||
| 出版者 | 神奈川大学人文学会 | |||||
| 言語 | ja | |||||
| 出版者 | ||||||
| 出版者 | The Society of Humanities at Kanagawa University | |||||
| 言語 | en | |||||
