ブックタイトルRILAS 早稲田大学総合人文科学研究センター研究誌

概要

RILAS 早稲田大学総合人文科学研究センター研究誌

WASEDA RILAS JOURNAL広場NO.ある3い(2015.は<神10)の死>の劇場―ジョルジュ・バタイユ「オベリスク」読解―広場あるいは<神の死>の劇場──ジョルジュ・バタイユ「オベリスク」読解──吉田隼人A Reading on Georges Bataille’s≪L’obelisque≫Hayato YOSHIDAAbstractGeorges Bataille (1898-1962), a French writer, wrote an article titled≪L’obelisque≫for the magazineMESURE in 1938. We read this article as a philosophical approach to architecture and space, because it isnot enough to read it according to some former studies, in terms of only Bataille’s problematic criticism ofthe philosophy of Nietzsche and Hegel. In≪L’obelisque,≫by using Hegel’s architectural theory in hiswork Aesthetics Lectures, Bataille describes the public place of Concorde in relation to the symbolic significanceof≪L’obelisque,≫a term that had been transferred from Egypt, and his profound reflection reachesthe hypothesis that≪La place de la Concorde≫is not only the place where King Louis XVI was killed byFrench citizens at the time of the Revolution, but also the model of a public place that is supposed to havebeen where the Death of God was announced by a crazy man in the 125th aphorism of Nietzsche’s book, LaGaya Scienza. Our reading makes it clear that Bataille’s complex writing in his article is based on the originaldualism he sets up between two symbolic motifs, stone and fire, or between what are for him twoimportant thinkers, Hegel and Nietzsche. We can also find the development of this dualism in his later worksconcerning the theme of architecture, for example, La souverainete (1958). In conclusion, according to ourreading, Bataille’s own theory of architecture and space could be understood as having the appearance of akind of theatrical space, which could be called as≪theatre≫or≪scene≫in a public place. This perspectivecould be connected to one of his most important concepts, Theatricality (theatralite).はじめに本稿でわれわれはジョルジュ・バタイユが1938年4月に『ムジュール』誌4年次第2号に発表した論考「オベリスク」について検討する。この論考は表題の通りパリのコンコルド広場にそびえるオベリスクを思考の発端に据えつつも、議論は錯綜しながらニーチェ論、ヘーゲル論へと飛躍していき、全体として捉えどころがないという印象を与えるテクストである。今回われわれは「オベリスク」を、バタイユのニーチェ受容ないしヘーゲル受容といった哲学史的な文脈の補助線として読むのではなく、ドゥニ・オリエがその記念碑的バタイユ論『コンコルドの占拠』で提示した「建築」ないし「空間」の主題系に連なる重要なテクストとして詳細な読解を試みる。1.対立とヴィジョンの思考または「貝と鳥」論考「オベリスク」は12の短い断章によって構成される。この第一章では第一節「オベリスクとピラミッド」で最初の5断章を、第二節「神と時間」63