{"id":639,"date":"2019-03-18T19:15:18","date_gmt":"2019-03-18T10:15:18","guid":{"rendered":"https:\/\/home.hiroshima-u.ac.jp\/~france\/?page_id=639"},"modified":"2019-03-18T21:36:29","modified_gmt":"2019-03-18T12:36:29","slug":"la-revue%e3%83%bb%e7%a0%94%e7%a9%b6%e4%bc%9a%e8%aa%8c-1982-2004","status":"publish","type":"page","link":"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639","title":{"rendered":"Archives de la revue (1982-2004)"},"content":{"rendered":"\n<p><\/p>\n\n\n<p>Le groupe de recherche en langue et litt\u00e9rature fran\u00e7aises de l&#8217;universit\u00e9 d&#8217;Hiroshima publie sa revue depuis 1982 au rythme d&#8217;un num\u00e9ro par an. Ci-dessous est indiqu\u00e9 en fran\u00e7ais et en japonais le sommaire de chaque num\u00e9ro du plus r\u00e9cent au plus ancien jusque pour l&#8217;ann\u00e9e 2004.<\/p>\n<p>Pour les num\u00e9ros r\u00e9cents, veuillez consulter les articles de la cat\u00e9gorie <a href=\"http:\/\/france.hiroshima-u.ac.jp\/ja\/category\/%e7%a0%94%e7%a9%b6%e8%aa%8c\/\" data-wplink-url-error=\"true\">la revue<\/a>.<\/p>\n<h1 style=\"text-align: center;\">\u00c9tudes de Langue et Litt\u00e9rature Fran\u00e7aises de l&#8217;Universit\u00e9 de Hiroshima<\/h1>\n<h2 style=\"text-align: center;\">\u300e\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u300f<\/h2>\n<p>Une partie des num\u00e9ros est consultable en ligne sur <a href=\"http:\/\/ir.lib.hiroshima-u.ac.jp\/ja\/journal\/ej_HU_France\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"\u5e83\u5cf6\u5927\u5b66\u30ec\u30dd\u30b8\u30c8\u30ea(HiR)\u306b\u4e00\u90e8\u516c\u958b\u3055\u308c\u3066\u3044\u307e\u3059\u3002 (s\u2019ouvre dans un nouvel onglet)\">la plateforme d&#8217;archive ouverte de l&#8217;Universit\u00e9 d&#8217;Hiroshima<\/a>.<\/p>\n<p>\u00a0<\/p>\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\"><\/p>\n<label for=\"ez-toc-cssicon-toggle-item-69ee1206498b0\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-69ee1206498b0\"  aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B023_2004\" >N\u00b023 (2004)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B022_2003\" >N\u00b022 (2003)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B021_2002\" >N\u00b021 (2002)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B020_2001\" >N\u00b020 (2001)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B019_2000\" >N\u00b019 (2000)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B018_1999\" >N\u00b018 (1999)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B017_1998\" >N\u00b017 (1998)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B016_1997\" >N\u00b016 (1997)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B015_1996\" >N\u00b015 (1996)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B013_1994\" >N\u00b013 (1994)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B011_1992\" >N\u00b011 (1992)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B010_1991\" >N\u00b010 (1991)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B09_1990\" >N\u00b09 (1990)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B08_1989\" >N\u00b08 (1989)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B07_1988_Numero_special_en_lhonneur_du_Professeur_Tsuyoshi_SUGIYAMA\" >N\u00b07 (1988) : Num\u00e9ro sp\u00e9cial en l&#8217;honneur du Professeur Tsuyoshi SUGIYAMA<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B06_1987\" >N\u00b06 (1987)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B05_1986\" >N\u00b05 (1986)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B04_1985\" >N\u00b04 (1985)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B03_1984\" >N\u00b03 (1984)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B02_1983\" >N\u00b02 (1983)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\/#N%C2%B01_1982\" >N\u00b01 (1982)<\/a><\/li><\/ul><\/nav><\/div>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B023_2004\"><\/span>N\u00b023 (2004)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>\u30cd\u30eb\u30f4\u30a1\u30eb\u3068\u30eb\u30cd\u30b5\u30f3\u30b9\uff0d\u8a69\u4eba\u306e\u4e09\u3064\u306e\u5e74\u9f62\u306b\u3064\u3044\u3066<br \/>\u3000\u3000\u3000 \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u7be0\u3000\u7530\u3000\u77e5\u3000\u548c\u3000\u57fa\u3000 1<br \/>\u30a8\u30af\u30b9\u30d7\u30ea\u30b7\u30c3\u30c8\u304b\u3089\u8aad\u307f\u89e3\u304f\u30ab\u30df\u30e5\u306e\u5c0f\u8aac\u4e16\u754c\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u677e\u3000\u672c\u3000\u967d\u3000\u6b63\u3000\u30008<br \/>Autour du <em>Deuxi\u00e8me Sexe<\/em> de Simone de Beauvoir<br \/>\u30fcDu f\u00e9minisme \u00e9galitaire au f\u00e9minisme diff\u00e9rencialiste\u30fc\u00a0\u00a0 Yasue IKAZAKI \u3000 23<\/p>\n<p>De l&#8217;insignifiant, du rien du tout, du rien et du tout <br \/>\u3000\u3000\u3000dans la po\u00e9sie contemporaine\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Christian LE DIMNA\u3000\u300033<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u8056\u30d6\u30e9\u30f3\u30c0\u30f3\u306e\u822a\u6d77\uff08\uff12\uff09\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u592a\u3000\u53e4\u3000\u9686\u3000\u6cbb \u300048<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u6559\u5ba4\u77ed\u4fe1 \u300072<br \/>\u7b2c23\u56de\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u5831\u544a\u300074<br \/>\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u4f1a\u5247\u300075<br \/>\u4f1a\u54e1\u540d\u7c3f \u300077<\/p>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B022_2003\"><\/span>N\u00b022 (2003)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>\u300e\u30b7\u30eb\u30f4\u30a3\u300f\u306e\u8b0e \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u7be0\u3000\u7530\u3000\u77e5\u3000\u548c\u3000\u57fa\u3000 1<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>La vision f\u00e9minine et la vision masculine chez Simone de Beauvoir <br \/>\u3000\u3000\u3000autour de l&#8217;enfance \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0 Yasue IKAZAKI \u3000 12<br \/>L&#8217;Image dans l&#8217;\u0153uvre d&#8217;Antoine de Saint-Exup\u00e9ry \u3000Hamid NEDJAT\u3000\u300025<br \/>La fonction du travestissement des femmes en homme dans les pi\u00e8ces <br \/>\u3000\u3000\u3000de l&#8217;Ancien Th\u00e9\u00e2tre Italien \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0 Tomoko NAKAYAMA 36 \u56fa\u6709\u540d\u8a5eRenart\u3068\u666e\u901a\u540d\u8a5erenard\u306e\u9593\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u539f\u3000\u3000\u91ce\u3000\u3000\u6607 \u300050<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u8056\u30d6\u30e9\u30f3\u30c0\u30f3\u306e\u822a\u6d77\uff08\uff11\uff09 \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000 \u00a0 \u00a0\u00a0 \u592a\u3000\u53e4\u3000\u9686\u3000\u6cbb \u300062<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u6559\u5ba4\u77ed\u4fe1 \u3000 84<br \/>\u7b2c22\u56de\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u5831\u544a \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 86<br \/>\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u4f1a\u5247 \u00a0\u00a0\u00a0 87<br \/>\u4f1a\u54e1\u540d\u7c3f\u00a0\u00a0\u00a0 89<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B021_2002\"><\/span>N\u00b021 (2002)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0 \u30ec\u30fc\u30e2\u30f3\u30fb\u30b8\u30e3\u30f3\u300e\u8a18\u5ff5\u5199\u771f\u300f\uff081980\uff09\u518d\u8aad \u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u6749\u3000\u5c71\u3000\u3000\u6bc5\u3000 1<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>Commedia dell&#8217;arte et le th\u00e9\u00e2tre de Marivaux \u3000\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 Tomoko NAKAYAMA 19<br \/>Quelques cas de la repr\u00e9sentation des femmes autour de Jean-Paul Sartre <br \/>dans les M\u00e9moires de Simone de Beauvoir \u30fc la narration autobiographique<br \/>et les \u00e9l\u00e9ments factuels \u30fc \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0 Yasue IKAZAKI 29<br \/>\u6587\u82b8\u6279\u8a55\u5bb6\u30b5\u30eb\u30c8\u30eb\u3068\u305d\u306e\u6642\u4ee3<br \/>\u30fc\u30b5\u30eb\u30c8\u30eb\uff0c\u30d6\u30e9\u30b8\u30e4\u30c3\u30af\uff0c\u30e2\u30fc\u30ea\u30a2\u30c3\u30af\u30fc\u3000\u3000\u3000\u3000\u3000\u00a0 \u91cd\u898b\u3000\u664b\u4e5f \u300045<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u30ab\u30df\u30e5\u7814\u7a76\u306e\u73fe\u6cc1 \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u677e\u672c\u3000\u967d\u6b63 \u300060<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u6559\u5ba4\u77ed\u4fe1\u00a0\u00a0 72<br \/>\u7b2c21\u56de\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u5831\u544a \u00a0\u00a0 74<br \/>\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u4f1a\u5247 \u00a0\u00a0 75<br \/>\u4f1a\u54e1\u540d\u7c3f\u00a0 77<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B020_2001\"><\/span>N\u00b020 (2001)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>20\u53f7\u306b\u5bc4\u305b\u3066 \u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u539f\u91ce\u3000\u6607\u3000\u3000 1<br \/>Alfred de VIGNY\u306eCinq-Mars\u3068\u305d\u306e\u7d9a\u7bc7\u8a08\u753b\u306b\u3064\u3044\u3066 \u7530\u4e2d\u3000\u9686\u4e8c\u30002<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u30a4\u30d9\u30f3\u30c8\u8a18\u8ff0\u7684\u6027\u683c\u3092\u3082\u3064\u53d7\u52d5\u7684\u4ee3\u540d\u52d5\u8a5e\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0 \u4e95\u53e3\u3000\u5bb9\u5b50 8<br \/>\u30de\u30ea\u30f4\u30a9\u30fc\u5287\u3068\u5909\u88c5\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u4e2d\u5c71\u3000\u667a\u5b5016<br \/>La C\u00e9r\u00e9monie des adieux de Simone de Beauvoir \u30fcles proc\u00e9d\u00e9s narratifs du dernier espace autobiographique\u3000 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 Yasue IKAZAKI 29\u3000\u00a0\u00a0\u00a0 <br \/>\u300e\u9752\u3044\u773c\uff0c\u9ed2\u3044\u9aea\u300f\u306b\u307f\u308b\u30c7\u30e5\u30e9\u30b9\u7684\u611b\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u53e4\u6771\u3000\u7f8e\u7dd2 40<br \/>\uff0a \uff0a\u3000\uff0a<br \/>\u6559\u5ba4\u77ed\u4fe1 \u300059<br \/>\u7b2c20\u56de\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u5831\u544a \u3000\u00a0\u00a0\u00a0\u00a0 61<br \/>\u300e\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u300f\u7dcf\u76ee\u6b21\uff081\uff5e20\u53f7\uff09\u00a0\u00a0 63<br \/>\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u4f1a\u5247 \u3000 68<br \/>\u4f1a\u54e1\u540d\u7c3f \u3000\u00a0 70<\/p>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B019_2000\"><\/span>N\u00b019 (2000)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Le processus d&#8217;\u00e9laboration des fronti\u00e8res linguistiques : le cas des zones de contact romano-germaniques \u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u3000\u3000Wolfgang HAUBRICHS 1<br \/>\u300c\u3053\u308c\uff0c\u304b\u308c\u3092\u6ec5\u307c\u3055\u3093\u300d\uff0d\u300c\u3082\u306e\u300d\u3068\u4eba\u9593\uff0d \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u6238\u7530\u3000\u5409\u4fe1 34<br \/>\uff0a \uff0a\u3000\uff0a<br \/>\u4ecf\u8a33\u300e\u30c7\u30ab\u30e1\u30ed\u30f3\u300f\u7814\u7a76?\uff0d\u4e09\u4eba\u76ee\u306e\u300c\u7ffb\u8a33\u8005\u300d\u30a2\u30f3\u30c8\u30ef\u30fc\u30cc\u30fb\u30eb\u30fb\u30de\u30c3\u30bd\u30f3, \u305d\u3057\u3066\u6bd4\u8f03\uff0d \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u5e73\u624b\u3000\u53cb\u5f66 45<br \/>\u30b3\u30eb\u30cd\u30a4\u30e6\u306e\u82f1\u96c4\u559c\u5287\u300e\u30d4\u30e5\u30eb\u30b1\u30ea\u300f\u306b\u3064\u3044\u3066 \u3000\u3000\u00a0 \u6751\u702c\u3000\u5ef6\u54c9 65<br \/>\u7d75\u753b\u6279\u8a55\u306e\u7cfb\u8b5c\u3000Diderot, Stendhal, Baudelaire \u3000\u00a0 \u767d\u9280\u3000\u654f\u679d 75<br \/>Les proc\u00e9d\u00e9s narratifs et la question de la vision dans <em>Tous les Hommes sont mortels<\/em> de Simone de Beauvoir \u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yasue IKAZAKI 86<br \/>Exp\u00e9rience po\u00e9tique, exp\u00e9rience mystique \u3000\u3000\u3000\u00a0 Christian LE DIMNA 97<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u66f8\u8a55\u3000Paul Webster, Consuelo de Saint-Exup\u00e9ry (Eds. du F\u00e9lin, 2000\u5e74) <br \/>\u30b3\u30f3\u30b9\u30a8\u30ed\u306f\u7526\u308b\u306e\u304b\uff1f\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u6749\u5c71\u3000\u3000\u6bc5 108<br \/>\uff0a\u3000\uff0a\u3000\uff0a<br \/>\u6559\u5ba4\u77ed\u4fe1\u00a0\u00a0\u00a0\u00a0 116<br \/>\u7b2c19\u56de\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u5831\u544a\u00a0\u00a0\u00a0 117<br \/>\u4f1a\u54e1\u540d\u7c3f\u00a0 119<\/p>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B018_1999\"><\/span>N\u00b018 (1999)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Le Jeu de la Feuill\u00e9e est une f\u00eate \u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pierre-Yves BADEL 1<br \/>\u300c\u30d1\u30dd\u30f3\u4e8b\u4ef6\u300d\u3068\u5468\u8fba\u4f59\u8a71\uff081\uff09\u30fc\u4e8b\u4ef6\u306e\u80cc\u666f\u3068\u4e3b\u4eba\u516c\u306e\u8096\u50cf\u30fc<br \/>\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u6749\u5c71\u3000\u3000\u3000\u6bc5 16<br \/>\uff0a \uff0a\u3000\uff0a<br \/>\u30de\u30ea\u30f4\u30a9\u30fc\u300e\u8d0b\u306e\u4f8d\u5973\u300f\u300e\u611b\u306e\u52dd\u5229\u300f\u306b\u304a\u3051\u308b\u7537\u88c5\u306e\u30d2\u30ed\u30a4\u30f3\u30fc\u5973\u6027\u306b\u3088\u308b<br \/>\u3000\u3000\u3000\u5973\u6027\u306e\u8a98\u60d1\u306e\u30c7\u30a3\u30b9\u30af\u30fc\u30eb\u306b\u3064\u3044\u3066\u30fc\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u4e2d\u5c71\u3000\u667a\u5b50 31<br \/>\u30cd\u30eb\u30f4\u30a1\u30eb\u3068\u81ea\u7531\u4e3b\u7fa9\u30fc\u521d\u671f\u306e\u8a69\u7de8\u3092\u4e2d\u5fc3\u3068\u3057\u3066\u30fc\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u5c0f\u5742\u3000\u4fee 42<br \/>L&#8217;Espace dans l&#8217;\u0153uvre po\u00e9tique de Jean Tardieu \u3000\u00a0\u00a0 Christian LE DIMNA 56<br \/>\uff0a \uff0a\u3000\uff0a<br \/>\u304b\u304f\u3082\u7f8e\u3057\u304d\u751f\u6daf\u30fc\u4e95\u4e0a\u7a76\u4e00\u90ce\u5148\u751f\u3092\u5072\u3076\uff91\u30fc\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u6238\u7530\u3000\u5409\u4fe1 63<br \/>\u300e\u72d0\u7269\u8a9e\u300fRoques\u7248\u306e\u6700\u7d42\u5dfb\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u3000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u539f\u91ce\u3000\u6607 67<br \/>\uff0a \uff0a\u3000\uff0a<br \/>\u6559\u5ba4\u77ed\u4fe1 \u00a0\u00a0 69<br \/>\u7b2c18\u56de\u5e83\u5cf6\u5927\u5b66\u30d5\u30e9\u30f3\u30b9\u6587\u5b66\u7814\u7a76\u4f1a\u5831\u544a\u3000 71<br \/>\u4f1a\u54e1\u540d\u7c3f \u00a0 73<\/p>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B017_1998\"><\/span>N\u00b017 (1998)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Claude REICHLER, L&#8217;\u0152uvre &#8220;am\u00e9ricaine&#8221; de Chateaubriand et la question de la religion, pp.1-10.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09 \u6c34\u5cf6\u3000\u88d5\u96c5, \u30e9\u30f3\u30dc\u30fc\u3068\u4e2d\u539f\u4e2d\u4e5f, pp.11-29.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u4e2d\u5c71\u3000\u667a\u5b50, \u30de\u30ea\u30f4\u30a9\u30fc\u300e\u3044\u3055\u304b\u3044\u300f\u306e\u5287\u4e2d\u5287\u69cb\u9020\u306b\u3064\u3044\u3066\u306e\u8003\u5bdf, pp.30-41.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u5742\u4e95\u3000\u8cb4\u5b50\uff0c\u30a2\u30f3\u30c9\u30ec\u30fb\u30de\u30eb\u30ed\u30fc\u306b\u304a\u3051\u308b\u60aa\u9b54\u306e\u63a2\u7a76\u306b\u3064\u3044\u3066\uff0d \u00ab\u00a0Demon\u00a0\u00bb\u3068 \u00ab\u00a0Dyable\u00a0\u00bb\u306e\u9593\u3067\uff0d\uff0c42-56 \u4f0a\u30b1\u5d0e\u3000\u6cf0\u679d, \u300e\u62db\u304b\u308c\u305f\u5973\u300f\u306b\u304a\u3051\u308b\u30a8\u30ea\u30b6\u30d9\u30fc\u30c8\u306e\u5f79\u5272\u306b\u3064\u3044\u3066, pp.57-67.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>Christian LE DIMNA, Exp\u00e9rience de la non-dualit\u00e9 dans <em>Monsieur Monsieur<\/em> de Jean TARDIEU , pp.68-84.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u91cd\u898b\u3000\u664b\u4e5f, Perl\u306b\u3088\u308b\u30b3\u30f3\u30b3\u30fc\u30c0\u30f3\u30b9\u4f5c\u6210\u30d7\u30ed\u30b0\u30e9\u30e0\u306e\u958b\u767a, pp.85-101.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u7530\u4e2d\u3000\u9686\u4e8c, Alfred de Vigny\u751f\u8a95200\u5e74\u8a18\u5ff5\u30b7\u30f3\u30dd\u30b8\u30a6\u30e0\uff081997\u5e7411\u6708\uff09\u306b\u53c2\u52a0\u3057\u3066, pp.102-109.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u539f\u91ce\u3000\u6607, \u300e\u72d0\u7269\u8a9e\u300f\u306e\u80cc\u666f\uff0d\u74b0\u5883\u3068\u6587\u5b66\u306e\u8996\u70b9\u304b\u3089,pp.110-115. \u539f\u91ce\u3000\u6607, Le Roman de Renart\u65b0\u520a\u4e8c\u8457, pp.116-118. N\u00b016 (1997)<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B016_1997\"><\/span>N\u00b016 (1997)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Gabriel BIANCIOTTO, Le Bestiaire dans la litt\u00e9rature m\u00e9di\u00e9vale, pp.1-13.<\/li>\n<li>Yoshinobu TODA, Prise de conscience de l&#8217;Histoire comme &#8220;\u00c9volution&#8221; chez Edgar Quinet \u00e0 propos de l&#8217;<em>Ahasv\u00e9rus<\/em>, pp.14-22.<\/li>\n<li>Yosei MATSUMOTO, L&#8217;Ombre du <em>Premier Homme<\/em> sur <em>L&#8217;Exil et le Royaume<\/em>, pp.23-39. (<a href=\"https:\/\/home.hiroshima-u.ac.jp\/france\/Matsumoto15.pdf\">R\u00e9sum\u00e9 en fran\u00e7ais<\/a>)<\/li>\n<li>Shinya SHIGEMI, La Strat\u00e9gie sartrienne dans le <em>Baudelaire<\/em>, pp.40-55. (<a href=\"https:\/\/home.hiroshima-u.ac.jp\/france\/Shigemi15.pdf\">R\u00e9sum\u00e9 en fran\u00e7ais<\/a>)<\/li>\n<li>Yasue IKAZAKI, Une Analyse narrative sur <em>Les Mandarins<\/em>, pp.56-66. (<a href=\"https:\/\/home.hiroshima-u.ac.jp\/france\/Ikazaki15.pdf\">R\u00e9sum\u00e9 en fran\u00e7ais<\/a>)<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>Christian ROBIN, L&#8217;\u0152uvre de Jules Verne et l&#8217;actualit\u00e9, pp.1-14.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u677e\u672c\u3000\u967d\u6b63, Le premier Homme\u306e\u5f62\u6210\u904e\u7a0b, pp.15-32.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u91cd\u898b\u3000\u664b\u4e5f, \u30b5\u30eb\u30c8\u30ebBaudelaire\u306b\u304a\u3051\u308b\u8a9e\u308a\u306e\u8907\u5408\u904e\u53bb, pp.33-47.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u4f0a\u30b1\u5d0e\u3000\u6cf0\u679d, Sur la narration dans le roman <em>Les Belles Images<\/em>&#8212;La signification de l&#8217;alternance entre la narration \u00e0 la premi\u00e8re personne et celle \u00e0 la troisi\u00e8me personne &#8212;, pp.48-55.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B015_1996\"><\/span>N\u00b015 (1996)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Gabriel BIANCIOTTO, Le Bestiaire dans la litt\u00e9rature m\u00e9di\u00e9vale, pp.1-13.<\/li>\n<li>Yoshinobu TODA, Prise de conscience de l&#8217;Histoire comme &#8220;\u00c9volution&#8221; chez Edgar Quinet \u2014 \u00e0 propos de l&#8217;<em>Ahasv\u00e9rus<\/em>, pp.14-22.<\/li>\n<li>Yosei MATSUMOTO, L&#8217;Ombre du <em>Premier Homme<\/em> sur <em>L&#8217;Exil et le Royaume<\/em>, pp.23-39. (R\u00e9sum\u00e9 en fran\u00e7ais)<\/li>\n<li>Shinya SHIGEMI, La Strat\u00e9gie sartrienne dans le <em>Baudelaire<\/em>, pp.40-55. (R\u00e9sum\u00e9 en fran\u00e7ais)<\/li>\n<li>Yasue IKAZAKI, Une Analyse narrative sur <em>Les Mandarins<\/em>, pp.56-66. (R\u00e9sum\u00e9 en fran\u00e7ais)<\/li>\n<li>Noboru HARANO, Masahiro NAKAGAWA, Hirotaka MAEDA, Ryuji TAIKO, Ordinateur et recherches m\u00e9di\u00e9vales, pp.67-76.<\/li>\n<li>Hideichi MATSUBARA, La Guirlande pour Paul Zumthor, pp.77-80.<\/li>\n<li>Noboru HARANO, Colloque de Tokyo de la Soci\u00e9t\u00e9 Internationale Renardienne, pp.81-85.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>Gabriel BIANCIOTTO, LE BESTIAIRE DANS LA LITT\u00c9RATURE MEDIEVALE, pp.1-13.<\/li>\n<li>\u6238\u7530\u3000\u5409\u4fe1, \u9032\u5316\u3068\u3057\u3066\u306e\u6b74\u53f2\uff0d\u30a8\u30c9\u30ac\u30fc\u30eb\u30fb\u30ad\u30cd\u3068\u300e\u30a2\u30cf\u30b9\u30f4\u30a7\u30ea\u30e5\u30b9\u300f\u3092\u3081\u3050\u3063\u3066\uff0d, pp.14-22.<\/li>\n<li>\u677e\u672c\u3000\u967d\u6b63, \u300e\u8ffd\u653e\u3068\u738b\u56fd\u300f\u306b\u898b\u3089\u308c\u308bLe Premier Homme\u306e\u5f71<\/li>\n<li>\uff0d\u300e\u751f\u3044\u51fa\u305a\u308b\u77f3\u300f\u3092\u4e2d\u5fc3\u306b\uff0d, pp.23-39.\uff08<a href=\"https:\/\/home.hiroshima-u.ac.jp\/france\/Matsumoto15.pdf\">\u4ecf\u6587\u30ec\u30b8\u30e5\u30e1<\/a>\uff09<\/li>\n<li>\u91cd\u898b\u3000\u664b\u4e5f, \u300e\u30dc\u30fc\u30c9\u30ec\u30fc\u30eb\u300f\u306b\u304a\u3051\u308b\u30b5\u30eb\u30c8\u30eb\u7684\u6226\u7565, pp.40-55.\uff08<a href=\"https:\/\/home.hiroshima-u.ac.jp\/france\/Shigemi15.pdf\">\u4ecf\u6587\u30ec\u30b8\u30e5\u30e1<\/a>\uff09<\/li>\n<li>\u4f0a\u30f6\u5d0e\u3000\u6cf0\u679d, \u300e\u30ec\u30fb\u30de\u30f3\u30c0\u30e9\u30f3\u300f\u306b\u304a\u3051\u308b\u8a9e\u308a\u306b\u3064\u3044\u3066, pp.56-66.\uff08<a href=\"https:\/\/home.hiroshima-u.ac.jp\/france\/Ikazaki15.pdf\">\u4ecf\u6587\u30ec\u30b8\u30e5\u30e1<\/a>\uff09<\/li>\n<li>\u539f\u91ce\u3000\u6607, \u4e2d\u5ddd\u3000\u6b63\u5f18, \u524d\u7530\u3000\u5f18\u9686, \u592a\u53e4\u3000\u9686\u4e8c \u4e2d\u4e16\u6587\u5b66\u7814\u7a76\u306b\u304a\u3051\u308b\u30b3\u30f3\u30d4\u30e5\u30fc\u30bf\u5229\u7528, pp.67-76.<\/li>\n<li>\u677e\u539f\u3000\u79c0\u4e00, \u30ba\u30e0\u30c8\u30fc\u30eb\u6c0f\u8ffd\u60f3, pp.77-80.<\/li>\n<li>\u539f\u91ce\u3000\u6607, \u56fd\u969b\u52d5\u7269\u53d9\u4e8b\u8a69\u5b66\u4f1a\u6771\u4eac\u5927\u4f1a, pp.81-85.<\/li>\n<\/ul>\n<p>N\u00b014 (1995)<\/p>\n<ul>\n<li>Megumi SATOH, Les Milieux litt\u00e9raires de &#8220;La Ballade des Contreditz de Franc Gontier&#8221;, pp.1-19. (R\u00e9sum\u00e9 en fran\u00e7ais)<\/li>\n<li>Hiromi WATANABE, Les Miroirs dans <em>Le Cousin Pons<\/em>, pp.20-38. (R\u00e9sum\u00e9 en fran\u00e7ais)<\/li>\n<li>Yasue IKAZAKI, Quelques aspects caract\u00e9ristiques des <em>Mandarins<\/em> en relation avec la notion de roman \u00e0 th\u00e8se, pp.39-48. (R\u00e9sum\u00e9 en fran\u00e7ais)<\/li>\n<li>Tomoko NAKAYAMA, L&#8217;Analyse de <em>La Mouette<\/em>, texte fran\u00e7ais de Marguerite Duras, pp.49-63. (R\u00e9sum\u00e9 en fran\u00e7ais)<\/li>\n<li>Noboru HARANO, Paul ZUMTHOR (1915-1995), pp.64-66.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>\u4f50\u85e4\u3000\u6075, \u30d5\u30e9\u30f3\u30bd\u30ef\u30fb\u30f4\u30a3\u30e8\u30f3\u300e\u30d5\u30e9\u30f3\u30fb\u30b4\u30f3\u30c1\u30a8\u306b\u8fd4\u6b4c\u306e\u30d0\u30e9\u30c3\u30c9\u300f\u306b\u898b\u308b\u6587\u5b66\u7684\u80cc\u666f, pp.1-19.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u6e21\u90e8\u3000\u6d69\u898b, \u300e\u5f93\u5144\u30dd\u30f3\u30b9\u300f\u306b\u304a\u3051\u308b\u93e1, pp.20-38.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u4f0a\u30f6\u5d0e\u3000\u6cf0\u679d, \u300e\u30ec\u30fb\u30de\u30f3\u30c0\u30e9\u30f3\u300f\u306b\u304a\u3051\u308b\u300c\u554f\u984c\u5c0f\u8aac\u300d\u306e\u5074\u9762\u306b\u3064\u3044\u3066, pp.39-48.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u4e2d\u5c71\u3000\u667a\u5b50, \u30c7\u30e5\u30e9\u30b9\u8a33\u300e\u304b\u3082\u3081\u300f\u3092\u8aad\u3080\uff0d\u622f\u66f2\u306b\u304a\u3051\u308b\u30c7\u30e5\u30e9\u30b9\u306e\u8a00\u8a9e\u4e16\u754c\uff0d, pp.49-63.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u539f\u91ce\u3000\u6607, \u30dd\u30fc\u30eb\u30fb\u30ba\u30e0\u30c8\u30fc\u30eb\u6559\u6388(1915-1995), pp.64-66.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B013_1994\"><\/span>N\u00b013 (1994)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li><strong>Conf\u00e9rences<\/strong> :\n<ul>\n<li>Claude MARTIN, Etat pr\u00e9sent des \u00e9tudes gidiennes, pp.1-13.<\/li>\n<li>Ryuji TANAKA, &#8220;Servitude et grandeur militaires&#8221; relues \u2013 Probl\u00e8me de prisonniers de guerre_, pp.14-23. (R\u00e9sum\u00e9)<\/li>\n<\/ul>\n<\/li>\n<li>Masaaki YOSHIDA, Sur Jules Laforgue \u2013 Po\u00e9tiques des <em>Complaintes<\/em> \u2013 , pp.24-39. (R\u00e9sum\u00e9)<\/li>\n<li><a href=\"http:\/\/www.ipc.hiroshima-u.ac.jp\/~ssinya\/index.html\">Shinya SHIGEMI<\/a>, Le va-et-vient et la dissimulation du &#8220;lieu commun&#8221; \u2013 Essai sur ce qui caract\u00e9rise l&#8217;\u00e9criture sartrienne_, pp.40-54. (R\u00e9sum\u00e9)<\/li>\n<li>Keiji TAKAGI, Les cartes dans <em>le Rivage des Syrtes<\/em> , pp.55-66. (R\u00e9sum\u00e9)<\/li>\n<li>Ryuji TAIKO, Les inversion en ancien fran\u00e7ais \u2013 \u00e0 propos du verbe impersonnel, pp.67-77.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li><strong>\u8b1b\u6f14<\/strong>\uff1a\n<ul>\n<li>Claude MARTIN, ETAT PRESENT DES ETUDES GIDIENNES, pp.1-13.<\/li>\n<li>\u7530\u4e2d\u3000\u9686\u4e8c, \u30f4\u30a3\u30cb\u4f5c\u300e\u8ecd\u968a\u306e\u670d\u5f93\u3068\u5049\u5927\u300f\u518d\u8aad\uff0d\u4fd8\u865c\u306e\u554f\u984c\uff0d, pp.14-23. \uff08 \u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>\u5409\u7530\u3000\u6b63\u660e, \u30b8\u30e5\u30fc\u30eb\u30fb\u30e9\u30d5\u30a9\u30eb\u30b0\u306b\u3064\u3044\u3066\uff0d\u300e\u306a\u3052\u304d\u6b4c\u300f\u306e\u8a69\u6cd5\uff0d, pp.24-39. \uff08 \u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li><a href=\"http:\/\/www.ipc.hiroshima-u.ac.jp\/~ssinya\/japanese.html\">\u91cd\u898b\u3000\u664b\u4e5f<\/a>, &#8220;lieu commun&#8221;\u306e\u5f80\u5fa9\u3068\u96a0\u853d, pp.40-54. \uff08 \u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u9ad8\u6728\u3000\u656c\u4e8c, \u300e\u30b7\u30eb\u30c8\u306e\u5cb8\u8fba\u300f\u306b\u304a\u3051\u308b\u6d77\u56f3, pp.55-66.\uff08\u30d5\u30e9\u30f3\u30b9\u8a9e\u30ec\u30b8\u30e5\u30e1\uff09<\/li>\n<li>\u592a\u53e4\u3000\u9686\u6cbb, \u53e4\u4ecf\u8a9e\u306b\u304a\u3051\u308b\u5012\u7f6e\uff0d\u975e\u4eba\u79f0\u52d5\u8a5e\u304b\u3089\uff0d, pp.67-77.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<p>N\u00b012 (1993)<\/p>\n<ul>\n<li><strong>Auteur invit\u00e9<\/strong>\u00a0: Philippe MENARD, Enigmes et myst\u00e8res dans le <em>Conte du Graal<\/em> de Chr\u00e9tien de Troyes, pp.1-25.<\/li>\n<li>Akihiro ZENKE, La place de <em>Promenades et Souvenirs<\/em> dans les trois derni\u00e8res oeuvres de Nerval, pp.26-41.<\/li>\n<li>Akira HAMAYA, La dimension dialogique chez Paul Val\u00e9ry, pp.42-59.<\/li>\n<li>Keiji TAKAGI, Le style th\u00e9\u00e2tral dans <em>Au ch\u00e2teau d&#8217;Argol<\/em>, pp.60-72.<\/li>\n<li>Hiroko FUJITA, Le th\u00e9\u00e2tre de Nathalie Sarraute, pp.73-83.<\/li>\n<li>Ryuji TAIKO, Les emplois temporel et causal de &#8220;puis que&#8221; en ancien fran\u00e7ais selon <em>la Mort le roi Artu<\/em>, pp.84-93.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li><strong>\u7279\u5225\u5bc4\u7a3f<\/strong>: Philippe MENARD, ENIGMES ET MYSTERES DANS LE CONTE DU GRAAL DE CHRETIEN DE TROYES, pp.1-25.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<ul>\n<li>\u5584\u5bb6\u3000\u660e\u5b8f, \u30cd\u30eb\u30f4\u30a1\u30eb\u5f8c\u671f\u4f5c\u54c1\u306b\u304a\u3051\u308b\u300e\u6563\u7b56\u3068\u56de\u60f3\u300f\u306e\u4f4d\u7f6e, pp.26-41.<\/li>\n<li>\u6d5c\u5c4b\u3000\u662d, \u30dd\u30fc\u30eb\u30fb\u30f4\u30a1\u30ec\u30ea\u30fc\u306b\u304a\u3051\u308b\u5bfe\u8a71\u306e\u69d8\u76f8, pp.42-59.<\/li>\n<li>\u9ad8\u6728\u3000\u656c\u4e8c, \u300e\u30a2\u30eb\u30b4\u30fc\u30eb\u306e\u57ce\u306b\u3066\u300f\u306b\u304a\u3051\u308b\u6f14\u5287\u7684\u8a18\u8ff0, pp.60-72.<\/li>\n<li>\u85e4\u7530\u3000\u535a\u5b50, \u30ca\u30bf\u30ea\u30fc\u30fb\u30b5\u30ed\u30fc\u30c8\u306e\u6f14\u5287\u306b\u3064\u3044\u3066\uff0d\u5c0f\u8aac\u4f5c\u54c1\u3068\u306e\u6bd4\u8f03\u306b\u304a\u3044\u3066\uff0d, pp.73-83.<\/li>\n<li>\u592a\u53e4\u3000\u9686\u6cbb, \u53e4\u4ecf\u8a9e\u306b\u304a\u3051\u308b&#8221;puis que&#8221;\u306e\u300c\u6642\u300d\u3068\u300c\u7406\u7531\u300d\u306e\u7528\u6cd5\uff0d\u300e\u30a2\u30fc\u30b5\u30fc\u738b\u306e\u6b7b\u300f\u304b\u3089\uff0d, pp.84-93.<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B011_1992\"><\/span>N\u00b011 (1992)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Francisco LAFARGA, Le th\u00e9\u00e2tre de la R\u00e9volution, pp.1-17.<\/li>\n<li>Jacques JARRY, Honneur&#8230; et Patrie ?, pp.18-38.<\/li>\n<li>Muneto KATO, D&#8217;autres petits romantiques, pp.39-45.<\/li>\n<li>Mariko SHIGEMITSU, Sur le th\u00e9\u00e2tre rituel de Mallarm\u00e9, pp.46-60.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>Francisco LAFARGA, LE THEATRE DE LA REVOLUTION, pp.1-17.<\/li>\n<li>Jacques JARRY, HONNEUR&#8230; ET PATRIE ?, pp.18-38.<\/li>\n<li>\u52a0\u85e4\u3000\u5b97\u767b, \u5225\u306e\u5c0f\u30ed\u30de\u30f3\u6d3e\u306e\u3053\u3068, pp.39-46.<\/li>\n<li>\u91cd\u5149\u3000\u30de\u30ea\u5b50, \u30de\u30e9\u30eb\u30e1\u306e\u672a\u6765\u306e\u795d\u796d\u6f14\u5287\u306b\u3064\u3044\u3066, pp.47-60.<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B010_1991\"><\/span>N\u00b010 (1991)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Yoshinobu TODA, Quatre m\u00e9decins dans <em>Madame Bovary<\/em>, pp.2-18.<\/li>\n<li>Ryuji TAIKO, Sur les deux types de phrases complexes en ancien fran\u00e7ais, pp.19-34.<\/li>\n<li>Nozomi WATANABE, La vision des <em>Myst\u00e8res du peuple<\/em>, pp.35-41.<\/li>\n<li>Akira HAMAYA, Projet et gen\u00e8se chez Paul Val\u00e9ry, pp.42-50.<\/li>\n<li>Jacques JARRY, Les guerres de religion dans le roman fran\u00e7ais, pp.51-67.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>\u6749\u5c71\u3000\u6bc5, \u7fd4\u3076\u304c\u3054\u3068\u304f\uff0c\u3055\u308c\u3069&#8230;, p.1.<\/li>\n<li>\u6238\u7530\u3000\u5409\u4fe1, \u56db\u4eba\u306e\u533b\u5e2b\u306e\u7269\u8a9e, pp.2-18.<\/li>\n<li>\u592a\u53e4\u3000\u9686\u6cbb, \u53e4\u4ecf\u8a9e\u8907\u6587\u306e\u4e8c\u6587\u578b\u306b\u3064\u3044\u3066, pp.19-34.<\/li>\n<li>\u6e21\u90e8\u3000\u671b, \u300e\u6c11\u8846\u306e\u79d8\u5bc6\u300f\u306e\u30f4\u30a3\u30b8\u30e7\u30f3, pp.35-41.<\/li>\n<li>\u6d5c\u5c4b\u3000\u662d, \u30dd\u30fc\u30eb\u30fb\u30f4\u30a1\u30ec\u30ea\u30fc\u306b\u898b\u308b\u69cb\u7bc9\u306e\u610f\u5fd7, pp.42-50.<\/li>\n<li>Jacques JARRY, LES GUERRES DE RELIGION DANS LE ROMAN FRANCAIS, pp.51-67.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B09_1990\"><\/span>N\u00b09 (1990)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Tsuyoshi SUGIYAMA, Actualit\u00e9 de Marcel AYME, pp.1-17.<\/li>\n<li>Yosei MATSUMOTO, Gen\u00e8se du <em>Malentendu<\/em> \u2013 \u00e9tude comparative \u00e0 partir de deux articles de journaux, un fait divers yougoslave et un soi-disant article ins\u00e9r\u00e9 dans <em>L&#8217;\u00c9tranger<\/em>, pp.18-36.<\/li>\n<li>Hiroko FUJITA, N.SARRAUTE, <em>Tu ne t&#8217;aimes pas<\/em> (1989) \u2013 un roman fait enti\u00e8rement de dialogues, pp.37-47.<\/li>\n<li>Jacques JARRY, La guerre de Vend\u00e9e dans la litt\u00e9rature fran\u00e7aise, pp.48-68.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>\u6749\u5c71\u3000\u6bc5, \u30de\u30eb\u30bb\u30eb\u30fb\u30a8\u30e1\u7814\u7a76\u306e\u6700\u8fd1\u306e\u52d5\u5411, pp.1-17.<\/li>\n<li>\u677e\u672c\u3000\u967d\u6b63, \u300e\u8aa4\u89e3\u300f\u306e\u751f\u6210\u904e\u7a0b\uff0d\u4e8c\u3064\u306e\u300c\u65b0\u805e\u8a18\u4e8b\u300d\u3068\u306e\u6bd4\u8f03\u3092\u901a\u3057\u3066, pp.18-36.<\/li>\n<li>\u85e4\u7530\u535a\u5b50, N.SARRAUTE, <em>TU NE T&#8217;AIMES PAS<\/em> (1989) \uff0d UN ROMAN FAIT ENTIEREMENT DE DIALOGUES, pp.37-47.<\/li>\n<li>Jacques JARRY, LA GUERRE DE VENDEE DANS LA LITTERATURE FRANCAISE, pp.48-68.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B08_1989\"><\/span>N\u00b08 (1989)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Jacques JARRY, Nagid Mahfouz et la litt\u00e9rature arabe moderne, pp.1-12.<\/li>\n<li>Hiroko FUJITA, R\u00f4le de l&#8217;id\u00e9e dans &#8220;<em>Disent les imb\u00e9ciles <\/em>&#8221; de N. Sarraute, pp.13-21.<\/li>\n<li>Osamu KOSAKA, Nerval et la musique, pp.22-43.<\/li>\n<li>Noriyoshi HIRAYAMA, Les enfants dans les romans de Flaubert, pp.44-58.<\/li>\n<li>Akimasa YOKOYAMA, Le <em>Po\u00e8te<\/em> chez SUPERVIELLE, pp.59-69.<\/li>\n<li>Masahiro NAKAGAWA, Institution du roman et sa rh\u00e9torique \u2013 probl\u00e8me robbe-grilletiens de la narration et du temps grammatical, pp.70-81.<\/li>\n<li><strong>Compte-rendu :<\/strong>\n<ul>\n<li>Noboru HARANO, Des revues nouvellement fond\u00e9es, pp.82-86.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>Jacques JARRY, NAGIB MAHFOUZ ET LA LITTERATURE ARABE MODERNE, pp.1-12.<\/li>\n<li>Hiroko FUJITA, ROLE DE L&#8217;IDEEE DANS &#8220;DISENT LES IMBECILES&#8221; DE N. SARRAUTE, pp.13-21.<\/li>\n<li>\u5c0f\u5742\u3000\u4fee, \u30cd\u30eb\u30f4\u30a1\u30eb\u3068\u97f3\u697d, pp.22-42.<\/li>\n<li>\u5e73\u5c71\u3000\u898f\u7fa9, \u30d5\u30ed\u30d9\u30fc\u30eb\u3068\u5b50\u4f9b\u306e\u30a4\u30e1\u30fc\u30b8, pp.43-58.<\/li>\n<li>\u6a2a\u5c71\u3000\u662d\u6b63, \u30b7\u30e5\u30da\u30eb\u30f4\u30a3\u30a8\u30eb\u306b\u304a\u3051\u308b\u8a69\u4eba, pp.59-69.<\/li>\n<li>\u4e2d\u5ddd\u3000\u6b63\u5f18, \u5c0f\u8aac\u306e\u5236\u5ea6\u3068\u30ec\u30c8\u30ea\u30c3\u30af\uff0d\u30ed\u30d6\uff1d\u30b0\u30ea\u30a8\u306b\u304a\u3051\u308b\u8a9e\u308a\u3068\u52d5\u8a5e\u6642\u5236\u306e\u554f\u984c, pp.70-81.<\/li>\n<li><strong>\u66f8\u8a55<\/strong>\uff1a\n<ul>\n<li>\u539f\u91ce\u3000\u6607, \u65b0\u5275\u520a\u96d1\u8a8c\u7d39\u4ecb, pp.82-86.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>\u00a0<\/strong><\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B07_1988_Numero_special_en_lhonneur_du_Professeur_Tsuyoshi_SUGIYAMA\"><\/span>N\u00b07 (1988) : <strong>Num\u00e9ro sp\u00e9cial en l&#8217;honneur du Professeur Tsuyoshi SUGIYAMA<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Tsuyoshi SUGIYAMA, La fin d&#8217;une \u00e9poque, pp.1-3.<\/li>\n<li>Carri\u00e8re universitaire du Professeur Tsuyoshi SUGIYAMA et liste des livres et des articles qu&#8217;il a publi\u00e9, pp.4-7.<\/li>\n<li>Noboru HARANO, L&#8217;eau, dit-il, doit rester vive, pp.8-9.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<ul>\n<li>Jacques JARRY, Un &#8220;Nouveau Roman&#8221; grec; Samarakis, pp.10-18.<\/li>\n<li>Hideki MAEDA, Probl\u00e8me de <em>qualit\u00e9<\/em> chez Saussure, pp.19-25.<\/li>\n<li>Akimasa YOKOYAMA, SUPERVIELLE ou la perception de la vie, pp.26-34.<\/li>\n<li>Hiromi WATANABE, Une lecture mythologique de &#8220;B\u00e9atrix&#8221;, pp.35-53.<\/li>\n<li>Hiroyuki NARUSAWA, Gen\u00e8se psychologique de Fran\u00e7oise dans la <em>Recherche<\/em> , pp.54-68.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<p><strong>\u6749\u5c71\u6bc5\u6559\u6388\u5fa1\u9000\u5b98\u8a18\u5ff5\u53f7<\/strong><\/p>\n<ul>\n<li>\u6749\u5c71\u3000\u6bc5, \u4e00\u3064\u306e\u533a\u5207\u308a, pp.1-3.<\/li>\n<li>\u6749\u5c71\u6bc5\u5148\u751f\u306e\u7565\u6b74\u3068\u4e3b\u8981\u8457\u4f5c\u76ee\u9332, pp.4-7.<\/li>\n<li>\u539f\u91ce\u3000\u6607, \u6e05\u6d41, pp.8-9.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<ul>\n<li>Jacques JARRY, Un &#8220;NOUVEAU ROMAN&#8221; GREC; SAMARAKIS, pp.10-18.<\/li>\n<li>\u524d\u7530\u3000\u82f1\u6a39, \u30bd\u30b7\u30e5\u30fc\u30eb\u306b\u304a\u3051\u308b\uff1c\u8cea\uff1e\u306e\u554f\u984c, pp.19-25.<\/li>\n<li>\u6a2a\u5c71\u3000\u662d\u6b63, Jules SUPERVIELLE\u306e\u8a69\u3068\u751f\u547d\u628a\u63e1, pp.26-34.<\/li>\n<li>\u6e21\u90e8\u3000\u6d69\u898b, \u300e\u30d9\u30a2\u30c8\u30ea\u30af\u30b9\u300f\u306e\u795e\u8a71, pp.35-53.<\/li>\n<li>\u6210\u6ca2\u3000\u5e83\u5e78, \u30d5\u30e9\u30f3\u30bd\u30ef\u30fc\u30ba\u306e\u7cfb\u8b5c, pp.54-68.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B06_1987\"><\/span>N\u00b06 (1987)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Jacques JARRY, La notion d&#8217;individualit\u00e9 dans les litt\u00e9ratures japonaises et europ\u00e9ennes, pp.1-16.<\/li>\n<li>Ryuji TAIKO, L&#8217;\u00e9preuve de chastet\u00e9 dans <em>le Tristan en prose<\/em> , pp.17-29.<\/li>\n<li>Toshimi HORIGOME, Laclos : <em>les Liaisons Dangereuses<\/em> \u2013 le secret en tant que strat\u00e9gie narrative, pp.30-40.<\/li>\n<li>Akihiro ZENKE, Le probl\u00e8me de &#8220;R\u00e9alisme&#8221; dans <em>les Nuits d&#8217;Octobre<\/em> et son \u00e9volution, pp.41-54.<\/li>\n<li>Masaaki YOSHIDA, Obsc\u00e9nit\u00e9 de Rimbaud \u2013 une analyse d&#8217;<em>Un coeur sous une soutane<\/em> , pp.55-73.<\/li>\n<li>Mariko SHIGEMITSU, Wagner vu par Mallarm\u00e9, pp.74-91.<\/li>\n<li>Hiroyuki NARUSAWA, Fonction de l&#8217;artiste \u2013 de <em>Jean Santeuil<\/em> \u00e0 <em>A la recherche du temps perdu<\/em>, pp.92-108.<\/li>\n<li>Masahiro NAKAGAWA, Rh\u00e9torique et Fiction dans les romans d&#8217;Alain Robbe-Grillet, pp.109-126.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<ul>\n<li>Jacques JARRY, LA NOTION D&#8217;INDIVIDUALITE DANS LES LITTERATURES JAPONAISES ET EUROPEENNES, pp.1-16.<\/li>\n<li>\u592a\u53e4\u3000\u9686\u6cbb, \u300e\u6563\u6587\u30c8\u30ea\u30b9\u30bf\u30f3\u300f\u306b\u304a\u3051\u308b\u300c\u8c9e\u6f54\u306e\u8a66\u7df4\u300d, pp.17-29.<\/li>\n<li>\u5800\u7c73\u3000\u4fca\u7f8e, \u30e9\u30af\u30ed\u300e\u5371\u967a\u306a\u95a2\u4fc2\u300f\uff0d\u300c\u79d8\u5bc6\u300d\u306b\u3088\u308b\u6226\u7565, pp.30-40.<\/li>\n<li>\u5584\u5bb6\u3000\u660e\u5b8f, \u30cd\u30eb\u30f4\u30a1\u30eb\u300e10\u6708\u306e\u591c\u300f\u306b\u304a\u3051\u308b\u30ec\u30a2\u30ea\u30b9\u30e0\u6982\u5ff5\u3068\u305d\u306e\u9032\u5c55, pp.41-54.<\/li>\n<li>\u5409\u7530\u3000\u6b63\u660e, \u30e9\u30f3\u30dc\u30fc\u306b\u304a\u3051\u308b\u5351\u7325\u6027\uff0d\u300e\u50e7\u4fb6\u306e\u8863\u306e\u4e0b\u306e\u5fc3\u300f\u3092\u4e2d\u5fc3\u306b\u3057\u3066, pp.55-73.<\/li>\n<li>\u91cd\u5149\u3000\u30de\u30ea\u5b50, \u30de\u30e9\u30eb\u30e1\u306b\u304a\u3051\u308b\u30ef\u30b0\u30ca\u30fc, pp.74-91.<\/li>\n<li>\u6210\u6ca2\u3000\u5e83\u5e78, \u82b8\u8853\u5bb6\u306e\u767b\u5834\uff0d\u300e\u30b8\u30e3\u30f3\u30fb\u30b5\u30f3\u30c8\u30a5\u30a4\u30e6\u300f\u304b\u3089\u300e\u5931\u308f\u308c\u305f\u6642\u3092\u6c42\u3081\u3066\u300f\u3078, pp.92-108.<\/li>\n<li>\u4e2d\u5ddd\u3000\u6b63\u5f18, \u30a2\u30e9\u30f3\u30fb\u30ed\u30d6\uff1d\u30b0\u30ea\u30a8\u306e\u5c0f\u8aac\u306b\u304a\u3051\u308b\u30ec\u30c8\u30ea\u30c3\u30af\u3068\u865a\u69cb, pp.109-126.<\/li>\n<li>\u5831\u544a\uff1a \u539f\u91ce\u3000\u6607, \u7b2c7\u56de\u56fd\u969b\u52d5\u7269\u53d9\u4e8b\u8a69\u5b66\u4f1a, pp.127-128.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B05_1986\"><\/span>N\u00b05 (1986)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Jacques JARRY, <em>Le Ma\u00eetre et Marguerite<\/em>, un pr\u00e9curseur du Nouveau Roman, pp.1-11.<\/li>\n<li>Akihiro ZENKE, Quatre \u00e9pisodes ins\u00e9s\u00e9s dans le <em>Voyage en Orient<\/em> , pp.12-21.<\/li>\n<li>Hiroyuki NARUSAWA, Acheminement du <em>Contre Sainte-Beuve<\/em> , refl\u00e9t\u00e9 sur les lettres, pp.22-32.<\/li>\n<li>Takaaki SHIRAISHI, Structure narrative de Ma m\u00e8re, pp.33-42.<\/li>\n<li>Yosei MATSUMOTO, Instant privil\u00e9gi\u00e9 chez Albert Camus \u2013 &#8220;intervalle entre oui et non&#8221; \u2013 et sa transformation, pp.43-54.<\/li>\n<li><strong>Essai<\/strong> : Noboru HARANO, Collier d&#8217;anguilles ?, pp.55-64.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8211;<\/p>\n<ul>\n<li>Jacques JARRY, <em>LE MAITRE ET MARGUERITE<\/em> , UN PRECURSEUR DU NOUVEAU ROMAN, pp.1-11.<\/li>\n<li>\u5584\u5bb6\u3000\u660e\u5b8f, \u30cd\u30eb\u30f4\u30a1\u30eb\u300e\u6771\u65b9\u306e\u65c5\u300f\u306b\u633f\u5165\u3055\u308c\u305f\u56db\u3064\u306e\u30a8\u30d4\u30bd\u30fc\u30c9\u306b\u3064\u3044\u3066, pp.12-21.<\/li>\n<li>\u6210\u6ca2\u3000\u5e83\u5e78, \u66f8\u7c21\u304b\u3089\u307f\u305f\u300e\u30b3\u30f3\u30c8\u30eb\u30fb\u30b5\u30f3\u30c8\uff1d\u30d6\u30fc\u30f4\u300f\u57f7\u7b46\u306e\u8ecc\u8de1, pp.22-32.<\/li>\n<li>\u767d\u77f3\u3000\u656c\u6676, \u30b8\u30e7\u30eb\u30b8\u30e5\u30fb\u30d0\u30bf\u30a4\u30e6\u300e\u308f\u304c\u6bcd\u300f\u306e\u69cb\u9020, pp.33-42.<\/li>\n<li>\u677e\u672c\u3000\u967d\u6b63, \u30a2\u30eb\u30d9\u30fc\u30eb\u30fb\u30ab\u30df\u30e5\u306b\u304a\u3051\u308b\u7279\u6a29\u7684\u77ac\u9593\uff0d\u300c\u80af\u5b9a\u3068\u5426\u5b9a\u3068\u306e\u5408\u9593\u300d\uff0d\u3068\u305d\u306e\u5909\u5bb9\u306b\u3064\u3044\u3066, pp.43-54.<\/li>\n<li><strong>\u7814\u7a76\u4f59\u6ef4: <\/strong>\u539f\u91ce\u3000\u6607, \u3046\u306a\u304e\u306e\u9996\u98fe\u308a\uff1f, pp.55-64.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B04_1985\"><\/span>N\u00b04 (1985)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Jacques JARRY, Le &#8220;Paradoxe sur le com\u00e9dien&#8221; une oeuvre proph\u00e9tique, pp.1-13.<\/li>\n<li>Ryuji TAIKO, Deux \u00e9pisodes de Palam\u00e8de dans le <em>Tristan en prose<\/em> et les versions en vers du roman de Tristan, pp.14-25.<\/li>\n<li>Mariko OKUMURA, Le principe de composition et la correspondance entre le livre I et le livre II dans la premi\u00e8re \u00e9dition des <em>Essais<\/em> , pp.37-47.<\/li>\n<li>Hiromi WATANABE, R\u00e9cit(s) dans le r\u00e9cit de Balzac, pp.39-50.<\/li>\n<li>Noriyoshi HIRAYAMA, L&#8217;amour chez Villiers de l&#8217;Isle-Adam \u2013 Illusion et id\u00e9alisation, pp.51-61.<\/li>\n<li><strong>Essai :<br \/><\/strong>Tsuyoshi SUGIYAMA, &#8220;Le Colombier&#8221; sur un colline \u2013 Une journ\u00e9e avec Raymond JEAN, pp.62-70.<\/li>\n<li><strong>Compte rendu :<br \/><\/strong>Noboru HARANAO, Deux s\u00e9minaires d&#8217;\u00e9tudes m\u00e9di\u00e9vales, pp.71-75.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8211;<\/p>\n<ul>\n<li>Jacques JARRY, LE &#8220;PARADOXE SUR LE COMEDIEN&#8221; UNE OEUVRE PROPHETIQUE, pp.1-13.<\/li>\n<li>\u592a\u53e4\u3000\u9686\u6cbb, \u300e\u6563\u6587\u30c8\u30ea\u30b9\u30bf\u30f3\u300f\u306b\u304a\u3051\u308b\u30d1\u30e9\u30e1\u30fc\u30c9\u306e\u30a8\u30d4\u30bd\u30fc\u30c9\u3068\u4f1d\u7d71\u7684\u30c8\u30ea\u30b9\u30bf\u30f3\u7269\u8a9e, pp.14-25.<\/li>\n<li>\u5965\u6751\u3000\u771f\u7406\u5b50, \u300e\u30a8\u30bb\u30fc\u300f\u521d\u7248\u306b\u304a\u3051\u308b\u69cb\u6210\u539f\u7406\u53ca\u3073\u7b2c\u4e00\u5dfb\u3068\u7b2c\u4e8c\u5dfb\u306e\u5bfe\u5fdc\u95a2\u4fc2, pp.26-38.<\/li>\n<li>\u6e21\u90e8\u3000\u6d69\u898b, \u30d0\u30eb\u30b6\u30c3\u30af\u306b\u307f\u308b\u7269\u8a9e\u4e2d\u7269\u8a9e\u306b\u3064\u3044\u3066, pp.39-50.<\/li>\n<li>\u5e73\u5c71\u3000\u898f\u7fa9, \u30f4\u30a3\u30ea\u30a8\u30fb\u30c9\u30fb\u30ea\u30e9\u30c0\u30f3\u306b\u304a\u3051\u308b\u611b\uff0d\u5e7b\u60f3\u3068\u305d\u306e\u81f3\u9ad8\u6027, pp.51-61. \u30a8\u30bb\u30fc\u00a0:<br \/>\u6749\u5c71\u3000\u6bc5, \u4e18\u306e\u4e0a\u306e\u9ce9\u820e\uff0d\u30ec\u30fc\u30e2\u30f3\u30fb\u30b8\u30e3\u30f3\u3068\u306e\u4e00\u65e5\uff0d, pp.62-70.<\/li>\n<li>\u5831\u544a\uff1a<br \/>\u539f\u91ce\u3000\u6607, \u4e8c\u3064\u306e\u4e2d\u4e16\u95a2\u4fc2\u30bb\u30df\u30cd\u30fc\u30eb, pp.71-75.<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B03_1984\"><\/span>N\u00b03 (1984)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<dl>\n<dt>\n<ul>\n<li>Jacques JARRY, Le r\u00e9gionalisme et P\u00e9rochon, pp.1-10.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>Mariko OKUMURA, Autre signification des additions et des corrections dans les <i>Essais<\/i>, pp.11-23.<\/li>\n<\/ul>\n<\/dt>\n<dt><\/dt>\n<dt>\n<ul>\n<li>Shimahiko MIKI, Le sentiment religieux chez Moli\u00e8re, pp.24-34.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>Masaaki YOSHIDA, Sur deux textes des <i>Illuminations<\/i> intitul\u00e9s, pp.35-45.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>Masahiro NAKAGAWA, Le manque dans <i>Le Voyeur<\/i> : Dialectique de la pr\u00e9sence et de l&#8217;absence, pp.46-56.<\/li>\n<\/ul>\n<\/dt>\n<dt><\/dt>\n<dt><\/dt>\n<dt><\/dt>\n<\/dl>\n<ul>\n<li>Compte rendu :<br \/>Noboru HARANO : Jean Charles PAYEN, <i>Litt\u00e9rature fran\u00e7aise<\/i> , I. Le Moyen \u00c2ge, Paris (Arthaud), 1984, pp.57-59.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8211;<\/p>\n<dl>\n<dt>\n<ul>\n<li>Jacques JARRY, LE R\u00c9GIONALISME ET PEROCHON, pp.1-10.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>\u5965\u6751\u3000\u771f\u7406\u5b50,\u300e\u30a8\u30bb\u30fc\u300f\u306b\u304a\u3051\u308b\u5897\u88dc\u4fee\u6b63\u306e\u3082\u3046\u4e00\u3064\u306e\u610f\u7fa9, pp.11-23.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>\u4e09\u6728\u3000\u5cf6\u5f66, \u30e2\u30ea\u30a8\u30fc\u30eb\u306e\u5b97\u6559\u611f\u60c5, pp.24-34.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>\u5409\u7530\u3000\u6b63\u660e,\u300e\u30a4\u30ea\u30e5\u30df\u30ca\u30b7\u30aa\u30f3\u300f\u306e\u4e8c\u3064\u306e\u300e\u8857\u3005\u300f\u3092\u3081\u3050\u3063\u3066, pp.35-45.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>\u4e2d\u5ddd\u3000\u6b63\u5f18, \u300e\u8997\u304f\u4eba\u300f\u306b\u304a\u3051\u308b\u7a7a\u767d\uff0d\u5b58\u5728\u3068\u4e0d\u5728\u306e\u5f01\u8a3c\u6cd5, pp.46-56.<\/li>\n<\/ul>\n<\/dt>\n<dd><\/dd>\n<dt><\/dt>\n<\/dl>\n<ul>\n<li><img decoding=\"async\" src=\"file:\/\/\/Users\/mnbeauvieux\/Downloads\/home.hiroshima-u.ac.jp\/france\/ball-yellow.gif\" align=\"left\" \/>\u7d39\u4ecb\uff1a<br \/>\u539f\u91ce\u3000\u6607, Jean Charles PAYEN, <i>LITTERATURE FRANCAISE<\/i> , I. LE MOYEN AGE, Paris (Arthaud) 1984, pp.57-59.<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B02_1983\"><\/span>N\u00b02 (1983)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<dl>\n<dt>\n<ul>\n<li>Yoya NAITO, PROUST, BERGSON et L&#8217;ESPACE, pp.1-13.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>Masaaki YOSHIDA, Images du &#8220;mouvement&#8221; dans les <i>Illuminations<\/i> _ Dynamisme chez Rimbaud _, pp.14-25.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>Mariko SHIGEMITSU, Une F\u00eate : <i>Igitur<\/i>, pp.26-35.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>Takaaki SHIRAISHI, BATAILLE contre\/et BRETON _ sur <i>Documents<\/i> et <i>Second manifeste du surr\u00e9alisme<\/i> _, pp.36-45.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>Masahiro NAKAGAWA, <i>La Jalousie<\/i> de Robbe-Grillet : le texte et la fiction, pp.46-56.<\/li>\n<\/ul>\n<\/dt>\n<\/dl>\n<ul>\n<li>Compte rendu :<br \/>Noboru HARANO : Daniel POIRION, <i>Le merveilleux dans la litt\u00e9rature fran\u00e7aise du moyen \u00e2ge<\/i> , pp.57-59.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-<\/p>\n<dl>\n<dt>\n<ul>\n<li>Yoya NAITO, PROUST, BERGSON et L&#8217;ESPACE, pp.1-13.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>\u5409\u7530\u3000\u6b63\u660e, \u300e\u30a4\u30ea\u30e5\u30df\u30ca\u30b7\u30aa\u30f3\u300f\u306b\u304a\u3051\u308b\uff1c\u904b\u52d5\uff1e\u306e\u30a4\u30de\u30fc\u30b8\u30e5, pp.14-25.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>\u91cd\u5149\u3000\u30de\u30ea\u5b50, \u796d\u308a\u300e\u30a4\u30b8\u30c1\u30e5\u30fc\u30eb\u300f, pp.26-35.<\/li>\n<\/ul>\n<\/dt>\n<dt>\n<ul>\n<li>\u767d\u77f3\u3000\u656c\u6676, \u30d0\u30bf\u30a4\u30e6\u5bfe\uff0f\u3068\u30d6\u30eb\u30c8\u30f3\uff0d\u300e\u30c9\u30ad\u30e5\u30de\u30f3\u300f\u3068\u300e\u30b7\u30e5\u30fc\u30eb\u30ec\u30a2\u30ea\u30b9\u30e0\u7b2c\u4e8c\u5ba3\u8a00\u300f\u3092\u3081\u3050\u3063\u3066, pp.36-45.<\/li>\n<\/ul>\n<\/dt>\n<dt><\/dt>\n<dt>\n<ul>\n<li>\u4e2d\u5ddd\u3000\u6b63\u5f18, \u300e\u5ac9\u59ac\u300f\u306b\u304a\u3051\u308b\u30c6\u30af\u30b9\u30c8\u3068\u865a\u69cb, pp.46-56.<\/li>\n<\/ul>\n<\/dt>\n<dt><\/dt>\n<dt><\/dt>\n<dt><\/dt>\n<dt><\/dt>\n<\/dl>\n<ul>\n<li>\u7d39\u4ecb\uff1a<br \/>\u539f\u91ce\u3000\u6607, Daniel POIRION, <i>LE MERVEILLEUX DANS LA LITTERATURE FRANCAISE DU MOYEN AGE<\/i> , Paris (P.U.F., &#8220;Que sais-je?&#8221;)1982, pp.57-59.<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"N%C2%B01_1982\"><\/span>N\u00b01 (1982)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li>Hiromi WATANABE,Quelques remarques sur la description dans <i>Le Cur\u00e9 de village<\/i>, pp.1-12.<\/li>\n<li>Mariko SHIGEMITSU,D&#8217;<i>Heroiade<\/i> \u00e0 <i>Igitur<\/i> Les yeux qui voient et les choses vues, pp.13-26.<\/li>\n<li>Nozomi WATANABE,Le discours des personnages dans <i>Paludes<\/i> , pp.27-37.<\/li>\n<li>Takaaki SHIRAISHI,Le discours chez Georges Bataille, pp.38-47.<\/li>\n<li>Compte-rendu :<br \/>Noboru HARANO : Rapport du 4e Colloque international de l&#8217;\u00c9pop\u00e9e animale, Fable et Fabliau, pp.48-50.<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8211;<\/p>\n<ul>\n<li>\u6e21\u90e8\u3000\u6d69\u898b,\u300e\u6751\u306e\u53f8\u796d\u300f\u8a66\u8ad6\uff0d\u53d9\u8ff0\u3092\u901a\u3057\u3066, pp.1-12.<\/li>\n<li>\u91cd\u5149\u3000\u30de\u30ea\u5b50,\u300e\u30a8\u30ed\u30c7\u30a3\u30a2\u30fc\u30c9\u300f\u304b\u3089\u300e\u30a4\u30b8\u30c6\u30e5\u30fc\u30eb\u300f\u3078\uff0d\u898b\u308b\u3082\u306e\u3068\u898b\u3089\u308c\u308b\u3082\u306e\uff0d, pp.13-26.<\/li>\n<li>\u6e21\u90e8\u3000\u671b,\u30a2\u30f3\u30c9\u30ec\u30fb\u30b8\u30c3\u30c9\u300e\u30d1\u30ea\u30e5\u30fc\u30c9\u300f\u306e\u8a00\u8449, pp.27-37.<\/li>\n<li>\u767d\u77f3\u3000\u656c\u6676,\u30b8\u30e7\u30eb\u30b8\u30e5\u30fb\u30d0\u30bf\u30a4\u30e6\u306e\u30c7\u30a3\u30b9\u30af\u30fc\u30eb, pp.38-47.<\/li>\n<li>\n<dl>\n<dt><\/dt>\n<\/dl>\n<p>\u5831\u544a\uff1a\u539f\u91ce\u3000\u6607,\u7b2c4 \u56de\u52d5\u7269\u53d9\u4e8b\u8a69\u5b66\u4f1a\u5831\u544a, pp.48-50.<\/p>\n<dl>\n<dt><\/dt>\n<\/dl>\n<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n\n\n<hr class=\"wp-block-separator\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Le groupe de recherche en langue et litt&hellip;&nbsp;<a href=\"https:\/\/france.hiroshima-u.ac.jp\/?page_id=639\" class=\"more-link\">Read 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