著者

利光 功

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, pp.1-11, 1994-12-31

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From the second half of the 1940's to the first half of the 1960's, as is generally known, the linguistic analytic method has dominated over Anglo-American aesthetics. Recently this aesthetics, now colled anaylitic aesthetics, has been retrospected and reexamined by the various sides. Then, we also would like to analyze and loom up its primitive figure, focussing on the William Elton (Ed.) ; Aesthetics and Language (1954). In our view, analytic aesthetics can be characterized by the following three aspects, that is, its presupposition, theme and aim. (1) Analytic aestheics presupposes that the aesthetic discourse must be fundamentally empirical scientific, and based on the fact or its experience. (2) Its main theme is to analyze the ambiguous concepts and propositions, and to clarify the aesthetic discourse. (3) Its final aim is to take up the position that there is no such thing as essence in art and, therefore, no criterion for the judicial criticism. And J. A. Passmore once called aesthetics which searches for essence or the general properties dreary. Our conclusion, however, is that not aesthetics proper but analytic asethetics is dreary, for the latter never affords any insights about aesthetic or artistic phenomena.

著者

利光 功

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.42, no.2, pp.75, 1991-09-30 (Released:2017-05-22)

著者

利光 功

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, pp.1-11, 1994-12-31 (Released:2017-05-22)

---

From the second half of the 1940's to the first half of the 1960's, as is generally known, the linguistic analytic method has dominated over Anglo-American aesthetics. Recently this aesthetics, now colled anaylitic aesthetics, has been retrospected and reexamined by the various sides. Then, we also would like to analyze and loom up its primitive figure, focussing on the William Elton (Ed.) ; Aesthetics and Language (1954). In our view, analytic aesthetics can be characterized by the following three aspects, that is, its presupposition, theme and aim. (1) Analytic aestheics presupposes that the aesthetic discourse must be fundamentally empirical scientific, and based on the fact or its experience. (2) Its main theme is to analyze the ambiguous concepts and propositions, and to clarify the aesthetic discourse. (3) Its final aim is to take up the position that there is no such thing as essence in art and, therefore, no criterion for the judicial criticism. And J. A. Passmore once called aesthetics which searches for essence or the general properties dreary. Our conclusion, however, is that not aesthetics proper but analytic asethetics is dreary, for the latter never affords any insights about aesthetic or artistic phenomena.

著者

利光 功

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.19, no.1, pp.37-49, 1968-06-30 (Released:2017-05-22)

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Is photography an art? This is the long argued problem since the invention of photography. Even now, it seems the argument does not come to an end. For example, L. Munford maintains that the photography is the mechanical development of the techniques of painting, H. Laval insists the creative process of photographic techniques, and S. Kracauer asserts the functional beauty of photography. Then we here start from some basic reflections. The photography is first of all an technique, and this technique can be divided into two main heterogeneous processes, the one is the optical process or the camera, the other is the chemical process by which the light is fixed on a paper and so on. The essential process of photographic technique is the latter. Accordingly photography, in a broad and fundamental sense, can be difined as the technique to fix the phenomena of light. This technique is applied to various uses, and by it we can also make the work of art as autonomous aesthetic forms. The many abstract and surrealistic photographies are the examples of this photographic art. Photography, next in a narrow and practical sense, is interpreted as the technique of record of external image. Here there are three possible courses : (1) record is not an art, (2) photography is both record and art, that is, a sort of useful art, (3) visual record can be an art. So we must discuss generally the affinity and divergency between art and record, and reveal the artistic potentiality and the limitation of visual record or document.

著者

利光 功

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.1, pp.87-89, 2001-06-30

著者

利光 功

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.27, no.3, pp.23-34, 1976-12-30

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Soetsu Yanagi (1889-1961), who was the founder of Japanese folkcraft movement, defined Mingei (=folkcraft) as the following ; 1. things made for the domestic life of the people, 2. things made to be used, not to be looked at, 3. things made in quantity, 4. things made as cheap as possible, 5. things made by anonymous unlettered craftsmen. It is nothing but a traditional ordinary handicraft, and to see its beauty, following him, we must reject the criterion of beauty of the pure art which is based on the individualism. The beauty of folkcraft is born of use, simple, healthy, and common. Then Yanagi insists that the true beauty is not the antithesis of ugliness, but the non-dual beauty which transcends the duality of beauty and ugliness. That is just the idea of beauty from the standpoint of Buddhism or Zen. This paper is an attempt to criticize his theory.

著者

利光 功

出版者

東京工芸大学

雑誌

東京工芸大学芸術学部紀要 (ISSN:13418696)

巻号頁・発行日

vol.7, pp.21-28, 2001-03-31