著者
暮沢 剛巳 江藤 光紀 加島 卓 鯖江 秀樹 飯田 豊
出版者
東京工科大学
雑誌
基盤研究(B)
巻号頁・発行日
2018-04-01

4年計画の2年目に当たる本年度は、各メンバーとも初年度から行ってきた基礎調査を継続する発展させると同時に、国内外での現地調査を本格化させ、さらに多くの情報を収集することを目指した。暮沢は夏季に江藤と合同で中国での調査を行ったほか、その直後にイギリスでも調査を行い、また国内でも京都の国際学会や研究会に参加したほか、沖縄でも調査を行った。江藤は暮沢と合同で中国で調査を行ったほか、ドイツでも調査を行った。鯖江は主に資料収集に注力した。加島は多くの外国語文献を収集したほか、大阪で70年大阪万博についての現地調査を行った。飯田は70年大阪万博についての多くの資料を収集した。各メンバーの活動は基本的には個人単位で行ったが、定期的に連絡を取り合って情報を交換し、また8月上旬には京都で、3月中旬には東京で全員が一堂に会しての研究ミーティングを行った。個別の研究成果に関してだが、暮沢は紀元2600年万博についての論文を発表したほか、オリンピックについての共著を出版し、そのなかで万博についても扱った。江藤は今年度は基礎研究に専念した。鯖江は2本の論文を発表したほか、翻訳書を出版した。加島は2本の論文を発表したほか、学会での研究報告を行った。飯田は単著『メディア論の地層』を出版したほか、70年大阪万博に言及した論文を発表したが、2020年初頭からのコロナウイルスの急速な感染拡大の影響で、一部の計画を変更し、研究費の一部を次年度に繰越使用するなどの影響が出た。以上の実績を踏まえて、3年目に当たる次年度以降も引き続き積極的に調査研究に取り組んでいく予定だが、コロナウイルスの急速な感染拡大が計画に影響を及ぼすことは避けられないので、注意していく必要がある。
著者
鯖江 秀樹
出版者
美学会
雑誌
美學 (ISSN:05200962)
巻号頁・発行日
vol.59, no.1, pp.127-139, 2008-06-30

This paper aims at investigating the peculiar aspects of Italian architectural culture under the fascist regime. Edoardo Persico, the most important critic of architecture between the two wars, recognized well that political powers and architecture crossed on the critical discourse. From this point of view, he defined the short history of this Italian movement as a process from 'europeismo' to 'romanita', and to 'mediterraneita'. These notions do not imply the supremacy of Italian ethic and nation, but demonstrate that young architects, who had been eager to introduce European modern building styles into their own country, was subordinated to political requests of fascism. Yet it was more important for Persico to reveal the rhetorical mechanism that obstructed the European artistic taste ('gusto europeo') and also disguised the Italian one ('gusto italiano') as they were. Hence his analysis of a lot of reviews appeared on the catalogues or magazines proved the diversity of the modern culture. Persico was the only writer that could describe the whole space of critical discourse as a matrix of fascist cultures with some paradoxical characters.
著者
鯖江 秀樹
出版者
美学会
雑誌
美学 (ISSN:05200962)
巻号頁・発行日
vol.59, no.1, pp.127-139, 2008-06-30 (Released:2017-05-22)

This paper aims at investigating the peculiar aspects of Italian architectural culture under the fascist regime. Edoardo Persico, the most important critic of architecture between the two wars, recognized well that political powers and architecture crossed on the critical discourse. From this point of view, he defined the short history of this Italian movement as a process from 'europeismo' to 'romanita', and to 'mediterraneita'. These notions do not imply the supremacy of Italian ethic and nation, but demonstrate that young architects, who had been eager to introduce European modern building styles into their own country, was subordinated to political requests of fascism. Yet it was more important for Persico to reveal the rhetorical mechanism that obstructed the European artistic taste ('gusto europeo') and also disguised the Italian one ('gusto italiano') as they were. Hence his analysis of a lot of reviews appeared on the catalogues or magazines proved the diversity of the modern culture. Persico was the only writer that could describe the whole space of critical discourse as a matrix of fascist cultures with some paradoxical characters.
著者
鯖江 秀樹
出版者
美学会
雑誌
美学 (ISSN:05200962)
巻号頁・発行日
vol.56, no.1, pp.14-27, 2005-06-30 (Released:2017-05-22)

Il pensiero di Antonio Gramsci e considerate alia stregua di quello politico. Tuttavia in base al contesto della storia moderna italiana, insieme alle voci dei critici del tempo, esso si ripercosse anche sui vari aspetti dell'arte e della cultura. Il testo gramsciano fu falsificato da P. Togliatti all'indomani della Seconda Guerra Mondiale. In virtu di cio, si diffuse la convinzione che il pensiero di Gramsci e la metodologia che potesse condurre l'Italia alia "via della rinascita". Cio nonostante questo orientamento si estese all'arte, generando un termine quale "neorealismo", cioe una catena di rappresentazioni realistiche. Gramsci divenne un "combattente" contro il fascismo e il suo pensiero altero l'estetica della organizzazione "immediata" e "semplicistica" del pathos artistico. Il programma del pensiero gramsciano fu quello di organizzare l'Italia a unica "nazione", sebbene la caratteristica di pensiero sull'arte differiva da quella che i critici della dopoguerra immaginavano e da quella che altre correnti antifasciste avevano proposto nello stesso periodo. I brani sulla critica dell'estetica di B.Croce e sull'architettura razionale nei "Quaderni del carcere" indicano che Gramsci provo a organizzare strategicamente l'arte quale campo culturale, osservando le condizioni politiche e sociali sotto il regime. Dal punto di vista storico, la sua riflessione sul concetto "intellettuale" fu alia base di una visione estetica "mediata" e "complessiva" abbastanza incisiva da riscuotere una vasta eco sull'arte e sulla cultura italiana non solo nel dopoguerra, ma persino prima il conflitto bellico.