著者

上利 博規

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.54, no.2, pp.A1-A22, 2004-01-31

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J.Derrida says that he wrote four times around 'the Painting1 in La verite en peinture (The Truth in Painting). The titles of the four discourses in this book are TARERGON, '+R (par dessus le marche)', 'CARTOUCHES' (Cartridges), 'RESTITUTIONS -de la verite en pointure' (Restitutions-of the truth in size). The first thesis 'PARERGON' concerns Kant's Critique of the faculty of judgement, the second '+R (par dessus le marche)1 concerns Varerio Adam's exposition titled "Le voyage du dessin" (The voyage of sketch, 1975), the third 'CARTOUCHES'(Cartridges) concerns Gerard Titus-Carmel's exposition titled "The Pocket Size Tlingit Coffin et les 61 premiers dessins qui s"ensuivirent"(The Pocket Size Tlingit Coffin and the succeeded 61 first sketches, 1978), and the fourth 'RESTITUTIONS concerns Heidegger's The Origin of Works of Art. Through them Derrida points out that 'the logic of PARERGON, or 'the logic of frame', is stronger than 'the logic of analysis', and that 'the logic of analysis' is always contaminated by 'the logic of PARERGON'. According 'the logic of PARERGON' a certain part includes the whole. And if aesthetics should not be a part of philosophy and should find not-presentative 'trace1 or 'rest', we must not think art in the traditional philosophical ways, so not in the traditional aesthetics ways, but in another way follwing 'the logic of PARERGON'.

著者

上利 博規

出版者

静岡大学人文社会科学部

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.67, no.2, pp.A1-A21, 2017-01-31

著者

上利 博規

出版者

静岡大学人文社会科学部アジア研究センター

雑誌

アジア研究

巻号頁・発行日

vol.別冊4, pp.29-40, 2016-02

著者

上利 博規

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.53, no.1, pp.29-49, 2002-07-31

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Michel Foucault (1926-1984) was greatly influenced by two types of art in the twentieth century, that is contemporary music and literature. Both of them attempted to depart from the art in the nineteenth century based on humanism. This movent in art and culture is called formalism, and at the same period the structuralism appeared in France. The first section of this paper (§1 Contemporary Music) examines the relation between music as formalism in the twentieth century and the philosophy of Michel Foucault. And the second (§2 Dream as Expression, Madness, Literature) concerns literature as formalism in the twentieth century. Throughout this paper we find that Foucault wanted to remind us that we have lived in the distance from the madness.

著者

上利 博規

出版者

静岡大学人文学部

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.52, no.1, pp.A17-A37, 2001-07-31

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Over the last thirty years after Adorno's death(1969) the situation of music culture of the world has changed. The purpose of this study is to examine whether Adorno's popular music criticism is still valid for contemporary music culture, and moreover to contribute to the rearrangement of music culture theory. First, I briefly describe the meaning that popular music criticism has in Adorno's philosophy. Section n outlines Adorno's popular music criticism in his five treatises. Section n examines Adorno's criticism from the point of view of comparative music culture theory. We can find the limitations of Adorno's popular music criticism in that he has only one standard to criticize popular music, and we come to the conclusion that we need more fora for critical discussion to improve the quality of popular music.

著者

上利 博規

出版者

静岡大学

雑誌

アジア研究

巻号頁・発行日

vol.4, pp.29-40, 2016-02

著者

上利 博規

出版者

静岡大学人文学部「アジア研究プロジェクト」

雑誌

アジア研究

巻号頁・発行日

vol.2, pp.1-15, 2006-03-31

著者

上利 博規

出版者

静岡大学人文学部

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.52, no.2, pp.17-30, 2002-01-31

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Creation of works and appreciation or interpretation of them has been a major focus of modern art. But in this study I describe art as care and hospitality. First, I examine the difference of roles of art in two types of art therapy. Section II shows that care-type art therapy has its source in early Christian hospital-ity. Section III shows that from the viewpoint of absolute-unconditional hospitality of Derrida's theory art is concerned with the impossibility of care. We come to the conclusion that the impossibility of care gives the possibility of hospitality, and that art is care of the aporia of care. This is the reason why art inevitably includes an aporia concerning the public.

著者

上利 博規

出版者

静岡大学人文学部「アジア研究プロジェクト」

雑誌

アジア研究

巻号頁・発行日

vol.4, pp.1-19, 2009-03-31

著者

上利 博規

出版者

静岡大学人文社会科学部アジア研究センター

雑誌

アジア研究

巻号頁・発行日

vol.8, pp.5-17, 2013-03

著者

上利 博規

出版者

静岡大学

雑誌

アジア研究

巻号頁・発行日

vol.8, pp.5-17, 2013-03

著者

上利 博規

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.57, no.2, pp.A1-A23, 2006

著者

松田 純 山下 秀智 浜渦 辰二 上利 博規 田中 伸司 森下 直貴

出版者

静岡大学

雑誌

基盤研究(B)

巻号頁・発行日

2003

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・本研究は,21世紀を「生命ケア文化再構築の時代」ととらえ,個の自己決定と社会的な相互扶助の両者のバランスがとれた,わが国の文化風土にあったケア文化のあり方を探求してきた。西洋と東洋の死生観の相違がしばしば問題にされるが,それはいずれかが勝っているというのではなく,分析や合理性を重んじる西洋的思考と,総合や直観を重んじる東洋が互いに学びあう必要がある。一方で,文化の差を自覚しつつ,同時に,文化ナショナリズムに陥ることなく,いのちをめぐる諸問題の国際化にも対応していかなければならない。「アジア的」とか「日本的」といった類型化・固定化に陥ることなく,西洋のケア文化の歴史的深みと現代的展開の意味も十分に理解しなければならない。21世紀の生命ケア文化再構築は,グローバル化のなかで,比較文化論的視点に立った柔軟な発想で進めていく必要がある。以上のような研究成果を,国際シンポジウムを開催するなど,国際的に開かれた討議空間のなかで検証してきた。・臨床学的アプローチのなかでは,<施設から在宅へ>が後戻りできない流れであり,それを支えるコミュニティ・ケアとスピリチュアル・ケアが極めて重要となってきていることが明確になった。・21世紀ケア文化を担う新しい世代に対しては,「いのちの大切さ」を漠然と教えるのではなく,いのちが向かう先にある<いのちの美しさ>を芸術作品などを通して感得しこの世に在ることへの大きな信頼を取り戻し生きる力を高めるような生命ケア教育が必要である。例えば理科教育のなかでも,自然の奥深い構造を示すとともに,それらについての科学的知見と技術的応用が社会にもたらす影響についても具体例に即して考える教育プログラムと授業展開が必要であろう。以上のような成果を研究成果報告書,ホームページや著書,公開講座,授業展開などの形で発信してきた。

著者

上利 博規

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.55, no.1, pp.A13-A28, 2004-07-31

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Derrida, who tries to deconstruct representative thinking, wrote " Me moires d'aveugle.L'autoportrait et autres mines" (Memories of blind. The self-portrait and other ruins', 1990) for the first exhibition of Louvre titled 'PARTI PRIS' (prejudice). In this paper I discussed how Derrida says the relation between drawing and representation in the sense of expression, according to the four key words used in the title and the subtitle of this book, namely 'blind', 'memory', 'self-portrait', and 'ruin'. After that I made mention of 'the logic of parergon' in " The Truth in Painting (1978). 1 Blind means not only a drawn blind man (object) but also a drawing man (subject), and moreover action of drawing it self. 2 Memory means receiving of the absolute invisibility prior to remembering something which was seen. For this reason drawing is a restitution of debts as well as to draw something. The word 'expression' seems to suggest only direction one from the internal side to external, but the French word 'rendre' includes two directions and meanings, that is, expression and restitution. 3 We cannot recognize a picture as a self-portrait by seeing it in itself. For the sake of recognition of a self-portrait we need suppositions through writings like a title or a signature. And as generally known, the network of writings spreads limitlessly into the abyss. 4 The idea that to draw a self-portrait is to disappear into the abyss leads us to the ruin as the origin of drawing. Therefore to sketch doesn't mean represent something visually, but to ruin representation. 5 Derrida shows in "The Truth of Painting" that the relation between parts and the whole by putting parergon, which is subordinate to ergon, into the theme. If we look at eyeglasses in a self-portrait as the parergon of the natural eyes, we will see an abyss and will be blind.

著者

上利 博規

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.53, no.2, pp.A13-A27, 2003-01-31

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It is said that Hippocrates, the ancient Greek doctor, used the word Semeiotike (=the doctrine of signs) as the diagnostics. The Ancients grasped the word sign as the symptom of a disease. But we can find the new modernized usage of this word in An Essay concerning Human Understanding. John Locke said in it, "it(=semeiotike) is aptly enough termed also logike, logic". And this idea had the influence on the semiotic(s) of the Charles Sanders Peirce. But the meaning of this word in Gilles Deleuze was entirely different. He thought in the 1960's that people begin to think by sudden encounter with signs. So signs are the key of the beginning of thinking. This includes the criticism of the traditional philosophies based on logos, because they thought that people begin to think of their free will. In Difference et Repetition (Difference and Repeat, 1968) Deleuze stated eight images of thinking which obstruct the beginning of thinking by signs. One of them is to treat propositions only in the dimension of the designation and to disregard the dimension of the expression. So in Logique du sens (Logic of sense, 1969) he tried to point out the expression-dimension specifically with the non-sense of Lewis Carroll and the logic based on events of Stoicism. There aren't many adventures of Alice, but the only one adventure to come to the surface from the depth, that is the adventure to get the incorporeal splendor of language and thinking.