L'objet d'étude de ce mémoire est l'oeuvre du peintre japonais Shiraga Kazuo, membre du Groupe Gutai de 1954 à 1972. Ce dernier est reconnu pour sa technique particulière de peinture aux pieds. L'objectif de l'exposé est d'abord de voir comment Shiraga en est venu à utiliser ses pieds pour étendre l'huile sur la surface de la toile. C'est en poursuivant cette logique picturale acquise par l'artiste au début des années cinquante qu'il est possible d'interpréter deux performances de Shiraga, Veuillez entrer s'il vous plaît et Défier la boue. Le mémoire se penche aussi sur les filiations et influences de la technique de peinture corporelle employée par l'artiste. L'étude représente de plus la première tentative d'explorer la dimension spirituelle de l'oeuvre de Shiraga Kazuo, lui qui est devenu prêtre laïc de l'École Tendai en 1971. Les arguments proposés dans cette partie de l'exposé visent à exprimer l'accomplissement des théories du peintre dans les pratiques ésotériques du Tendai. La pensée esthétique de Friedrich Wilhelm Nietzsche est employée tout au long du mémoire afin d'arranger les hypothèses des différents chercheurs du domaine en un tout cohérent et signifiant. Les paroles de l'artiste lui-même sont augmentées de la terminologie nietzschéenne, plus précisément du discours sur l'ivresse dionysiaque articulé dès La naissance de la tragédie (1872). C'est en la personne de Mishima Yukio, l'un des auteurs japonais les mieux connus, et parmi les plus controversés, du vingtième siècle, que devient réalisable l'association de la pensée nietzschéenne et de la vision artistique de Shiraga. Nietzsche suit le parcours proposé par l'exposé jusque dans l'étude des parallèles entre art et bouddhisme, lui qui a développé une philosophie de l'existence qui s"approche, en certains points, de la doctrine orientale. Le mémoire se donne pour objectif de répondre à la question suivante: comment l'oeuvre de Shiraga Kazuo peut-elle se transformer et changer de nature tout en conservant une étonnante constance formelle et technique? Cette transformation s'effectue par I'adoption de modèles classiques et ancestraux, vêtements, ou masques, que Shiraga revêt après avoir dépouillé sa peinture de tous ses artifices. Entre avant-gardisme et traditionalisme, Shiraga fait de la contradiction le moteur de son action picturale, une contradiction qui trouve finalement sa source dans l'union des deux forces opposées, mais complémentaires, que sont Apollon et Dionysos. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Shiraga, Gutai, Bouddhisme, Nietzsche, Ivresse, Mishima.

1 Summary My dissertation focuses on Mishima Yukio and the way the author, who strongly occupied himself with reflections on the imperfection of human language during the last decade of his life, conveyed the things that he was not able to or did not want to express explicitly. The dissertation is based on the metaphor of four rivers flowing into the Sea of Fertility, one of the arid lunar maria, that the writer used for his 'inconsistent' life shortly before his death. The four rivers that merged in Mishima's final work, the grandiose tetralogy The Sea of Fertility, represented four areas of the author's life. Each of them allowed him to express his ideas and feelings in a slightly different way. The River of Writing represented his fiction, the River of Theater showed his plays and his acting, the River of Body emphasized the role of bodybuilding and other sports in his life and finally, the River of Action revealed how the effeminate writer had transformed himself into a 'man of action'. The first section of my dissertation deals with Mishima's view on verbal communication. Although Mishima was a renowned writer and playwright who for the most part led a hardworking life and poured most of his energy into his writing, his attitude towards words was rather ambivalent. On the one hand, Mishima loved...

The purpose of this thesis is to understand the origins of the enduring differences between the Eastern and Western interpretations of free will and determinism. In my piece, I work to determine the roots of these differences and to what degree these differences have been challenged and disrupted in the 20th century. In this pursuit, I analyze the different philosophies of free will in the East and West and then apply these philosophies to the literature of both regions. For the eastern scholarship, I am using Yukio Mishima's The Sailor Who Fell from Grace with the Sea and Motojirō Kajii's "Lemon." For the Western works, I am analyzing Kurt Vonnegut's The Sirens of Titan and Ursula K. Le Guin's "The Ones Who Walk Away from Omelas." After thoroughly analyzing the pieces, I discuss the possible dialogues between the East and the West to help fully realize the legitimacy of the claim that the two regions continue to harbor distinct interpretations of free will and determinism.

From 1958 to 1959, Mishima Yukio published a series of satirical essays titled Lessons in Immorality, in the magazine Weekly Morningstar. Lessons in Immorality was made into a television series, a stage play, and a film. Famous in the West for writing serious novels, Mishima's work as a humor writer is largely unknown. In these essays Mishima writes in a very comic style, making liberal use of hyperbole, burlesque, and travesty, in order to parody and satirize contemporary Japanese morality. Mishima uses humor to create a world in which Mishima Yukio, iconoclastic author and pop-culture figure, is an arbiter of his own honest and just morality that runs counter to the norms that Japanese at that time considered to be honest and just. Additionally, Mishima used Lessons in Immorality as a forum to discuss some of the serious concerns that are central to his famous novels. Because Mishima was writing for young men and women, he wrote about his complex philosophical and aesthetic ideals in a very humorous and accessible style. Thus, in addition to displaying Mishima's talent as a humor writer, these essays also give the reader fresh perspectives on Mishima's serious literature. In this paper, I will present the writing styles, rhetorical tools, and philosophical discussions from Lessons in Immorality that I believe make the series essential reading for anyone interested in Mishima or postwar Japanese literature.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica / Facultad de Filosofía y Humanidades / Como bien sabemos la literatura, y la producción estética en general, es un componente cultural que se ve directamente afectada por los acontecimientos que ocurren en su contexto de producción. Es en dicha perspectiva que investigaremos los modos en que el fascismo como ideología emerge en el arte literario otorgándole una función que va más allá del mero compromiso estético, imprimiéndole una profunda dimensión ética e ideológica. Intentaremos dilucidar el como a través de la escritura narrativa el creador logra inculcar, criticar e incluso adoctrinar a través de la experiencia estética una serie de patrones ideológicos y conductuales que aportarían a la formación de un ética social superior. Para lograr el objetivo de este trabajo procederemos al estudio de dos escritores adscritos a dos contextos distintos. El primero será el argentino Roberto Artl con su cuento “El jorobadito” y el segundo será el japonés Yukio Mishima con su cuento “El patriotismo”.

本論は第二次世界大戦後の三島由紀夫文学を中心に、テクスト生成の過程及び変容を考察し、三島文学の思想的意義と戦後言説空間上での位置づけを明らかにすることを目的としている。本論は全二部から成る。第一部は戦時下に一度書かれ、戦後に改稿された作品の分析・研究を行った。第二部は三島のニーチェ受容と戦後言説との関係性について分析・研究を行った。三島のニーチェ受容とその文学的実践が、戦後の国家再建の議論そのものを無効化してしまうことを明らかにした。 / 博士(国文学) / Doctor of Philosophy in Japanese Literature / 同志社大学 / Doshisha University

(in English): This thesis is devided into three parts. In the fist part, the development of literary discourse in Japan between Meiji and postwar period is described, with emphasis on the development of literary character and Subject in a work of literature. The second part theoretical apparatus for studiying and analyzing literary character is introduced, using contemporary literary theory. In that part relationship between literary character and its subject is also included. In the third part, these findings are applied on a specific literary works of Japanese postwar literature, on which development and changes of literary character are observed. The three analyzed works here are Kamen no kokuhaku by Mishima Yukio, Tanin no kao by Abe Kōbō and Man'en gan'nen no futtobōru by Ōe Kenzaburō.