著者

西村 清和 尼ヶ崎 彬 長野 順子 相澤 照明 山田 忠彰 中川 真 渡辺 裕 津上 英輔 青木 孝夫 外山 紀久子 大石 昌史 小田部 胤久 安西 信一 椎原 伸博 上村 博 木村 建哉 上石 学 喜屋武 盛也 東口 豊 太田 峰夫

出版者

東京大学

雑誌

基盤研究(A)

巻号頁・発行日

2007

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本研究は従来自然美論、風景論、環境美学、都市美学という評語のもとで考えられてきたさまざまな具体的、個別的諸問題領域を、日常生活の場において企てられたさまざまな美的実践としてとらえなおし、あらたな理論化を目指すものである。具体的には風景、都市景観、森林、公園、庭園、人工地盤、観光、映画ロケ地、遊芸、雨(天候)、清掃アートなど多様な現象をとりあげて分析し、その成果を『日常性の環境美学』(勁草書房、2012)として刊行した。

著者

大石 昌史

出版者

東京大学文学部美学藝術学研究室

雑誌

研究 (ISSN:09163379)

巻号頁・発行日

vol.7, pp.130-161, 1989-03-25

著者

シュスターマン リチャード 大石 昌史

出版者

三田哲學會

雑誌

哲学 (ISSN:05632099)

巻号頁・発行日

vol.131, pp.323-348, 2013-03

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講演この発表は, 私の哲学的研究を導いてきた, また, 身体感性論somaesthetics の中心をなす理論と実践の統合を強調するところの, 越境的で経験的な探究inquiry のプラグマティックなモデルを検証するものである. 基本的な考え方は, 探究は, その過程で獲得される経験, すなわち, 継続中の探究がそのエネルギーを将来の方向へ向け, また, その結果を回顧的な確認へと向かわせるところの力動的な経験を通じて, 探究それ自体として, 新たな方向, 形式, 方法, 基準を発展させ得るということである. (このようなモデルは, 探究には, 独立に基礎づけられ, 探究の過程に先立つ, 探究と評価を支配する外的な基準となるところの方法の確定や妥当性の論理的な基準が必要だとする, よく知られた考え方とは対照的である. )私は, このような探究の経験的モデルを, 私の美学的研究における例証を通じて, すなわち, どのようにプラグマティズムの美学における探究が身体感性論の試みへと, そして現代アートの研究, および芸術的パフォーマンスを通じた探究という考えへと至ったかを跡づけることによって, 検証する. なお, この発表は, 『プラグマティズムの美学(生き生きとした芸術)Pragmatist Aesthetics (L'art à l'état vif)』の(フランス語版と英語版の)出版20周年を記念したソルボンヌ大学での国際会議と連動して, (2012年5月24日から6月6日まで)パリで私が企画した最近の芸術展示に依存している.

著者

大石 昌史

出版者

東京大学文学部美学藝術学研究室

雑誌

研究 (ISSN:09163379)

巻号頁・発行日

vol.10, pp.129-162, 1992-03-25

著者

大石 昌史

出版者

東京大学文学部美学藝術学研究室

雑誌

研究 (ISSN:09163379)

巻号頁・発行日

vol.10, pp.129-162, 1992-03-25

著者

大石 昌史

出版者

ゲーテ自然科学の集い

雑誌

モルフォロギア: ゲーテと自然科学 (ISSN:0286133X)

巻号頁・発行日

vol.1997, no.19, pp.89-110, 1997-10-30 (Released:2010-02-26)

著者

大石 昌史

出版者

西田哲学会

雑誌

西田哲学会年報 (ISSN:21881995)

巻号頁・発行日

vol.5, pp.1-20, 2008 (Released:2020-03-24)

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The aim of this paper is to demonstrate that the logic of field advocated by Kitaro Nishida as fundamental way of thinking about the contradictive self-identical self, is the creative expressive logic of being and nothing, through the analysis of the correlation between the inner cross-structure of sentence and the dynamic movement of consciousness. In the first part, “the structure of sentence and the movement of consciousness”, referring to the structural linguistics of Roman Jakobson, I argue that the inner cross-structure of the composition(formation)of sentences through the selection(resemblance)and the combination(contiguity)of words, in other words the crossing of the paradigmatic and syntagmatic axes of language, and the moving state of poetic language (metaphor, metonymy)characterized by the supremacy of the equivalence of speech sound and meaning, are sustained by the dynamic relation and reverse movement of consciousness, which corresponds to the coexistence (synchronicity)and succession(diachronicity)of objects. In the second part, “the logic of subjectivity and the relation of subject and object”, I introduce some typical logic in Western philosophy, first Aristotle’s logic of the substance as substratum(subject), secondly, after the establishment of the thinking ego through René Descartes’‘cogito’and Immanuel Kant’s ‘apperception’, Johann Gottlieb Fichte’s logic of the interaction between self(subject)and not-self(object), and thirdly Georg Wilhelm Friedrich Hegel’s dialectic logic of the absolute through self-negativity. In some views, Hegel’s dialectic logic could be regarded as a kind of logic of field, but Nishida criticizes that Hegel’s logic remains objective and is not the absolute dialectics. And in the third part, “the logic of field and the reverse of subject and predicate”,I examine Nishida’s logic of field, which emphasizes the subsuming function of the predicate as field more than that of the subject as substance in a proposition. This logic of field characterized as predicate logic has a similar structure to the following phenomenological and psychological concepts concerning the actual and potential: Edmund Husserl’s ‘horizon’, Edgar John Rubin ’s ‘figure and ground ’ an d Karl Buhler ’s ‘field’. Further, the logic of field contains and surpasses the one-dimensional structure of the sentence dependent on the subsuming relationship of subject-predicate, and of the judgment dependent on the formative relationship. Therefore I conclude that Nishida's logic of field is the creative expressive logic of being and nothing, according to which the potential is actualized through the reversing appearance of the subject as object (formed thing)and the predicate as horizon(unformed possibility).

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.201-206, 2015-06-30 (Released:2017-05-22)

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.105, 2014-12-31 (Released:2017-05-22)

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.148, 2012-12-31 (Released:2017-05-22)

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.149, 2010-12-31 (Released:2017-05-22)

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.145-148, 2010-06-30 (Released:2017-05-22)

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.16-29, 2009-06-30 (Released:2017-05-22)

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My paper is divided into three parts. The first is entitled 'Theories of the image', where I argue about the intermediate position of image between intuition and conception, representation and meaning, imagination and feeling, and demonstrate that the image is not a real object, but it has peculiar reality on the basis of the given meaning through apperception and the affective conviction of its existence. In the second part, 'The formation of signifying image', I introduce Ingarden's theory of a purely intentional object, and Iser's interactive reading theory. Ingarden argues about the complementary concretization of represented object, but Iser criticizes him and insists the image-building through an interaction between reader and text. In the third part, 'The appearance as symbol', and the Conclusion, I deal with Kant's and Schiller's theory of the beauty as symbol, and point out that the concept of the outer symbol of the inner feeling has the same logical and psychological structure with the Empathic aesthetics. Based on this structure, the being and the meaning of aesthetic object are interlaced and the artwork appears as a <self-signifying image>, which is different in its inner becoming process from Hegel's similar definition of the classic beauty of art.

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.143, 2008-12-31 (Released:2017-05-22)

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.84-86, 2007-09-30 (Released:2017-05-22)

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.56, 2006-12-31 (Released:2017-05-22)

著者

大石 昌史

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.113, pp.93-130, 2005-03

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投稿論文1. 教養主義と人格主義 a. 『三太郎の日記』 b. 美学研究 c. 『人格主義』2. 感情移入美学 a. リップス『美学』の祖述 b. 美的感情移入 c. 人格主義の美学3. 内からの美学 a. 美学の様々な立場 b. 内からの美学の基礎づけ c. 文化哲学への広がり結びABE Jiro (1883-1959) is famous for his philosophical essay titled (Diary of Santaro) (1914-18), and he is regarded as a representative of (Culturalism) of the Taisyo era in Japan. As was often the case with young intelligentsia of that period, he was interested in both Western and Eastern cultures and at the same time sincerely sought the way of living as a Japanese. He swayed between diversity of cultures and identity of his own personality. Abe wrote an (Aesthetics) in 1917, which is a selected and abridged translation of the empathic aesthetics of Theodor Lipps (1851-1914). Lipps developed his philosophy on the basis of the psychological principle of 'empathy'. Abe reconstructed the essence of Lipps' aesthetics mainly from the following books by him: Asthetik, Die ethischen Grundfragen, Leitfaden der Psychologic. Abe highly respected the personality of Lipps; later he published a book titled (Personalism) (1922), which is based on the ethics of Lipps and applies it to contemporary political problems. Despite his extensive and profound knowledge of aesthetics, Abe could not complete his own book on aesthetics. For, I think, empathic aesthetics is not a relative theory which can be replaced by another, but a kind of world view based on Personalism which regards a mere object as an irreplaceable personality. He called his standpoint in aesthetics 'aesthetics from inward', which includes aesthetic experience, expression, interpretation and moreover cultural philosophy, but empathy still remains in the center of his hypothetical aesthetics.

著者

大石 昌史

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.16-29, 2009-06-30

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My paper is divided into three parts. The first is entitled 'Theories of the image', where I argue about the intermediate position of image between intuition and conception, representation and meaning, imagination and feeling, and demonstrate that the image is not a real object, but it has peculiar reality on the basis of the given meaning through apperception and the affective conviction of its existence. In the second part, 'The formation of signifying image', I introduce Ingarden's theory of a purely intentional object, and Iser's interactive reading theory. Ingarden argues about the complementary concretization of represented object, but Iser criticizes him and insists the image-building through an interaction between reader and text. In the third part, 'The appearance as symbol', and the Conclusion, I deal with Kant's and Schiller's theory of the beauty as symbol, and point out that the concept of the outer symbol of the inner feeling has the same logical and psychological structure with the Empathic aesthetics. Based on this structure, the being and the meaning of aesthetic object are interlaced and the artwork appears as a <self-signifying image>, which is different in its inner becoming process from Hegel's similar definition of the classic beauty of art.

著者

大石 昌史

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.2, pp.13-23, 1987-09-30

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Nietzsche's aesthetic theory is divided into two phases by his own naming : the one is "Metaphysik der Kunst" in "Geburt der Tragodie", and the other is "Physiologie der Kunst" in his left fragments of later 80's. But these two phases are equally concerning "das Dionysische" and "creation of art". Therefore we can regard his aesthetic theory as "aesthetics of creation". Nietzsche, in his early time, insists that a dionysiac artist creates his work after the world's creation. According to his theory, "das Dionysische" as "das Ur-Eine" plays at creation (construction) and destruction of various worlds as phenomena of itself, and a creative artist (a genius) participates in the world's creation (a play of Dionysus with itself) in dionysiac "Rausch (intoxication)". Therefore his "Metaphysik der Kunst" is not only aesthetics, but also a theory of the world as "becoming." Nietzsche, in his later time, affirms that both artistic creation and appreciation are based on "Rausch" as a physiological condition, because this "Rausch" makes artistic creation and communication possible. He tries to explain the process of artistic experience as a physiological phenomenon of man's body in his "Physiologie der Kunst". His "Metaphysik der Kunst" and "Physiologie der Kunst" supplement each other about "das Dionysische" as a common basis of the world and a man, so his "aesthetics of creation" is a theory of both the world and the man's body that are creative.