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Mad-about Radiguet. Tōzoku and Mishima Yukio’s Classical Aestherics

100%

Kubiak Ho-Chi B.

Analecta Nipponica

2011

issue 1

67-80

小説と戯曲を共に含めた三島由紀夫（1925－1970）の全作品は数多くの文学作品からなっており、その内容や形式は古典日本文学の伝統だけではなく、フランス17世紀の古典主義や古代ギリシアの文学作品、特に古典悲劇にも端を発している。本論文は、レイモン・ラディゲの小説『ドルヂェル伯の舞踏会』（Count Orgel Opens theBall, 1924）をモデルとした三島の処女作『盗賊』（The Thieves, 1948）に代表される三島の作家人生の初期に的を絞り、最初でありつつ最も重要な創作の原点となった20世紀のフランス人作家、レイモン・ラディゲの諸作品を分析することで、日本人作家三島が抱く西洋古典文学に対する深い関心の根源を明らかにする。

Racionalita coby most mezi posvátným a profánním: Rotrouův Genesius a Racinova Esther

80%

Šuman Z.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

2018

vol. 58

74-84

The article focuses on some of the obstacles which the French early-modern dramatists had to face when choosing a sacred subject-matter. Certain of d’Aubignac’s remarks on the period’s theatrical practice allow us to detect the main arguments of conservative churchmen opposed to the theatre. But alongside such opposition, d’Aubignac also raises “practical” questions, especially when it comes to avoiding specific misleading paths such as the ambiguity of rigorously defined theological concepts (e.g. “grâce”) or the dramatic means of theatrical illusion based largely on the ubiquitous claims of verisimilitude. We aim to show in what specific manner Rotrou and Racine integrated those requirements when treating religious subjects. Despite the fact that both dramatists may have relied upon the irrefutable authority of sacred sources (especially Racine, who draws his subject from the Old Testament), we observe that neither of them disrespects the period’s theatrical rules, or their rational context.

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1 Analecta Nipponica

1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Kubiak Ho-Chi B.

1 Šuman Z.

1 2018

1 2011

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Mad-about Radiguet. Tōzoku and Mishima Yukio’s Classical Aestherics

Racionalita coby most mezi posvátným a profánním: Rotrouův Genesius a Racinova Esther