著者

櫻井 一成

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, 2009-12-31

著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.1, pp.37-48, 2019 (Released:2021-05-08)

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Philosophers often liken living well to creating an art work. I call this conception “poetics of life.” Hanna Arendt’s thought about human existence is very unique in that she interprets poetics of life concretely and rejects it clearly. On the contrary, there are few philosophers who concretize the metaphor and evaluate it negatively. In this paper, by replying to her criticism, I try to develop poetics of life in the right direction. The ground for her rejection to poetics of life comes from her famous typology of vita activa. In The Human Condition (1958), Arendt divides human activity into three types, namely “labor”, “work”/ “fabrication,” and “action.” Since Arendt categorizes creation of art works into “work” and regards “action” as proper activity for human being, she cannot accept the metaphor “to live well is to create a work of art.” However, investigating detailed descriptions of examples of “action”, it is revealed that the general explanation for the difference between “work” and “action” does not comprehend the essential feature of “action”; the function of formation that integrates parts already existing ad-lib. By this function, this paper will show that Arendt’s theory is capable of containing the idea of “making one’s own life.”

著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.114, 2018 (Released:2020-03-23)

著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.13-24, 2014-06-30 (Released:2017-05-22)

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In Temp et recit (1983-5), Ricoeur posed the concept of "narrative identity," saying "subjects recognize themselves in the stories they tell about themselves." Subjects narrate their lives, and thereby understand why I am what I am. We can regard this mode of self-understanding as past-oriented. However, we should note that in the texts written during the same period, Ricoeur also emphasized the importance of future-oriented self-understanding and claimed that both modes of self-understanding interact with each other. That is, subjects can project their futures only starting from the narrative reconstruction of their pasts, and what they project as the future has a retroactive effect on their understanding of the past. Yet, how precisely does the narrative reconstruction of the past allow subjects to make new future? Ricoeur didn't clarify this course. The only way to concretize it is reinterpreting his theory of will in terms of time and narrative. It was in Le volontaire et l'involontaire (1950) in which Ricoeur told "I cannot will the new without finding the old and finding myself already given," that he discussed will and freedom. Therefore, by investigating the argument of Le volontaire et l'involontaire, this paper will elucidate and embody Ricoeur's conception.

著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.128, 2013-12-31 (Released:2017-05-22)

著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.1-12, 2011-12-31 (Released:2017-05-22)

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From the early period of his career, Paul Ricoeur (1913-2005) focused on project and action as a form of self-understanding. In the 1970s, he associated the concept of self-understanding with the question of interpretation of poetic language such as metaphor and narrative fiction, arguing that the act of interpreting poetic works enabled the reader to project a new existence. However, Ricoeur's own account on this association is fragmentary, even containing internal contradictions. Especially, his idea of "the world of the text," despite its centrality in his argument, seems to conflict with his earlier thoughts. Yet, we should note that in Temp et recit (1983-5), Ricoeur reconsidered and modified that concept. Though virtually no attempt has been made to elucidate the significance of this modification, it is crucial to reinterpret his texts written in the 70's in light of the revision made in the 80's for understanding the design of Ricoeur's hermeneutics integrally. By investigating the process of the shift from interpretation to project in terms of the reader's act, this paper will reconstruct Ricoeur's apparently fragmented hermeneutics as a whole, thereby demonstrating that he regarded interpretation as an act of dialogue and a creative activity supported by imagination.

著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.144, 2009-12-31 (Released:2017-05-22)

著者

櫻井 一成

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学藝術学研究 (ISSN:13426095)

巻号頁・発行日

vol.32, pp.19-72, 2014-03-20