@article{oai:suac.repo.nii.ac.jp:00000581,
 author = {石川, 清子 and イシカワ, キヨコ and ISHIKAWA, Kiyoko},
 journal = {静岡文化芸術大学研究紀要, Shizuoka University of Art and Culture bulletin},
 month = {Mar},
 note = {P(論文), 十九世紀における「現代性」の総合的な解釈を目指したヴァルター・ベンヤミンの未完の大著『パサージュ論』は、自身の証言によればルイ・アラゴンのシュルレアリスト時代の散文作品『パリの農夫』(1926)に多くを負っている。両者には、パサージュと呼ばれるパリの典型的な十九世紀の建築物、屋根付きアーケードを取り扱っている共通点はあるが、後者が前者に及ぼした影響については未だ検討され尽くしたとは言いがたい。ベンヤミンとアラゴンは都市の細部を読み解く同じ感受性を共有している。本稿では、ベンヤミン思想の基本概念となる「ファンタスマゴリー」、「敷居の魔力」、パサージュのもつ過渡的、両義的な性質などが『パリの農夫』でいかに作品化されているかを検討し、『パサージュ論』との強い類縁性を確認する。, Walter Benjamin's unfinished lifework, Das Passagen-Werk (The Arcades Project), is a reflection on the concept of modernity in 19th century Europe and its various interpretations. According to Benjamin himself, who discovered surrealism in 1926-27, the reading of Louis Aragon's book Le Paysan de Paris (1926) gave birth to his magnum opus. Both of these works deal with "passages," typical Parisian constructions mostly built in the first half of the 19th century, and both authors share the same delicate sensibility for deciphering the insignificant parts of cities. At present, however, it's difficult to affirm a direct relationship between the two books without fuller study. This paper aims to analyze how some of Benjamin's essential ideas, such as "fantasmagoria," "threshold magic," and the transitional and equivocal nature of the "passages" are embodied in the second chapter of Aragon's book, "Le Passage de l'Opera," which dealt with an existing old-fashioned arcade that was soon to be demolished. It also aims to confirm a close affinity between these two authors, for whom Parisian arcades became a method of quest for the past, the self, and the marvelous.},
 pages = {13--20},
 title = {アラゴンを読むベンヤミン : 『パリの農夫』から『パサージュ論』へ},
 volume = {5},
 year = {2005},
 yomi = {イシカワ, キヨコ}
}