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光学機器とメタフィクション : アドルフォ・ビオイ=カサーレス『モレルの発明』とスティーヴン・ミルハウザー「幻影師、アイゼンハイム」
https://doi.org/10.15083/00037456
https://doi.org/10.15083/000374562ac1b362-172c-4f54-baa0-e8701fd23fd1
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
reny004014.pdf (1.1 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2013-05-01 | |||||
| タイトル | ||||||
| タイトル | 光学機器とメタフィクション : アドルフォ・ビオイ=カサーレス『モレルの発明』とスティーヴン・ミルハウザー「幻影師、アイゼンハイム」 | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 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 | |||||
| ID登録 | ||||||
| ID登録 | 10.15083/00037456 | |||||
| ID登録タイプ | JaLC | |||||
| その他のタイトル | ||||||
| その他のタイトル | Optical Devices and Metafiction : Adolfo Bioy Casares’ La invención de Morel and Steven Millhauser’s “Eisenheim, Illusionist” | |||||
| 著者 |
坪野, 圭介
× 坪野, 圭介 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 88672 | |||||
| 姓名 | Tsubono, Keisuke | |||||
| 著者所属 | ||||||
| 値 | 東京大学大学院人文社会系研究科 | |||||
| 著者所属 | ||||||
| 値 | 日本学術振興会特別研究員DC | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | From the end of the 18th century, optical instruments such as the microscope and the telescope were frequently depicted in literature, especially in German Romantic writing. These instruments expanded the range of human cognition and the realm of representation beyond realism. During the same period, “phantasmagoria,” which originally referred to a sort of magic ghost show using an optical device, became a metaphor for a phantasmic realm of existence in 19th century literature. Thus, technology and rationality paradoxically succeeded in reviving interest in unreal worlds and ghosts. However, in contemporary literature, optical devices are used not only to achieve traditional effects but also as a metafictional technique. For example, in some metafictional novels, the viewpoint of the video camera plays an important role in the narrative. Video equipment in the story reveals the function of the novel itself. Through an analysis of Adolfo Bioy Casares’ La invención de Morel (1940) and Steven Millhauser’s “Eisenheim, Illusionist” (1988), this paper explores the relation between the mechanism of optical trickery and the structure of metafiction fiction. These two writers are highly conscious of both the cultural history of optical devices and their use in the elaboration of fictional illusions. | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 特集 ラテン文学 | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 論文 | |||||
| 書誌情報 |
れにくさ : 現代文芸論研究室論集 巻 4, p. 118-131, 発行日 2013-03-29 |
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| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA1243121X | |||||
| 出版者 | ||||||
| 出版者 | 現代文芸論研究室 | |||||
