著者

西村 清和

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.4, pp.1-14, 2003-03-31

---

In his film "Strike", Eisenstein abruptly cuts from a shot of the slaughter of workers to one of the slaughter of a steer. Such a cutting is understood as a typical example of film metaphor, while it has been not incontrovertible among theorists whether it is a real metaphor. Do film metaphors or, more generally, visual metaphors exist in the world? We could enumerate three types of traditional theories of metaphor, i.e. the substitution, the comparison, and the interaction theory. These have a conception in common that metaphor is, just like synecdoche and metonymy, a relation between two things referred to by two words. Meanwhile, influenced by Max Black's epistemological view of metaphor, philosophers often use the word 'metaphor' in the expanded sense including 'analog-model' or 'symbol'. It is sure that an analog-model is a mode of recognizing the world based on the relation between two things. But metaphor is, we claim, nothing other than a linguistic phenomenon of predicative modification of a subject. If it is true, it follows that metaphor in its proper form can not appear at the dimension of such visual images as paintings and films.

著者

西村 清和

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.28, pp.141-177, 2010-03-29

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.2-15, 2009

---

Ruins are places in which memories have been accumulated. For understanding the aesthetic phenomenon of ruins, we must make it clear what places really are. M. de Certeau considers a place as a configuration of the elements distributed within the relations of coexistence and a space as a crossing of historical subjects and 'a practiced place'. This conception of place is close to Gibson's 'ground theory' of space perception. The environment we perceive is, first of all, not an empty space but a place as a surface of the earth on which we are standing. The perception of the environment as the persisting structure of surfaces accompanies the perception of an instantaneous self, including the head, body, arms, and hands. And the nonperceptual awareness such as memory or expectation is made possible by the fact that the concurrent perception of the persistence of place and that of the change of a moving self are concurrent. Memory and expectation open a space of history. Yet the space turns back to the persisting place of a ruin when the history has come to be forgotten. The poetics of ruins consists not in retelling a history but in the awareness of the persistent linkage between us and the past.

著者

西村 清和

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.24, pp.1-33, 2006-03-29

著者

西村 清和

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.23, pp.1-28, 2005-03-29

著者

西村 清和 尼ヶ崎 彬 長野 順子 相澤 照明 山田 忠彰 中川 真 渡辺 裕 津上 英輔 青木 孝夫 外山 紀久子 大石 昌史 小田部 胤久 安西 信一 椎原 伸博 上村 博 木村 建哉 上石 学 喜屋武 盛也 東口 豊 太田 峰夫

出版者

東京大学

雑誌

基盤研究(A)

巻号頁・発行日

2007

---

本研究は従来自然美論、風景論、環境美学、都市美学という評語のもとで考えられてきたさまざまな具体的、個別的諸問題領域を、日常生活の場において企てられたさまざまな美的実践としてとらえなおし、あらたな理論化を目指すものである。具体的には風景、都市景観、森林、公園、庭園、人工地盤、観光、映画ロケ地、遊芸、雨(天候)、清掃アートなど多様な現象をとりあげて分析し、その成果を『日常性の環境美学』(勁草書房、2012)として刊行した。

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.2-15, 2009-06-30 (Released:2017-05-22)

---

Ruins are places in which memories have been accumulated. For understanding the aesthetic phenomenon of ruins, we must make it clear what places really are. M. de Certeau considers a place as a configuration of the elements distributed within the relations of coexistence and a space as a crossing of historical subjects and 'a practiced place'. This conception of place is close to Gibson's 'ground theory' of space perception. The environment we perceive is, first of all, not an empty space but a place as a surface of the earth on which we are standing. The perception of the environment as the persisting structure of surfaces accompanies the perception of an instantaneous self, including the head, body, arms, and hands. And the nonperceptual awareness such as memory or expectation is made possible by the fact that the concurrent perception of the persistence of place and that of the change of a moving self are concurrent. Memory and expectation open a space of history. Yet the space turns back to the persisting place of a ruin when the history has come to be forgotten. The poetics of ruins consists not in retelling a history but in the awareness of the persistent linkage between us and the past.

著者

西村 清和

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

美学芸術学研究 (ISSN:13426095)

巻号頁・発行日

no.25, pp.105-134, 2006

著者

西村 清和

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.4, pp.1-14, 2006-03-31

---

As opposed to the linear perspective since Renaissance, Wolfgang Kemp recognizes new ways of pictorial composition in the 19th century which constitute new types of spectators seeing the world from their particular positions. Then he argues a parallelism between the new perspectives of modern paintings and those of modern novels. Different from the transcendent and omniscient viewpoint of narrating stories in the old age, and from the omniscient and transcendental viewpoint based on linear perspective, modern historical paintings and novels were concerned with narrative modes of individual experiences. According to Kemp, paintings newly defined spectators as individual witnesses of depicted events. But he does not assign the narrative mode of 'la vision ≪avec≫' (Jean Pouillon) to paintings which lets readers stand at the position of a diegetic character, because paintings always require the physical presence of spectators standing in front of them. He confuses the 'angle' of physical eye with the 'viewpoint' of narration. In fact, the narrative mode of 'la vision ≪avec≫' exists in paintings as well.

著者

西村 清和

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.25, pp.105-134, 2007-03-29

著者

山口 和子 西村 清和 長野 順子 川田 都樹子 前川 修

出版者

岡山大学

雑誌

基盤研究(B)

巻号頁・発行日

2008

---

写真の非芸術的側面と従来みなされてきた細部の再現からなる触覚的質が、視覚をモデルとするモダンの美的ヒエラルキーと知を揺るがし、日常的なものや無意味なもの、アブジェクトなものや非焦点性を芸術の世界に組み入れ、芸術のポストモダン的状況を作り出すと共に、アパレイタスとしてのその特性は自我やリアリティーの消失に対応している。他方、芸術と写真とのこの近接は写真の非芸術的な起源への問を再び呼び起こしている。

著者

西村 清和

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.26, pp.134-158, 2008-03-29

著者

西村 清和

出版者

公益財団法人 日本学術協力財団

雑誌

学術の動向 (ISSN:13423363)

巻号頁・発行日

vol.15, no.2, pp.2_87-2_91, 2010-02-01 (Released:2010-11-05)

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.27, no.1, pp.23-31, 1976-06-30 (Released:2017-05-22)

著者

池原 研 木下 泰正 西村 清和 川幡 穂高

出版者

一般社団法人 日本地質学会

雑誌

日本地質学会学術大会講演要旨 (ISSN:13483935)

巻号頁・発行日

vol.1986, 1986

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.161, 2008-12-31 (Released:2017-05-22)

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.4, pp.1-14, 2006-03-31 (Released:2017-05-22)

---

As opposed to the linear perspective since Renaissance, Wolfgang Kemp recognizes new ways of pictorial composition in the 19th century which constitute new types of spectators seeing the world from their particular positions. Then he argues a parallelism between the new perspectives of modern paintings and those of modern novels. Different from the transcendent and omniscient viewpoint of narrating stories in the old age, and from the omniscient and transcendental viewpoint based on linear perspective, modern historical paintings and novels were concerned with narrative modes of individual experiences. According to Kemp, paintings newly defined spectators as individual witnesses of depicted events. But he does not assign the narrative mode of 'la vision ≪avec≫' (Jean Pouillon) to paintings which lets readers stand at the position of a diegetic character, because paintings always require the physical presence of spectators standing in front of them. He confuses the 'angle' of physical eye with the 'viewpoint' of narration. In fact, the narrative mode of 'la vision ≪avec≫' exists in paintings as well.

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.80, 2005-12-31 (Released:2017-05-22)

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.41, no.1, pp.65-70, 1990-06-30 (Released:2017-05-22)

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.53, no.4, pp.1-14, 2003-03-31 (Released:2017-05-22)

---

In his film "Strike", Eisenstein abruptly cuts from a shot of the slaughter of workers to one of the slaughter of a steer. Such a cutting is understood as a typical example of film metaphor, while it has been not incontrovertible among theorists whether it is a real metaphor. Do film metaphors or, more generally, visual metaphors exist in the world? We could enumerate three types of traditional theories of metaphor, i.e. the substitution, the comparison, and the interaction theory. These have a conception in common that metaphor is, just like synecdoche and metonymy, a relation between two things referred to by two words. Meanwhile, influenced by Max Black's epistemological view of metaphor, philosophers often use the word 'metaphor' in the expanded sense including 'analog-model' or 'symbol'. It is sure that an analog-model is a mode of recognizing the world based on the relation between two things. But metaphor is, we claim, nothing other than a linguistic phenomenon of predicative modification of a subject. If it is true, it follows that metaphor in its proper form can not appear at the dimension of such visual images as paintings and films.