2 0 0 0 OA バウムガルテン『形而上学』(第四版)「経験的心理学」訳注 (その3)
- 著者
- 樋笠 勝士 井奥 陽子 津田 栞里
- 出版者
- 成城大学文芸学部
- 雑誌
- 成城文藝 = The Seijo Bungei : the Seijo University arts and literature quarterly (ISSN:02865718)
- 巻号頁・発行日
- no.241, pp.28-14, 2017-09
2 0 0 0 OA バウムガルテン『形而上学』(第四版)「経験的心理学」訳注(その1)
- 著者
- 樋笠 勝士 井奥 陽子 津田 栞里
- 出版者
- 成城大学文芸学部
- 雑誌
- 成城文藝 = The Seijo Bungei : the Seijo University arts and literature quarterly (ISSN:02865718)
- 巻号頁・発行日
- no.233, pp.72-52, 2015-12
2 0 0 0 OA 西洋中世における「美」の概念--新プラトン主義の受容と変容の史的解明
- 著者
- 樋笠 勝士 荻野 弘之 佐藤 直子 長町 裕司 O'LEARY Joseph 川村 信三 児嶋 由枝 竹内 修一 HOLLERICH Jean-c 村井 則夫
- 出版者
- 上智大学
- 雑誌
- 基盤研究(B)
- 巻号頁・発行日
- 2006
本研究は、平成18年度から21年度にわたる4年間の研究計画により、西洋中世における「美」の概念を、とくに新プラトン主義の受容と変容という課題に絞って、歴史研究を行うものである。本研究の独創性は「美」の概念について、古代末期思想家プロティノスに始まる新プラトン主義美学思想が、西洋中世キリスト教思想にどのような影響を与えたのかを解明する点にある。その思想の影響系列は、「美」を「光」と関係づけるキリスト教の伝統的な形而上学思想の原型をつくりだし、また典礼芸術等の芸術現象に展開する文化的基礎となる概念形成にも展開している。さらに中世の神学思想における超越概念にも影響を与える基本思想にもなっていることから、美学研究のみならず西洋中世思想研究の基礎研究にとって、本研究課題は思想史研究上の大きな意義を有するものとなる。
- 著者
- 樋笠 勝士
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.66, no.2, pp.148-152, 2015-12-31 (Released:2017-05-22)
- 著者
- 樋笠 勝士
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.58, no.2, pp.95, 2007-09-30 (Released:2017-05-22)
- 著者
- 樋笠 勝士
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.56, no.1, pp.1-13, 2005-06-30 (Released:2017-05-22)
Oxymoron (contradictory expression) is an important rhetorical expression for Augustine. He uses it to express God in the Confessions ; "You(God) are deeply hidden yet most intimately present." After that, he says " in these words what have I said ?" These lines are peculiar speculation form which talks about God in oxymoron and his reflections on such ambivalence in language. He also uses oxymoron to express that the human being's state in front of God is essentially ambivalent, saying "(God) whom I should attach myself, but was not yet in a state to be able to do that." Thus, oxymoron is the most appropriate way of speaking about God and the speaker himself. Moreover, when he talks about the beauty of God and of this world by the beauty of God, oxymoron brings its ability into full play to explain both, because the crucial ambivalence is in beautiful things as creatura bona, which has the nature of being totally beautiful and totally ugly. Also the same is the aesthetic experience, which is both intellectual and sensitive. These are evidently based on his vertical passionate love for God as beauty itself and also on his horizontal moderate love for creatura. In this, we find the aesthetics of the ambivalence founded on oxymoron.
1 0 0 0 IR 「美的経験」とは何か--アウグスティヌスにおける「美的経験」の両義的価値
- 著者
- 樋笠 勝士
- 出版者
- 上智大学哲学会
- 雑誌
- 哲学論集 (ISSN:09113509)
- 巻号頁・発行日
- no.33, pp.25-45, 2004
- 著者
- 樋笠 勝士
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.56, no.1, pp.1-13, 2005
Oxymoron (contradictory expression) is an important rhetorical expression for Augustine. He uses it to express God in the Confessions ; "You(God) are deeply hidden yet most intimately present." After that, he says " in these words what have I said ?" These lines are peculiar speculation form which talks about God in oxymoron and his reflections on such ambivalence in language. He also uses oxymoron to express that the human being's state in front of God is essentially ambivalent, saying "(God) whom I should attach myself, but was not yet in a state to be able to do that." Thus, oxymoron is the most appropriate way of speaking about God and the speaker himself. Moreover, when he talks about the beauty of God and of this world by the beauty of God, oxymoron brings its ability into full play to explain both, because the crucial ambivalence is in beautiful things as creatura bona, which has the nature of being totally beautiful and totally ugly. Also the same is the aesthetic experience, which is both intellectual and sensitive. These are evidently based on his vertical passionate love for God as beauty itself and also on his horizontal moderate love for creatura. In this, we find the aesthetics of the ambivalence founded on oxymoron.