著者

出羽 尚

出版者

宇都宮大学国際学部

雑誌

宇都宮大学国際学部研究論集 = Journal of the Faculty of International Studies, Utsunomiya University (ISSN:13420364)

巻号頁・発行日

no.43, pp.1-14, 2017-02-01

著者

植月 惠一郎 松田 美作子 山本 真司 伊藤 博明 木村 三郎 出羽 尚

出版者

日本大学

雑誌

基盤研究(C)

巻号頁・発行日

2009

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近代初期英国文学とエンブレムの関係を明らかにした。シェイクスピア劇や十七世紀英詩を対象に、キリスト教的起源の聖なる図像、モットー、警句と多神教の異教や土着の習俗起源の世俗的な図像、モットー、警句の絶妙な絡み合いから文学の豊饒な表現が生まれた過程を研究した。一方で地理的にも視野を拡大し、ドイツ、フランス、オランダなどを中心とする当時の文化的先進国のエンブレムが、英国のエンブレムに与えた影響も研究し、時間的な視野も拡げ、図像と警句の関係は、十八~十九世紀の挿絵と物語の関係にも転じ、エンブレムの時間的変移も研究した。

著者

出羽 尚

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.112-125, 2009-12-31 (Released:2017-05-22)

被引用文献数

1

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The purpose of this paper is to explore how a prominent English nineteenth-century landscape painter, Joseph Mallord William Turner composed pictorial space from the viewpoint of comparison with contemporary French landscape and its theory. Contemporary French landscape painters including Pierre Henri de Valenciennes were deeply influenced by the style of neoclassical history painting and their pictorial space was ordered by the idea of plan. Valenciennes demanded in his perspective treatise landscape painting be composed with several plans disposed parallel to the picture plane. Objects were disposed tediously on plans, which Turner considered to show French inability to give depth in pictorial space. On the other hand, the idea of ground was used to represent pictorial space in the early nineteenth-century British landscape. This difference of idea to represent pictorial space was a reason why several Royal Academicians including Turner criticized spatial representation of contemporary French paintings for their inability to give depth. Turner himself aimed at representing depth of pictorial space with introducing deep ground and manipulating colour. That provided his landscape composition with great depth and recession which he considered French paintings could not represent.

著者

出羽 尚

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.135, 2007-12-31 (Released:2017-05-22)

著者

出羽 尚

出版者

イギリス・ロマン派学会

雑誌

イギリス・ロマン派研究 (ISSN:13419676)

巻号頁・発行日

vol.37, pp.1-18, 2013

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The aim of this paper is to investigate illustrations for editions of James Thomson's The Seasons [first compiled edition in 1730] published between 1770s and 1810s. This is because I believe that those illustrations reveal artists' interpretations of The Seasons in the age of Romanticism when the poem was widely accepted. We especially deal with illustrations engraved for the episode of Lavinia in 'Autumn'. She is a lovely woman gleaning in the field of a merciful farmer, Palemon. There are four major types of the illustrations of Lavinia. (1) Lavinia kneeling beside Palemon: They are in the field of Palemon who is asking her origin. (2) Lavinia standing beside Palemon: They are in the field of Palemon who is declaring his love for her. Lavinia is holding gleanings sometimes on her apron and lowering her eyes in embarrassment. (3) Lavinia standing beside her widow mother in front of a hovel: Lavinia is informing her mother about her engagement to Palemon. (4) Lavinia standing alone in the field: She is holding gleanings under her arm or putting them on her head. She sometimes has a scythe or a jug. An important fact about Lavinia's illustrations is that each type derives its visual source from the iconography of Ruth in the Book of Ruth. Ruth is also a female gleaner living with her widow mother. In the end she accepts the merciful marriage proposal of Boaz the farmer. The iconography of Ruth had been repeatedly pictorialized since the thirteenth century and distributed in large quantities especially through the media of prints. Not only did artists of the eighteenth and nineteenth centuries adopt the iconography but they also introduced the merciful story of the Book of Ruth into their illustrations of Thomson's episode. In this respect, artists of the age of Romanticism associated the lines of The Seasons with the biblical story of mercy.