著者

田中 佳佑 田中 佳佑

出版者

成城大学

雑誌

成城文藝 (ISSN:02865718)

巻号頁・発行日

vol.196, pp.119-101, 2006-09

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.49-60, 2011

---

It is a familiar fact that the printed books wiped out the manuscripts in the late 15th century European intellectual world. However, the significance of it in the historical context is too complex to interpret as a mere technical invention. In the present paper I shall try to explain, though only in philological way, what sort of directions were given in the Renaissance humanism by printing and the printed books as the problem of the history of ideas. I shall not discuss the mode or artistic format of any incunabula and early printed books, mine is rather abstract task of trying to understand, through some documents of Italian humanists, the historical impact of printing on the Renaissance era. My aim will accordingly indicate the essential correlation of printing with the Modern form of knowledge. In my idea, printing has three aspects: (i) the institutional package which produced the public value of books by means of mass circulation, (ii) the product of a certain technologism which changed knowing as personal study into knowing as impersonal manipulation, (iii) the breaker of the traditional close relationship between the authors and the readers. One may find these aspects support our form of knowledge.

著者

田中 佳佑

出版者

成城大学

雑誌

成城文藝 (ISSN:02865718)

巻号頁・発行日

no.205, pp.73-55, 2008-12

著者

田中 佳佑

出版者

成城大学

雑誌

成城文藝 (ISSN:02865718)

巻号頁・発行日

no.208, pp.126-110, 2009-09

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, 2008

著者

田中 佳佑

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, 2010-12-31

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.131, 2013-12-31 (Released:2017-05-22)

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.37-48, 2013-12-31 (Released:2017-05-22)

---

There is a general theory of allegory accepted by many literary critics and philosophers; i.e. allegory is merely the figuration substitutes particular things for the universal concept. On the contrary, the aim in my paper is to produce counter evidences against this 'emblem' formula from the standpoint of theologia poetica which was the common topic among Italian Renaissance humanists. The advocates of it, such as Mussato, Petrarch, Salutati, and the Florentine Academicians thought the interpretation of allegory in poetry coincides with that in the Scripture, and poetry is also the medium of divine providence in accord with theology. Especially Salutati and Landino said poetry is the comprehensive science composed from all seven liberal arts, hence they presumed poetry to be the essence of the humanities and simultaneously the epistemological function of allegory to be to 'bring out something hidden in the fountain of divinity itself'. According to Landino, whether in the Scripture or in poetry, allegory 'embellishes' the truth with 'marvellous pleasure', and through the maze' of allegory one can reach the summit of knowledge'. In the view of such humanists, allegory is not figuration but the act of knowing, and consequently theologia poetica was the ideal of humanism.

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.188, 2013-06-30 (Released:2017-05-22)

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.49-60, 2011-12-31 (Released:2017-05-22)

---

It is a familiar fact that the printed books wiped out the manuscripts in the late 15th century European intellectual world. However, the significance of it in the historical context is too complex to interpret as a mere technical invention. In the present paper I shall try to explain, though only in philological way, what sort of directions were given in the Renaissance humanism by printing and the printed books as the problem of the history of ideas. I shall not discuss the mode or artistic format of any incunabula and early printed books, mine is rather abstract task of trying to understand, through some documents of Italian humanists, the historical impact of printing on the Renaissance era. My aim will accordingly indicate the essential correlation of printing with the Modern form of knowledge. In my idea, printing has three aspects: (i) the institutional package which produced the public value of books by means of mass circulation, (ii) the product of a certain technologism which changed knowing as personal study into knowing as impersonal manipulation, (iii) the breaker of the traditional close relationship between the authors and the readers. One may find these aspects support our form of knowledge.

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.158, 2010-12-31 (Released:2017-05-22)

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.159, 2008-12-31 (Released:2017-05-22)

著者

田中 佳佑

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, 2013-06-30

著者

田中 佳佑

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.37-48, 2013-12-31

---

There is a general theory of allegory accepted by many literary critics and philosophers; i.e. allegory is merely the figuration substitutes particular things for the universal concept. On the contrary, the aim in my paper is to produce counter evidences against this 'emblem' formula from the standpoint of theologia poetica which was the common topic among Italian Renaissance humanists. The advocates of it, such as Mussato, Petrarch, Salutati, and the Florentine Academicians thought the interpretation of allegory in poetry coincides with that in the Scripture, and poetry is also the medium of divine providence in accord with theology. Especially Salutati and Landino said poetry is the comprehensive science composed from all seven liberal arts, hence they presumed poetry to be the essence of the humanities and simultaneously the epistemological function of allegory to be to 'bring out something hidden in the fountain of divinity itself'. According to Landino, whether in the Scripture or in poetry, allegory 'embellishes' the truth with 'marvellous pleasure', and through the maze' of allegory one can reach the summit of knowledge'. In the view of such humanists, allegory is not figuration but the act of knowing, and consequently theologia poetica was the ideal of humanism.

著者

田中 佳佑

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.12, pp.17-36, 2006-03