著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.1-12, 2012-12-31 (Released:2017-05-22)

---

After "The Intentional Fallacy" (1946/54) by W. K. Wimsatt Jr. and M. Beardsley, the role of the artist's intention in the interpretation of artwork has been one of the central topics in analytical aesthetics. Recently, this issue has been mainly debated between moderate actual (MAI) and hypothetical intentionalism (HI). In this paper, I demonstrate some difficulties of MAI, comparing it with HI. First, I survey Carroll's version of MAI and point out its main arguments: accessibility to "actual intention" and the reliance on private documents. I examine them and show that the discrimination of MAI from HI is unclear. Additionally, I insist that, against Hans Maes' arguments, MAI has no advantages in interpreting contemporary art, because MAT overlooks the distinction between "semantic" and "categorial" intention, which Levinson draws. Since contemporary art employs diverse materials which have no code to mean something, semantic intention cannot play any role in making such artwork. Instead, categorial intention is the precondition for making it art and tells us how it is to be conceived or approached. Through this examination, I argue that there is no reason to maintain MAT, at least in Carroll's version.

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.1-12, 2012

---

After "The Intentional Fallacy" (1946/54) by W. K. Wimsatt Jr. and M. Beardsley, the role of the artist's intention in the interpretation of artwork has been one of the central topics in analytical aesthetics. Recently, this issue has been mainly debated between moderate actual (MAI) and hypothetical intentionalism (HI). In this paper, I demonstrate some difficulties of MAI, comparing it with HI. First, I survey Carroll's version of MAI and point out its main arguments: accessibility to "actual intention" and the reliance on private documents. I examine them and show that the discrimination of MAI from HI is unclear. Additionally, I insist that, against Hans Maes' arguments, MAI has no advantages in interpreting contemporary art, because MAT overlooks the distinction between "semantic" and "categorial" intention, which Levinson draws. Since contemporary art employs diverse materials which have no code to mean something, semantic intention cannot play any role in making such artwork. Instead, categorial intention is the precondition for making it art and tells us how it is to be conceived or approached. Through this examination, I argue that there is no reason to maintain MAT, at least in Carroll's version.

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.110, 2011-12-31 (Released:2017-05-22)

著者

河合 大介

雑誌

成城文藝

巻号頁・発行日

no.203, pp.53-38, 2008-06

著者

河合 大介

出版者

成城大学大学院文学研究科美学・美術史専攻

雑誌

成城美学美術史 = Studies in aesthetics & art history (ISSN:13405861)

巻号頁・発行日

no.24, pp.1-15, 2018-03

著者

河合 大介

出版者

岡山県立大学

雑誌

若手研究(B)

巻号頁・発行日

2015-04-01

---

最終年度となる本年度は、1.美学的課題を美術史研究の実践に照らし合わせて検討すること、2.赤瀬川原平の〈匿名性〉への関心をより発展的に考察するために、「千円札裁判」についての研究をすすめた。これまで作者の意図についての美学的・哲学的研究から、作品解釈において想定されている作者の意図を、一般的な好意における意図とは区別して、作品解釈の場面に固有な概念として考察する必要性が予測された。その予測に従って、特に美術史研究における意図への参照について検討し、美術史研究者を中心とする研究会で研究発表をおこなった。そこでの議論を通じて、美術史研究においては、作者の意図を示す資料も他の資料と同等にその正当性を検証されるのであり、とくに「意図」を特権的に扱うことはあまりないことがわかった。したがって、少なくとも歴史的な作品研究において、「意図」について論じることの妥当性や、それにかわる新たな体系の可能性について考察するという課題があきらかになった。また、赤瀬川原平の「模型千円札裁判」に関する研究では、前年度の東京文化財研究所での研究発表を発展させ、成城大学美学美術史学会において発表を行い、論文として公表した。そこでは、模型千円札についての赤瀬川の説明が時間とともに変化していくという点、また、赤瀬川にとって制作意図とは作品完成後に現れるという考えに至っている点を示した。ここには、意図と作品との因果関係に関する重要な洞察が認められる。これらの成果をもとに、次年度には研究会を開催して検討を深めた上で、最終的な成果を学会等に発表する予定である。

著者

河合 大介

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.15, pp.75-96, 2009-03

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.110, 2014-12-31 (Released:2017-05-22)

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.128-130, 2008-12-31 (Released:2017-05-22)

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.143, 2007-12-31 (Released:2017-05-22)

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.1-14, 2005-12-31 (Released:2017-05-22)

---

After the "Death of Painting," the role of vision in the experience of art has changed entirely. The privilege of visuality in modernism has been superseded by a minimalist visuality, which contains in itself the relation between the beholder and the work. In this light, Nietzsche's concept of Vision (the German word meaning "vision" or "hallucination") assumes a different aspect. In The Birth of Tragedy, Apollonian art is attributed to the dream in which we look away from sufferings in real life, and become absorbed in contemplation of an imaginary world. In tragedy, however, the Apollonian operation is called Vision in distinction from the dream. The intoxicated spectator transfigures actors on the stage into gods and acquires an insight into the Dionysian origin of the world. In his later work Twilight of the Idols, in which Vision as an intoxication of the eye replaces the dream, Apollonian art as well as music arouses intoxication. A transfiguration results from this, with the eyes open. Therefore, Vision is a sort of visuality that exists as a physical relation between the beholder and the work. This concept of Vision provides a new perspective on both Nietzsche's theory of art and contemporary art.

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, 2011

著者

河合 大介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.1-14, 2005-12-31

---

After the "Death of Painting," the role of vision in the experience of art has changed entirely. The privilege of visuality in modernism has been superseded by a minimalist visuality, which contains in itself the relation between the beholder and the work. In this light, Nietzsche's concept of Vision (the German word meaning "vision" or "hallucination") assumes a different aspect. In The Birth of Tragedy, Apollonian art is attributed to the dream in which we look away from sufferings in real life, and become absorbed in contemplation of an imaginary world. In tragedy, however, the Apollonian operation is called Vision in distinction from the dream. The intoxicated spectator transfigures actors on the stage into gods and acquires an insight into the Dionysian origin of the world. In his later work Twilight of the Idols, in which Vision as an intoxication of the eye replaces the dream, Apollonian art as well as music arouses intoxication. A transfiguration results from this, with the eyes open. Therefore, Vision is a sort of visuality that exists as a physical relation between the beholder and the work. This concept of Vision provides a new perspective on both Nietzsche's theory of art and contemporary art.

著者

河合 大介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, 2004-12-31