文献一覧: 金田千秋 (著者)

2 0 0 0 OA 文化遺産としての大衆的イメージ-近代日本における視覚文化の美学美術史学的研究

著者: 金田千秋加藤哲弘島本浣山田俊幸及川智早佐藤守弘石田あゆう岸文和前川修中谷伸生橋爪節也鈴木廣之太田孝彦石田美紀
出版者: 筑波大学
雑誌: 基盤研究(B)
巻号頁・発行日: 2008

本研究は、大正期に流通していた大衆的な視覚表象に関する2つの課題を、豊かな対話関係において、遂行するものである。すなわち、第1の課題は、大衆的な視覚表象が果たしていたメディア的な機能の多様性を、可能な限り広範な資料に基づいて、美術史学的に明らかにすることである。第2の課題は、「文化遺産」の概念を鍛え上げることによって、何らかの大衆的イメージが後世に継承される/るべきさいの条件・方法などを、美学的に考察することである。

2015-08-05 04:14:04
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https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-20320020/

2 0 0 0 OA 判定構造論の射程 : カントの『判断力批判』

著者: 金田千秋
出版者: 美学会
雑誌: 美學 (ISSN:05200962)
巻号頁・発行日: vol.42, no.1, pp.24-35, 1991-06-30

The whole, not the part, of Kant's "Analytic of the aesthetical judgement" in his "Critique of Judgement" (1790) is, except the theory of the sublime, the subsumption-theory of the beautiful. It is not theoretically correct that after discussing from the beginning to the 40th paragraph of this Analytic the judgement of taste, Kant switches to another subject, that is, to the theory of art or genius. The subject from the 41st paragraph to the end of the Analytic is also the subsumption-structure of the judgement on art, whose predicate is composed of the two predication-elements, "the genius" and "the taste". Kant tries to achieve the exposition and the deduction of this dual predicate and the main purpose of my paper is to elucidate the way in which these two "predicates", especially "the genius", are exposed and deduced in the manner of the Kantian Transcedental Philosophy.

https://ci.nii.ac.jp/naid/110003713987

1 0 0 0 OA 形は微動する

著者: 金田千秋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.69, no.2, pp.73, 2018 (Released:2020-03-23)

2021-01-27 21:06:00
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1 0 0 0 OA 二次元的人間の予知夢アドルフ・ヒルデブラント

著者: 金田千秋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.68, no.1, pp.25-36, 2017 (Released:2018-07-01)

I would like to nominate the thoughts of Hermann von Helmholtz, a celebrated German physiologist and mathematician in the nineteenth century, as a framework for interpreting sculptor Adolf Hildebrand’s great work, ‘Das Problem der Form in der bildenden Kunst’ (1893). It can be clearly inferred from Hildebrand’s letters that he had inspected Helmholtz’s popular papar on the non-Euclidean geometry system. The concept of the “plane” in this paper was decisive. Helmholtz’s thinking experiment, “Can an insect with only plane perception crawling on an egg recognize its three-dimensional curved surface?”, probably influenced Hildebrand’s sculpture-aesthetics, which analyzed the shapes of objects with a series of concepts, “face”, “layer”, “face layer”, etc. Helmholtz’s insight that “The world is made of flat surfaces” had thus profoundly affected the sculptor. What kinds of human abilities are needed to perceive the composition of the world? At the end of the eighteenth century, a controversy broke out between Immanuel Kant and the followers of Gottfried Leibniz about whether to lay the foundation of space on “intuition” or “intuition and concept”. However, Hildebrand’s involvement in this history made him confront the conflict between “intuition” and “intuition and concept”, which unexpectedly led to a serious political and racial problem.

2021-01-27 20:53:00
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1 0 0 0 OA 二次元的人間の予知夢アドルフ・ヒルデブランt

著者: 金田千秋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.67, no.2, pp.90, 2016 (Released:2018-01-01)

2021-01-27 20:49:00
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1 0 0 0 OA シュマルゾウ芸術学の哲学的源泉 : 十九世紀における運動と演算

著者: 金田千秋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.66, no.1, pp.65-76, 2015-06-30 (Released:2017-05-22)

This paper attempts to reveal the philosophical origins of August Schmarsow's theorie of arts in Grundbegriffe der Kunstwissenschaft (1905). In the 1870s, young Schmarsow studied philosophy under the direction of Ernst Laas at the University of Strassburg. His doctoral dissertation, titled Leibniz und Schottelius, suggests his specialized knowledge of G.W.Leibniz. Moreover, Laas was a disciple of Adolf Trendelenburg(1802-1872), a now forgotten, but formerly influential professor of philosophy at the University of Berlin. Trendelenburg's philosophy was founded on the premise that every philosophical category is essentially based on the concept of motion. In Grundbegriffe, Schmarsow presented an esthetic doctrine maintaining that the fundamental esthetic categories - symmetry, proportion and rhythm - are founded on the motion of the human body. This paper examines whether Schmarsow's methods were influenced by Leibniz's and Trendelenburg's thoughts.

2021-01-27 20:33:00
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1 0 0 0 OA シュマルゾウ芸術学の哲学的源泉 : 運動と演算の十九世紀(第六十五回美学会全国大会発表要旨)

著者: 金田千秋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.2, pp.109, 2014-12-31 (Released:2017-05-22)

2021-01-27 20:28:00
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1 0 0 0 OA 岩城見一, 『<誤謬>論カント『純粋理性批判』への感性論的アプローチ』, 萌書房, 二〇〇五年, 三一一頁

著者: 金田千秋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.3, pp.86-89, 2006-12-31 (Released:2017-05-22)

2021-01-27 15:18:00
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1 0 0 0 OA 判定構造論の虚焦点 : カントの『判断力批判』

著者: 金田千秋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.45, no.4, pp.1-11, 1995-03-31 (Released:2017-05-22)

The aim of this paper is to answer the following question about the first part of Immanuel Kant's "Critique of Judgement". Is it possible to understand the three successive paragraphs, the 16th, 17th and the 18th, as working as a unit? In other words, is it possible for us to discover a right viewpoint, from which these three paragraphs are regarded as controlled by a common theoretical motivation? I do answer in the affirmative. The Ideal of Beauty (§ 17), in my opinion, is no more and no less than an a-priori condition, on which the truth or falsity of an aesthetical judgement is (ideally) determined. This a-priori condition has two aspects, just as determination in general does. On the one hand this condition makes it possible for us to negate (ideally) the opponent judgement (§ 16). On the other it affords us a right to make a statement of taste in the mode of postulation, that is, in the mode of necessity (§ 18). In this way those three paragraphs are coordinated.

2020-06-10 12:36:28
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1 0 0 0 OA 物質の批評可能性:チェーザレ・ブランディの『修復の理論』

著者: 金田千秋 Kaneda Chiaki
巻号頁・発行日: 2012

科学研究費補助金成果報告書課題番号20320020 の一部

2019-11-23 15:38:10
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http://hdl.handle.net/2241/116648

1 0 0 0 OA 可視性の核 : フィヒテ美学の基本契機

著者: 金田千秋
出版者: 美学会
雑誌: 美學 (ISSN:05200962)
巻号頁・発行日: vol.33, no.1, pp.26-40, 1982-06-30

Es ist die Absicht dieses Aufsatzes, Fichtes Wissenschaftslehre aus dem asthetischem Gesichtspunkt zu uberblicken. Dazu bekommen wir einen Anhalt bei dem Manuskript, das "Practische Philosophie" gennant ist. Der leitende Begriff dieses Manuskripts ist der des Strebens, der die konsequente Thematisierung der sinnlichen Lust, des Schones und des Erhabenes ermoglicht. Erstens in der asthetischen Erfahrung geschiet die Wiederherstellung des vorstellenden Ichs aus der Abhangigkeit von dem Nicht-Ich. Zweitens erhalten das Schone und das Erhabene in sich eine Struktur des Reflexes. Diese zweien Einsichten sind nicht nur der Charakter der fruheren fichteschen Asthetik, sondern auch der der spateren. Denn die Grundeinsicht spaterer Wissenschaftslehre ist dargestellt unter dem Begriff der Reflexibilitat, der eine Konsequenz fichtescher Asthetik von Anfang bis zum Ende bezeugt.