著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.1-12, 2010-06-30 (Released:2017-05-22)

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Sibley observed in "Aesthetic Concepts" that "many words have come to be aesthetic terms by some kind of metaphorical transference", though without specifying what kind. In the transference of e.g. "nostalgic" from its primary sense as having nostalgia (He was^1 nostalgic.) to its metaphorical, aesthetic sense as causing nostalgia (The song was^2 nostalgic.), a thing takes the place of a person as the subject. This process contains a reciprocal alternation (a) from an objective viewpoint (was^1) to a subjective and again (b) to an objective (was^2). I argue one bridge connecting both ends is the subjective verb feel, with its active (He felt nostalgic. =a) and quasi-passive use with a thing as the subject (The song felt nostalgic. =b). This theory enables us to trace the history of our sensibility by pursuing grammatical or lexical changes particular words underwent over a period. One example is a group of terms denoting mental diseases including "nostalgia". Most of them have positive aesthetic meanings. This illustrates our sensibility's tendency to approve of what is socially or morally repudiated. Since we are capable of dating the changes using the OED, such individual observations will add up to a history of our aesthetic sensibility.

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.148, 2009-12-31 (Released:2017-05-22)

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.2-14, 2008-06-30 (Released:2017-05-22)

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Tourism is a travel for pleasure, especially for the pleasure of seeing. Baumgarten in his Aesthetica identified beauty as "perfection of sense perception, as such". This can be paraphrased as a state of our mind in which we look in order to look (or listen in order to listen), with pleasure and without having it hindered by anything external or taken over by intellectual cognition. Since tourism meets these conditions, it qualifies as the pursuit of beauty. Analysis of tourist activities in photographing, gastronomy and "consumption" shows that photography, tourism-oriented culinary establishments and admission fees mediate between the tourist and the object visited by making the latter appropriate for the former's aesthetic experience. Aesthetics of tourism is thus both possible and necessary as a bridge between aesthetics and tourism research. Contributions expected from this new field of research include applying Kant's argument of disinterestedness against the current tourism research's uncritical conception of tourists' "consumption" of tourist resources and enhancing, through historical researches on ideal beauty sought by tourists of each period, aesthetics' knowledge of the background against which past philosophers presented their theories of beauty and art.

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.152, 2007-12-31 (Released:2017-05-22)

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.1-13, 2005-09-30 (Released:2017-05-22)

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Dear old things have a warm and bittersweet taste that is distinct from other tastes related to oldness like cold antiquity or sweet-and-sour recollections. This hitherto unnamed taste ought to be called nostalgia, because nostalgia today means an affectionate feeling for the past felt about a thing at hand, as its definitions in recent English dictionaries show. Nostalgia as defined above is an agreeable feeling conveyed through the senses. Since it is equivalent to what aesthetics has called the aesthetic or an aesthetic category, nostalgia deserves a due place in the discussion of aesthetics. Recognition of nostalgia as a theme of aesthetics is expected to contribute much to this discipline. Its primary contribution lies in aesthetic's enlarged scope, because our knowledge of feeling and perception (aisthesis) advances through it. Its secondary benefits include encouraged specialized investigations into the expression of nostalgia in works of art and avoided political exploitation of nostalgia by revealing the fictitious character of the "past."

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.65, 2004-12-31 (Released:2017-05-22)

著者

津上 英輔

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.240, pp.141-159, 2017-06

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.2-14, 2008

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Tourism is a travel for pleasure, especially for the pleasure of seeing. Baumgarten in his Aesthetica identified beauty as "perfection of sense perception, as such". This can be paraphrased as a state of our mind in which we look in order to look (or listen in order to listen), with pleasure and without having it hindered by anything external or taken over by intellectual cognition. Since tourism meets these conditions, it qualifies as the pursuit of beauty. Analysis of tourist activities in photographing, gastronomy and "consumption" shows that photography, tourism-oriented culinary establishments and admission fees mediate between the tourist and the object visited by making the latter appropriate for the former's aesthetic experience. Aesthetics of tourism is thus both possible and necessary as a bridge between aesthetics and tourism research. Contributions expected from this new field of research include applying Kant's argument of disinterestedness against the current tourism research's uncritical conception of tourists' "consumption" of tourist resources and enhancing, through historical researches on ideal beauty sought by tourists of each period, aesthetics' knowledge of the background against which past philosophers presented their theories of beauty and art.

著者

津上 英輔

出版者

成城大学

雑誌

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

巻号頁・発行日

no.17, pp.1-15, 2012-03

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R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.

著者

津上 英輔

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.19, pp.1-19, 2013-03

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ρυθμο[s] is one of the three media (εν ετεροι[s]) of poetry Aristotle names besides words and melody in the Poetics (1447a8-b29). The Italian philologist Pier Vettori in his Commentarii in primum librum Aristotelis de Arte Poetarum (1560), which contains his own Greek text, followed by its verbatim Latin translation and comprehensive running commentary on textual, grammatical and interpretative topics, identifies it with dance, instead of rhythm as it is commonly held. Vettori was led to this (mis-)conception through two factors: (i) his supposition, conforming to the then current notion, that all poetry was verse (words with metre), with the consequence that metre, present, according to his view, in every poem, belongs to words, not rhythm; and more importantly (ii) the limited knowledge scholars in the sixteenth century commanded about the sources of the Poetics, without the aid of the Arabic version, from which modern editors have substantially benefited. Since both factors were historically conditioned, the resulting misunderstanding of Vettori's was more of a historical nature than his personal.ρυθμο[s] is one of the three media (εν ετεροι[s]) of poetry Aristotle names besides words and melody in the Poetics (1447a8-b29). The Italian philologist Pier Vettori in his Commentarii in primum librum Aristotelis de Arte Poetarum (1560), which contains his own Greek text, followed by its verbatim Latin translation and comprehensive running commentary on textual, grammatical and interpretative topics, identifies it with dance, instead of rhythm as it is commonly held. Vettori was led to this (mis-)conception through two factors: (i) his supposition, conforming to the then current notion, that all poetry was verse (words with metre), with the consequence that metre, present, according to his view, in every poem, belongs to words, not rhythm; and more importantly (ii) the limited knowledge scholars in the sixteenth century commanded about the sources of the Poetics, without the aid of the Arabic version, from which modern editors have substantially benefited. Since both factors were historically conditioned, the resulting misunderstanding of Vettori's was more of a historical nature than his personal.

著者

津上 英輔

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.3, pp.121-144, 1985-03-25

著者

津上 英輔

出版者

成城大学

雑誌

基盤研究(C)

巻号頁・発行日

2008

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観光とは快のための旅である。ところが従来の観光研究において、個人を観光に駆り立てる快の本性については、論じられなかった。その結果、社会的行動としての観光の重視と個人的行為としての観光の蔑視との間の齟齬が解消されずにいる。本研究では、観光者の写真撮影、旅先での美食とショッピングについて観光学の成果を踏まえた美学的考察を行ない、観光の快が美的=感性的(aesthetic)なものであることを確かめた。

著者

津上 英輔

出版者

成城大学

雑誌

美学美術史論集 (ISSN:09132465)

巻号頁・発行日

vol.18, pp.164-140, 2010-03

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, 2003-12-31