ããã«ãã£ããŒã¯ç§»æ°ã®äž¡èŠªã®ããšã«çãŸãããžã£ãã¯ã»ã¯ã«ã·ã«ïŒJacques CoursilïŒ1938-ãããªåºèº«ïŒã¯ã»ã»ãäžçã®çŽ æãæ··åããä»æ¥ã®äººé¡ã®è«žæåãçµåããå€åãããæŒããšã©ãé£ãããã»ã¹ãïŒãšãã¥ã¢ãŒã«ã»ã°ãªããµã³ãå šâäžçè«ïŒTRAITà DU TOUT-MONDEïŒïŒ2000幎ãã¿ããæžæ¿åãæåãäžçã®å«ã³ãããïŒã»ã»ãšããŠã®creolizationïŒã¯ã¬ãªãŒã«åïŒã®äžã§çããé³æ¥œå®¶ïŒ1960幎代ã«ã¯ãã¥ãŒãšãŒã¯ã»ãžã£ãºã·ãŒã³ã«ãããŠã¢ããã»ãã¬ã³ãã»ãã©ã³ããã¿ãŒãšç§°ãããŠãµããŒã»ãã¬ã€ãã¢ã«ããŒãã»ã¢ã€ã©ãŒãã¢ã³ãœããŒã»ãã©ã¯ã¹ãã³ããšãå ±æŒïŒã«ããŠãèšèªåŠã»æ°çè«çåŠã®ç 究è ã
ããã®ãžã£ãã¯ã»ã¯ã«ã·ã«ã«ããæè¿ã®æŒå¥ïŒãã©ã³ãããïŒãCDã§èŽããããCLAMEURSãïŒRecorded : 2006ïŒïŒãTRAILS OF TEARSãïŒRecorded : 2008-2009 ïŒïŒãFREE JAZZ ARTãïŒRecorded : 2011ïŒã®ïŒæã ãããã®ãã¡ãCLAMEURSããšãTRAILS OF TEARSãã¯ãç¹çŽ°äžã€åŒ·éãªé³æ¥œæ§ãšãšãã«ãæ玢çã«ãæ·±ãæéãåããæŒå¥ã ïŒãããã®CDãåœå ç€ã¯æªçºå£²ã ãAmazonã»HMVçã§å ¥æå¯èœïŒã
ãææ°äœã®ãFREE JAZZ ARTãã¯ããããŒã¹ã®ã¢ã©ã³ã»ã·ã«ãïŒAlan SilvaïŒ1939-ïŒãšã®ãã¥ãªæŒå¥ã§ãããªãŒãžã£ãºã»ãã©ã³ãºãã¿ãŒã®ãã«ã»ãã£ã¯ãœã³ïŒBill DixonïŒ1925-2010ïŒãžã®ãªããŒãžã¥ã»ã¢ã«ãã çãªäœåãã¢ã«ãã ã»ã¿ã€ãã«ã©ããFREEãªå³èçæŒå¥ã§ããããä»åèŽããïŒæã®CDã®äžã§ã¯ãæããªãŒãœããã¯ã¹ãªJAZZãšãèšããå 容ã1960-70幎代ã®JAZZãèŽããŠããç§ã«ã¯æãããå°è±¡ãªã®ã ããåŸè¿°ãããCLAMEURSãããTRAILS OF TEARSããšèŽãæ¯ã¹ããšãããå調ãšãããåé·ãªå°è±¡ã
ããCLAMEURSãã¯ããã¢ã³ã·ã§ã¢ã·ïŒMonchoachiïŒ1949-ãïŒããã©ã³ãã»ãã¡ãã³ïŒFrantz Omar FanonïŒ1925-1961ïŒããšãã¥ã¢ãŒã«ã»ã°ãªããµã³ïŒÃdouard GlissantïŒ1928â2011ïŒãšããããããããã«ãã£ããŒã¯åºèº«ã®äœå®¶ã»ææ³å®¶ãã«ããã«ãªãæµ·åå島ã端ç·ãšããcreolizationïŒã¯ã¬ãªãŒã«åïŒã®æ§çžãè¡šçŸããèšèããããŠã6äžçŽã¢ã©ãã¢ã®ã¢ã³ã¿ã«ïŒã¢ã³ã¿ã©ã»ã€ãã³ã»ã·ã£ãããŒããAntarah ibn ShaddadïŒ525-615ã608?ãïŒã«ããèšèãã¢ãã£ãŒããšããã
ããã®CDã¯ã»ã»ãQUATRE ORATORIOS POUR TROMPETTE ET VOIXïŒFOUR ORATORIOS FOR TRUMPET AND VOICEïŒãã©ã³ããããšå£°ã®ããã®ïŒã€ã®ãªã©ããªãªïŒãã»ã»ãšã®ãµãã¿ã€ãã«ãä»ãããŠãããéããªåããšå»ããšããŠè°ºãããžã£ãã¯ã»ã¯ã«ã·ã«ã®ãã©ã³ãããæŒå¥ãšæå±ãäžå¿ã«ãããŒã¹ã»ããŒã«ãã·ã§ã³ã»ã³ãŒã©ã¹ã®æŒå¥ãéãåãããŠããæ¿å¯ãªâé³æ¥œäœåâã ã
ããã®ãCLAMEURSãã§ãªã©ããªãªãšããŠæå±ãããïŒã€ïŒïŒäººïŒã®èšèïŒè©©ïŒã«ã€ããŠããã®æŠç¥ãæŒå¥é ã«çŽ¹ä»ããããç§ãªãã«ç解ãå¿ã«çãŸã£ãäžç¯ïŒ1.3.ã¯CDæ·»ä»ã®ãã©ã³ã¹èªèš³ã2.4.ã¯æå±ãããŠããåæã®ãã©ã³ã¹èªïŒãšæ¥æ¬èªèš³ïŒ»1.3.4.ã¯ç§çæèš³ã2.ã¯ãé»ãç®èã»çœãä»®é¢ïŒ1998ãã¿ããæžæ¿åãã®èš³ïŒœãä»èšããââââ
1. ã¢ã«ãã ã»ã¿ã€ãã«ã§ãããã¢ã³ã·ã§ã¢ã·ã®ãWélélé NouïŒNos ClameursïŒOur ClamorsïŒæã ã®å«ã³ïŒïŒœãšããã¯ã¬ãªãŒã«èªã«ããè©©ãã»ã»
ã»ã»ãjusquâau bout de notre propre mort mêmeïŒæãèªèº«ãæ»ã«æãŠããŸã§ïŒããDétresse et envie de renaîtreïŒèŠæ©ãšçãŸãå€ããã®æã¿ïŒã
2. ã¢ã«ãžã§ãªã¢æ°æ解æŸæŠç·ã«åå ããææ³å®¶ã»ç²Ÿç¥ç§å»ã§ãããã©ã³ãã»ãã¡ãã³ã®ãPeau Noire , Masques BlancïŒBlack Skin ,White MasksïŒé»ãç®èãçœãä»®é¢ïŒãããã®ãã©ã³ã¹èªã«ããèšèã
ã»ã»ãPas de monde blanc, pas d'éthique blanche, pas d'intelligence blanche.ïŒçœãäžçã¯ãªããçœãå«çã¯ãªãããŸããŠãçœãç¥æ§ã¯ãªãïŒãã Il y a de part et dâautre du monde des humains qui cherchent. ïŒäžçã®ããããšããã«æ¢ãæ±ããŠãã人éãã¡ãããïŒã
3. ç§ã«ã¯ã»ãšãã©æªç¥ã®ã¢ã³ã¿ã«ïŒAntarahïŒ ã ãžã£ãã¯ã»ã¯ã«ã·ã«èªèº«ãæžãããšæãããCDãžã£ãã±ããã®è§£èª¬ã§ã¯ïŒ»Antarãšè¡šèšããäžã§ã»ã»ãa great poet and legendary hero of the pre-Islamic period, was a black slave "with a split lip".ãã»ã»ãšããããªãããªã ã¹ããŒïŒã³ã«ãµã³ãã®äº€é¿çµæ²ã®æšé¡ãšããªã£ãŠããããã ãç§ã¯æªèŽ ã ã«ããã¢ã©ãã¢èªã®è©©ã
ã»ã»ãIgnorants, ils blâment le noir de ma peauïŒç¡ç¥ã«ãããç®èã®é»ãããšãããããïŒããOr sans noir lâaube ne paraît [pas] dans la nuitïŒã ããéå€ã®é»ããªãã«å€æãã¯çŸããªãã®ã ïŒã
4. ãšãã¥ã¢ãŒã«ã»ã°ãªããµã³ã®ãL'Archipel Des Grands ChaosïŒThe Great Chaos ArchipelagoïŒå€§ããªã«ãªã¹ã«ãããããå島ïŒãããã®ãã©ã³ã¹èªã«ããè©©ã
ã»ã»ãLes Grands chaos sâen sont venusïŒå€§ããªã«ãªã¹ã蚪ããïŒããIl nâest tempêtes que de sangïŒè¡ã®æµãã¬åµã¯ãªãã»ã©ã«ïŒããLa race blanche des frégatesïŒè»èŠã«ä¹ã£ãçœäººã ïŒã
ããããã®æå±ãããŠããèšèã®æå³ã¯ãç§ã«ã¯ããäžéšã®ãã©ã³ã¹èªãé€ããŠã»ãšãã©èŽãåããªããæå±ããã¹ãã®åæã»ä»æã»è±æã¯CDä»å±ã®pdfãã¡ã€ã«ãšããŠèŠãããšãåºæ¥ãããã©ããã§åœå ç€ãåºããšãšãã«ããã®éã«æå±ããã¹ãã®æ¥æ¬èªèš³ãšè§£èª¬ãä»çŠéŸå€ªæ°ããããæ åœã»æ²èŒããŠæ¬²ããã®ãã®ã ïŒããŸãããŒãºã¯ãªãã ãããããããâæåâãšãããã®ã ããïŒã
ããããããã®ãCLAMEURSãã§ã¯ãâé³æ¥œäœåâãšããŠã®éèŠãªã¢ãã£ãŒããšãªãæå±ã®æå³ãã»ãšãã©èŽãåããªãã«ãããããããããããèšèãã¡ãããžã£ãã¯ã»ã¯ã«ã·ã«ãã®æŒå¥ãšãšãã«ãå£æ¿ãããèšéãšãªã£ãŠé¬Œæ°è¿«ãã»ã©ã«é¿ãã®ã ã
ããCLAMEURSãã®ãžã£ãã±ããã«èšããããžã£ãã¯ã»ã¯ã«ã·ã«ã®èšèã»ã»ãThe slave's cry, the shout of the oppressed, strangles in his throat. If he cries out, he's beaten, dead â the shout is a free man's privilege. In the language of poets, the tight cry has been transformed into the written word.ãã»ã»ã®ããšãããthe written wordïŒæžãããã³ããïŒãã®äžã«çœ®ãæããããæ³£ã声ããèŽããããŸãã»ã»ãThe four oratorios for trumpet and voice that make up CLAMEURS restore the world-cry of these poets in their own tongues, Creole, French and Arabic. But this clamour is neither a lament nor hatred.ãã"In this world where things hurt," wrote Frantz Fanon, "truth has no need to be flung in men's faces." It has to be sought out and sung: its place is in music.ãã»ã»ãšããããã«ããæ²åã§ããªãææªã§ããªãå«ã³å£°ããšããŠããé³æ¥œã®äžã«çå®ã®å£°ããšãªã£ãïŒã€ã®ãªã©ããªãªïŒœãç§ã®å¿éã«æ»²ã¿èŸŒãã§ããã
ããTRAILS OF TEARSãã§ã¯ãããžã£ãã¯ã»ã¯ã«ã·ã«ã®ä»ã«ããŒã¹ã®ã¢ã©ã³ã»ã·ã«ãããã©ã ã¹ã®ãµããŒã»ãã¬ã€ïŒSunny MurrayïŒ1936-ïŒãªã©ïŒåãåå ããŠããã匷ãé³æ¥œçã€ã¡ãŒãžãšãšãã«ããCLAMEURSããšåæ§ãæ·±ãææ³çã€ã¡ãŒãžããåèµ·ããåæ çäžã€åäºçãªæŒå¥ãèŽããã
ããã®CDãžã£ãã±ããã«èšããããžã£ãã¯ã»ã¯ã«ã·ã«èªèº«ã®èšèã»ã»ãTrails of Tears is a poem in music written in seven titles that run down long trails of tears, the traces of the forced exoduses in world history. I must stress here the last act in the wars of resistance fought by the peoples of North America, in counterpart to the African slave-trade.ãã»ã»ã«ããããã«ããã®ãTRAILS OF TEARSãã¯ãã1883幎ã«ã¢ã¡ãªã«åè¡åœæ¿åºããã§ãããŒæãæ¬æ¥ã®å± äœå°ã§ãã倧éžæ±éšïŒãžã§ãŒãžã¢ïŒããå± çå°ïŒãªã¯ã©ããïŒãžãšæ ¹ãããã§ã匷å¶ç§»åããããããå米倧éžã«ãããæ€æ°å°æ¯é ã®ããšãæŽåçã«åŒ·ãããããexodusesïŒãšã¯ãœãã¹ïŒããããŒããšããŠããã
ããTRAILS OF TEARSãã«ãžã£ãã¯ã»ã¯ã«ã·ã«ãäœæ²ã»åé²ããïŒæ²ã«ã€ããŠã圌èªèº«ã次ã®ããã«ä»èšããŠããã»ã»ãâ - Nunna Daul SunyïŒThe trail where we weptïŒsummarizes the tears of the conquered people who were deported, tears without waters, dry-eyed and in silence.ïŒâ ¡ - Tagaloo, Georgia is the name of a place lost forever in this uprooting with no return, the end of a world.ïŒâ ¢ - Tahlequah, Oklahoma is the end of a voyage for those who survived.ïŒâ £&â € - Free Jazz Art, the Removal Act â &â ¡ relates what remains of the revolt against the greatest conquering enterprise in history, the colonial adventure, the Wars of the Whole World. ïŒâ ¥&â Š - are the African response to the exodus of the Indians. ãã»ã»ããããèšèãããããžã£ãã¯ã»ã¯ã«ã·ã«ããã®CDã«èŸŒãã匷ãæ³ããç¥ãããšãã§ããã
ããTrails of TearsïŒæ¶ã®éïŒãã¯ãæ¯é ã»æå§è åŽã®èšèïŒè±èªïŒãšããŠãâæŽå²âãžãšå®¢äœåãããécritureïŒãšã¯ãªãã¥ãŒã«ïŒæžãããã³ããïŒã§ãããæ¶ãããã§ãããŒæãã¡ã®å§¿ãæ°é ãæ¶ãããŠããã
ãäžæ¹ããã®æ¥œæ²è§£èª¬ã§ãžã£ãã¯ã»ã¯ã«ã·ã«ãåŒçšãããã§ãããŒæã®èšèã§ãããNunna Daul SunyiãïŒãThe trail where we weptïŒæã ãæ³£ããéïŒãã¯ã被æ¯é ã»æµæè åŽã®èšèãšããŠãâåäºâã®ãŸãŸã«äž»äœåãããparoleïŒãããŒã«ïŒèšïŒã§ããã»ã»ã15,000åã®ãã§ãããŒæã®ãã¡ããã4,000åããã®éäžã§äº¡ããªã£ããã»ã»ãšäŒãããã»ã»ãtears without waters, dry-eyed and in silenceïŒãã æŒãé»ã也ããæ¶ããæµããªãïŒãã»ã»ã»ã©ã®èé ·ãªè¿«å®³ã«ã€ããŠãæ€æ°å°äžã§ã®âæ¯é ã»æå§è âã®æ¬²æãšæŽåããããŠããã®æ€æ°å°äžã§ã®ãã§ãããŒæãã¡å米倧éžå äœæ°æïŒã€ã³ãã£ã¢ã³ïŒã®â被æ¯é ã»æµæè âãšããŠã®æ²åãšèŠæ©ã匷ãäŒããããthe African response to the exodus of the IndiansããšããŠãthe African slave-tradeïŒã¢ããªã«äººå¥Žé·è²¿æïŒãã«ã匷ãæåãããžã£ãã¯ã»ã¯ã«ã·ã«ã®å¿éããããŠäœãããããã®CDã®é³æ¥œè¡šçŸã®å å®ã«ãŸã£ããã«ç¹ããã
ããTrails of TearsïŒNunna Daul Sunyiããäž»é¡ãšãªããTRAILS OF TEARSãã§ã®æŒå¥å 容ã¯ã確ãã«èŠæ©ãšæ²åã«æºã¡ãŠããããžã£ãã¯ã»ã¯ã«ã·ã«ã®å¿éã¯ãèžã®å¥¥åºããåå ãžããããŠããã©ã³ãããã®ããŠã¹ããŒã¹ããå€éšãžãšã絶ããããšã®ãªãéããé³ã®è°ºãšããŠéãã«åãå»ãããããããã®é³åŸã¯ããã åã«ååãªåæ ã§ã¯ãªãããå ã®ãCLAMEURSãã«ããããžã£ãã¯ã»ã¯ã«ã·ã«ã®èšèã»ã»ãthis clamour is neither a lament nor hatredãã»ã»ãšãåŒå¿ããããšããåæ ã»ææ«ã»ææªã«ç¹ããé¡ãã§ã¯ãªãã
ããCLAMEURSããšãTRAILS OF TEARSãã§ããéãã«æ·±ãéé¿ãããžã£ãã¯ã»ã¯ã«ã·ã«ã®é³åŸãšå£°ã¯ã»ã»ãtears without waters, dry-eyed and in silenceãã»ã»ãšããŠãâæ¯é è âãèªã倧æåãšããŠã®ãæŽå²ããè¶ ããŠãâæµæè âããæ²é»ãã®å ã«çããæ空ãæ±ããŠããããã®ããã«ããŠããCLAMEURSããšãTRAILS OF TEARSãã®æŒå¥ãèŽããŠç§ãæåããææ³çã€ã¡ãŒãžãšã¯ãããããããã®ãæ²é»ãã®å£°ãoralityïŒãªã©ãªãã£ïŒå£æ¿ïŒãšããŠèããéèŠãããã¯éèŽã®ããšãç§ã®å ã«çµã°ããåãªã®ã ã
ããããŠããã®ãæ²é»ãã®å£°ã«ã¯ããããæ³£ãå ±ã«åŸ®ç¬ããã®ãããªãååãè¶ ããâæµæâã®é¿ããšâæ æ²âã®éŠããšãçºãä»ãããTRAILS OF TEARSãã®ãžã£ã±ããã«ãšãã¥ã¢ãŒã«ã»ã°ãªããµã³ãå¯ããŠããèšèã»ã»ãCoursil moves times aside from us. I mean to say, we learn with him to measure that time which comes to us from distant silence, ããThis time which moves aside so slowly is the time of our awakening.ã ã»ã»ãšãšãã«ãç§ã¯ãæµæãšæ æ²ããžã®ç®èŠãïŒthe time of our awakeningïŒãšããææ³çã€ã¡ãŒãžãéãåãããã
ãããã«ãç§ã®äžã§ãã®ãæµæãšæ æ²ããžã®ç®èŠãã¯ããããªãã¯ã»ã·ã£ã¢ã¯ãŸãŒïŒPatrick ChamoiseauïŒ1953âããã«ãã£ããŒã¯åºèº« ïŒããå±ããã»ã»æ€æ°å°åãããå°åã«ããããè«žã ã®æåèŠçŽ ã®çžäºäº€æçãªãçžäºæµžéçãªéåäœããäžã€ã®äžè¯é¡çãªå šäœæ§ãããªãã¡ãä¿æãããå€æ§æ§ã«å¯Ÿããéå šäœäž»çŸ©çãªæèãã誀ã£ãæ®éæ§ãåäžèšèªäž»çŸ©ãçŽç²ããæç Žãããã®ãïŒãããªãã¯ã»ã·ã£ã¢ã¯ãŸãŒä»ãã¯ã¬ãªãŒã«ç€Œè³ïŒÃLOGE DE LA CRÃOLITÃïŒïŒ1997ãå¹³å¡ç€Ÿåãæåãã¯ã¬ãªãŒã«æ§ãããïŒã»ã»ãšããŠã®créolitéïŒã¯ã¬ãªãŒã«æ§ïŒã®èŠéãžãšããããŠããã®créolitéã®ãå šâäžçãçãªèŠéãšããŠã®creolizationïŒã¯ã¬ãªãŒã«åïŒãžãšéåºããŠããã
ãä»èšãcréolitéãšcréolitéã«é¢ããŠããšãã¥ã¢ãŒã«ã»ã°ãªããµã³ãªã©ã¯å¥ã®æŠå¿µãšããŠè«ããŠããããããã§ãã¯ã¬ãªãŒã«ãã«é¢ããåŠç©¶çèå¯ããããèš³ã§ã¯ãªãã®ã§æ·±å ¥ãããªãã
ãç§ã¯ãããžã£ãã¯ã»ã¯ã«ã·ã«ã®æŒå¥ã«æ¥ããçŸä»£ã«ãããé³æ¥œè¡šçŸã®ããæ¹ïŒïŒ»æµæãšæ æ²ãšããŠã®é³åŸïŒœãšãšãã«ãçŸä»£äžçãçµæžã»ç€ŸäŒã»æåã®å šé¢ãããŠç Žå£çã»ç Žæ» çã«åžå·»ããã°ããŒãã«åïŒmondialisationïŒglobalizationïŒã®ãªã«ã¿ããã£ããªã«ãŠã³ã¿ãŒã«ã«ãã£ãŒãšããŠãã¯ã¬ãªãŒã«åïŒcreolizationïŒãã¯ã¬ãªãŒã«æ§ïŒcréolitéïŒãšãããã®ãå å ãããã¹ãã³ããã¢ãªãºã ïŒpost-colonialismeïŒã®ãå šâäžçãçãªããæ¹ïŒïŒ»æµæãšæ æ²ãšããŠã®é¢ä¿ïŒœãæ³ãã
ãã°ããŒãã«åãããçŸä»£ãšã¯ã»ã»ãä»æ¥ãã©ãã ãã®è¿œãã€ããããå ±åäœããæ¬è³ªçãªåè£ãèªå·±åäžæ§ã®ã¢ããŒããŒãåœå®¶ãšææ¡ã®æŠäºãããããã¯ãæŠåã«ããåžåœçå¹³åããããã¯ãããããäºè±¡ã«å šäœäž»çŸ©çãã€ä¿è·äž»çŸ©çãªåŒ·å€§ãªãåžåœããæªå®ããããã«ãªå£ããããäžç«æ§ãã®äºè æäžãããŸãããŠããããšãããã¢ã€ãã³ãã£ãã£ãŒãå¯äžã®æ ¹ã«æ±ããèãæ¹ããããããå ±åäœãä»ã®å ±åäœã«é·å±ãããããŸãã圌ãã®è§£æŸã®éããæ ¹æ ã¥ããŠãããïŒãå šâäžçè«ïŒTRAITà DU TOUT-MONDEïŒïŒ2000幎ãã¿ããæžæ¿åãæåãäžçã®å«ã³ãããïŒã»ã»ãšããŠããšãã¥ã¢ãŒã«ã»ã°ãªããµã³ãèšãäžçã§ããããã®ãæ ¹ãšããŠã®ã¢ã€ãã³ãã£ãã£ãŒããšã¯ãããããã°ããŒãã«åã®å°ççäžã€äººé¡çãªå±æ©ã®æ圱ã§ããã»ã»ããã·ã§ããªã¹ãã®æ¬²æ±äžæºã®ååž°ãšã匷è ãã®äžæ¯ãªäžçå¹³åãïŒåäžæžããïŒã»ã»ã®æ ¹æ ãšããªãã
ãããããå±æ©çäžã€çæ»çãªãæ ¹ãšããŠã®ã¢ã€ãã³ãã£ãã£ãŒãã®ãªã«ã¿ããã£ããšããŠããšãã¥ã¢ãŒã«ã»ã°ãªããµã³ã®èšãã»ã»ãå¯äžæ ¹ã®ã¢ã€ãã³ãã£ãã£ãŒã®æ³åçã®äžã«ããã®ãªãŸãŒã -ã¢ã€ãã³ãã£ãã£ãŒã®æ³åçãïŒåäžæžããïŒã»ã»ã眮ãããšããã®ããšããã¯ã¬ãªãŒã«åã»ã¯ã¬ãªãŒã«æ§ãå å ãããã¹ãã³ããã¢ãªãºã ã®ãå šâäžçãçãªããæ¹ïŒãæµæãšæ æ²ããªã®ã ã
ããã®ããªãŸãŒã -ã¢ã€ãã³ãã£ãã£ãã¯ã»ã»ãäžçã®åµé ã«ã§ã¯ãªããè«žæåã®æ¥è§Šã®ãæèçã§ççŸã«ã¿ã¡ããçããããçµéšã«çµã³ã€ããŠããããç³»èã®é ãããæŽåã®ãã¡ã«ã§ã¯ãªãããé¢ä¿ãã®ã«ãªã¹ç網ç¶çµç¹ã®ãã¡ã«çãŸããããåå°ãé åïŒãããã人ãä»ã®é åãžãšæå°ããŠãããšããïŒãšããŠã§ã¯ãªããããªãã¡ïŒ»å ±åïŒç解ïŒå æ¬ïŒœãã代ããã«ïŒ»å ±äžïŒœããå ŽæãšããŠãæãæããã»ã»ãšããŠããšãã¥ã¢ãŒã«ã»ã°ãªããµã³ãå¥ã®èäœïŒãé¢ä¿ã®è©©åŠïŒPOÃTIQUE DE LA RELATIONïŒïŒ2000幎ãã€ã³ã¹ã¯ãªããåãæåã決å®çãªéãããããïŒã§è¿°ã¹ãŠãããé¢ä¿ãšããŠã®ã¢ã€ãã³ãã£ãã£ãŒããšããŠç解ã§ããã
ãä»èšããšãã¥ã¢ãŒã«ã»ã°ãªããµã³ãçšãããtout-mondeïŒå š-äžçïŒããéåžžã¯ãtout le mondeïŒå šäžçïŒãããšããå®å è©æãã®mondeã«ã€ããŠããåäžåã»åºå®åãããæ®éçãªâäžçæ§ã»å šäœæ§âã§ã¯ãªããé¯ç¶ã»çæããããé¢ä¿ãã®ã«ãªã¹ç網ç¶çµç¹ããšãããªãŸãŒã çãªâäžçæ§ã»å šäœæ§âãšããŠç解ããã
ã以äžããžã£ãã¯ã»ã¯ã«ã·ã«ã®æè¿ã®æŒå¥ã«è§Šçºããããé³æ¥œçã€ã¡ãŒãžããšãææ³çã€ã¡ãŒãžããªã®ã ãããã®ç§ã®ã€ã¡ãŒãžã¯ãæ¥æ¬ãšããåœå®¶ç·äœã«ãããå島ïŒçŸ€å³¶ïŒçæåã®æ ãæãšããŠã®ã¢ã€ããæ²çžã»ççãä»ãªãæå§ããç¶ããŠããåé¡ã«ãéãªãã
ããŸãã«ãâæµæè âããæ²é»ãã®å ã«çããæ空ãæ±ããŠãããããšãšããŠããŸããæ¬äŒŒå€§éžçãªäžå€®éæš©åœå®¶ã®çžè²ããŸããŸãé²ã«ããæšä»ã®æ¥æ¬åœã«ãããŠãã°ããŒããªãºã ã®ãªã«ã¿ããã£ããªã«ãŠã³ã¿ãŒã«ã«ãã£ãŒãšããŠã®ã¢ã€ããæ²çžã»ççã®å島ïŒçŸ€å³¶ïŒçæåã®ãã¹ãã³ããã¢ãªãºã ã®ããæ¹ïŒãæµæãšæ æ²ãããšããŠç¹ããã®ã ã
ããã®ãã¢ã€ããæ²çžã»ççã®å島ïŒçŸ€å³¶ïŒçæåã®ãã¹ãã³ããã¢ãªãºã ã®ããæ¹ïŒãæµæãšæ æ²ããã«ã€ããŠã¯ããŸãå¥ã®æ©äŒã«èªããããšæãã