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''Rameau's Nephew, or the Second Satire'' (or The Nephew of Rameau, (フランス語:Le Neveu de Rameau ou La Satire seconde)) is an imaginary philosophical conversation by Denis Diderot, written predominantly in 1761-2 and revised in 1773-4. It was first published in 1805 in German translation by Goethe,〔 but the French manuscript used had subsequently disappeared. The German version was translated back into French by de Saur and Saint-Geniès and published in 1821. The first published version based on French manuscript appeared in 1823 in the Brière edition of Diderot's works. Modern editions are based on the complete manuscript in Diderot's own hand found by Georges Monval, the librarian at the Comédie-Française in 1890, while buying music scores from a second-hand bookshop in Paris.〔(The Literary Encyclopedia )〕 Monval published his edition of the manuscript in 1891. Subsequently, the manuscript was bought by the Pierpont Morgan Library in New York. It is unclear why Diderot never had it published in his time. Given the satirical tone of the work, it has been suggested that the author prudently refrained from giving offence. ==Description== The recounted story takes place in the café de la Regence, where Moi ("Me"), a narrator-like persona (often mistakenly supposed to stand for Diderot himself), describes for the reader a recent encounter he's had with the character Lui ("Him"), referring to — yet not literally meaning — Jean-François Rameau, the nephew of the famous composer, who's engaged him in an intricate battle of wits, self-reflexivity, allegory and allusion. Recurring themes in the discussion include the Querelle des Bouffons (the French/Italian opera battle), education of children, the nature of genius and money. The often rambling conversation pokes fun at numerous prominent figures of the time. In the prologue that precedes the conversation, the first-person narrator frames Lui as eccentric and extravagant, full of contradictions, "a mixture of the sublime and the base, of good sense and irrationality". Effectively being a provocateur, Lui seemingly extols the virtues of crime and theft, raising love of gold to the level of a religion. Moi appears initially to have a didactic role, while the nephew (Lui) succeeds in conveying a cynical, if perhaps immoral, vision of reality. Michel Foucault, in his ''Madness and Civilization'', saw in the ridiculous figure of Rameau's nephew a kind of exemplar of a uniquely modern incarnation of the Buffoon. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Rameau's Nephew」の詳細全文を読む スポンサード リンク
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