著者

伊東 多佳子

出版者

日本シェリング協会

雑誌

シェリング年報 (ISSN:09194622)

巻号頁・発行日

vol.28, pp.13-22, 2020 (Released:2020-10-13)

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Anthropocene has become an environmental buzzword since the atmospheric chemist, and Nobel Prize laureate, Paul Crutzen introduced it in 2000. The word has soon picked up by internationally well-known curators for the theme of the international art exhibitions in response to an increase in environmental art addressing the crisis of the Climate Change and the threat of biodiversity. As a report for the symposium, “Anthropocene”, I will examine the current various environmental art in the age of climate change, and the evaluation of it from the viewpoint of environmental ethics and refer to the recent debate of environmental aesthetics.

著者

伊東 多佳子

出版者

日本シェリング協会

雑誌

シェリング年報 (ISSN:09194622)

巻号頁・発行日

vol.18, pp.74, 2010 (Released:2022-12-15)

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In the 19 century romantic period, it was widely believed that the world had lost its religious bearings during the Enlightenment and that men needed to recover them if there were ever again to be heroes and great works of imagination. In the Unbelieving Century God had become nonexistent or peripheral and bound by rational categories. How, then, to recover a living faith? Romantic religiosity luxuriated in a great many forms, but if these forms had anything in common, it was in the tendency to bring God back inside the Universe and to find him in the human heart and nature. It was also lead the romantics to find God in nature. A new religion of nature, Natural Supernaturalism called by Thomas Carlyle meant raising the natural to the supernatural. This line of thought was exemplified by romantic landscape paintings like Caspar David Friedrich and Philipp Otto Runge, Runge tried to subvert the traditional hierarchy of genres of paintings at the academies of art. Although at that time whereas the history painting was the highest order of the genres, the landscape painting was the lowest because they were without narrative subject, Runge claimed the autonomy of the landscape paintings by creating new type of landscape of religion and emotion. Romanticism had a several quite marked predispositions: an emphasis on particularity or individuality, and a sense of the infinite and the irrational component in human life, assimilation of the conscious and the unconscious. These tendencies of romantic art could give birth to offspring as modern art. The autonomy of modern art was achieved that 'art' had separated from any other external contexts of the artwork itself. But in the 21 century, is the autonomy of art realized? Can we say that art, which has already deviated from the region of art, lost the boundary to the everyday-life consciously and took within the continuity to it, is autonomous? I will be arguing about the art after romanticism by the autonomy of art as a key concept.

著者

伊東 多佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.49, 2018 (Released:2019-06-01)

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Environmental Art has often been discussed in the context of recent Anglo-American Environmental Aesthetics. Even though environmental art has developed too many different varieties of forms of expression for a half century to summarize them as an art movement, it is generally known as Land Art and Earthwork, large scale “artwork used natural environment itself as its material”, which emerged in late 1960’s in the USA. Because the earliest examples of Earthwork, especially such as Double Negative by Michael Heizer in 1969-70, excavated by bulldozers and dynamites, they were often criticized for the lack of environmental sensibility. In this paper, I will examine the recent environmental aesthetics’ debates about ethical issues surrounding environmental art, especially on Allen Carlson’s “Is Environmental Art an Aesthetic Affront to Nature?” and the following debates. I clarify that the appreciation of environmental art blurs boundaries between appreciation of nature as nature and that of art as art, and that environmental art expresses the very complicated contemporary natural environment where the dichotomy between nature and art or the natural and the artificial has already been annihilated. I will try to evaluate environmental art both aesthetically and ethically from the viewpoints of artistic and ethical value.

著者

伊東 多佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.127, 2017 (Released:2019-01-02)

著者

伊東 多佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.189, 2013-06-30 (Released:2017-05-22)

著者

伊東 多佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.40, no.4, pp.12-24, 1990

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Die Weltanschauung der Romantik entwickelte sich aus dem Bewusstsein uber die Spaltung zwischen Natur und Geist. Aus der Krise. die dieses Bewusstsein hervorrief, wollten die Romantiker die Harmonie zwischen Natur und Leben wiederherstellen. Heutzutage sind wir uns der Spaltung noch deutlicher bewusst. Dic Frage nach einer neuen Beziehung zwischen Natur und Mensch ist deshalb immer noch aktuell : wir versuchen, die Natur als seelichen Heilungsort zuruckzugewinnen. Wenn Oskar Becker die Natur als Hauptthema selnes Denkens aufgreift, stutzt er sich auf die romantische produktive Natur (natura naturans). Alle Probleme der Menschen und der Schonheit konne man von seiten des heideggerschen Daseins, d.h. von seiten des Geistes, nicht umfassend genug begreifen. Erst wenn der Begriff "des Dawesen", d.h. der Begriff der Natur, eingefuhrt werde, konnten diese Probleme erortert werden. Das Schone sei eine hinfallige Brucke der Spannung, gleichsam ein Regenbogen, der sich uber beide antagonistischen Seinsprinzipien streckt. Diese "Hinfalligkeit des Schonen" schwebt zwischen dem statisch-asthetischen Idealismus Schellings der dynamisch-ironischen Dialektik Solgers. Von diescn zwei romantischen Philosophen beeinflusst, schatzt Becker die Romantik neuein. Mit ihm finden wir vielleicht ein Tor. durch das wir der romantischen Naturanschauung aufs Neue wieder bcgegnen konnen.