著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.25-36, 2010

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Scholars in many disciplines have talked about the "hegemony of vision" in the modern Western culture and philosophy. We also know that the most critical issue of modern philosophy of perception had been the compatibility between vision and touch, as viewed in the prolonged discussion of Molyneux's Question. But, on the contrary, we know very little about the significance of audition and hearing in the tradition of modern philosophy. This paper is thus intended as a historical sketch of the status of hearing, examining the texts of three philosophers. For Herder, the ear is the most nearest sense to the soul, and the audition stands in the middle of our five senses, dominating the others. But, at the same time, he also attaches great importance to touch, inheriting the tradition of Molyneux's Question, and therefore presupposes a kinship between hearing and touch. Kant exiles the ear from his conception of the critique of judgment, preferring the eye as a normative sense for disinterested and formal judgment. But he emphasizes a moral function of the ear in his critique of practical reason, as an organ hearing the voice of reason, i.e. the divine voice. The ear, finally, gains a definitive advantage over the eye with Hegel. He describes the progress of Romantic art from painting to music as a process of the "negation of dimension." In his view, time is negation (or sublation) form of space, and equally the audition is that of vision. We can say therefore that the hypothetical "hegemony of vision" was never stable, and the status of seeing has always been challenged and undermined by the hearing in the course of modern philosophy.

著者

森 理恵

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.4, pp.41-54, 2006-03-31

被引用文献数

1

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This article analyzes garments worn by young males depicted in Ihara Saikaku's 1687 publication entitled Great Mirror of Male Love, or Nanshoku Okagami. Saikaku describes garments with long fluttering sleeves, known as furisode, that were worn by young males, such as those who worked as pages in the service of military lords (kosho). Their garments, portrayed as gorgeous (hanayako) and elegant (furyu), represented the cutting edge of fashionable dress of the period. The furisode worn by young males employed in theaters mimicked those worn by young pages; however, their complicated patterns are thought to be specific to actors' garments. Furisode worn by young male actors differed little from that of young women. This study reveals that the wearing of furisode depended not on gender, but rather according to age or social status. On the other hand, the effect of interactions among social classes is apparent. Men described in The Great Mirror of Male Love followed established social norms but through interactions across class boundaries, created their own distinctive mode of beautiful clothing.

著者

源河 亨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.97, 2017 (Released:2019-01-02)

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Peter Kivy claims, from his early works, that music cannot arouse “garden-variety emotion” such as joy, anger, fear, sadness. According to him, the emotion aroused by music is a special “musical emotion”; the object of this emotion is always music. This claim seems to be counterintuitive and thus elicits many objections from philosophers, musicologists, psychologists, neuroscientists, and artists. However, I will argue that Kivy’s position is most plausible given the philosophy of emotion. Especially, I will show that there is no emotion deserving to be called “sadness” that is aroused by music. By appealing to philosophical considerations on emotion, I will support the following two points that Kivy emphasizes. The first is the lack of an object. There are no sad things (no loss) while we listen to music. If sadness does not occur, the lack of an object makes no matter. The second point is the paradox of negative emotion. Sadness has a negative value and we prefer to avoid it. If we can accept this, why then, are we willing to listen to music that make us sad? Again, if sadness does not occur, there arises no paradox.

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.15-28, 2006

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The aim of this paper is to examine the history of the "art competitions" in the modern Olympics, and thus to cast a new light on the boundary problem between art and sport. Pierre de Coubertin, the principal founder of the modern Olympics, held up an ideal of reunification of muscle and mind, and proposed to introduce five art competitions -in architecture, sculpture, painting, music and literature- within the course of the Olympic games. Then "art competitions" were successfully held in seven Olympiads from 1912 to 1948; but they were replaced by "art exhibitions" without medals from the Helsinki Olympics (1952) onward. In spite of Courbertin's personal enthusiasm for art, some of the IOC members remained skeptical of the art competitions, mainly because they seemed incompatible with the amateurism policy of the Olympics: participants therein were professional artists in most cases, and the prizewinning artworks were often traded openly at high prices. Added to this issue, art was condemned for lack of the qualification to rank with the Olympic sports, from the viewpoints that it has no uniform rules and no clear criteria for evaluation like athletic games, and that prizewinning artists are in general much older as compared to athletes, violating the Olympic ideal of "youthfulness." The introduction and abolition of the Olympic art competitions thus suggests the fundamental discrepancy in cultural and social status between art and sport, while our attention is too often directed merely to their alikeness or affinity.

著者

田中 晋平

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.85-96, 2013-12-31 (Released:2017-05-22)

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The aim of this paper is to analyze Theo Angelopoulos' film The Suspended Step of the Stork (To Meteoro Vima Tou Pelargou, 1991) and reveal its uniqueness in the director's filmography. First, I describe the outbreak of the civil war in Yugoslavia and Greece's relationships with its neighboring countries at that time. These events underlie the themes presented in this film, such as the borders between countries, refugees, and exiles. Further, I clarify the issue of the journey motif, associated with Homer's Odyssey, which has frequently appeared in Angelopoulos' works since the 1980s, to explore the border that lies within the refugees, in other words, the "other border," which this film attempts to portray. Based on these observations, I would like to obtain a perspective for giving another thought to Angelopoulos' filmography by examining the meaning of the "new collective dream" as presented in this film, by analyzing three scenes where the characters' behaviors of gazing at each other are emphasized.

著者

高木 駿

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, 2018-07-01

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In the First Book of the Critique of the Power of Judgment (1790), judgments of tastewhich state the beauty are based on a subjctive ground, or the feeling of pleasure,so that they are not logical cognitive judgments which constitute "a cognition of theobject through concepts of it" (V 211) but aesthetic judgments. Therefore, they cannotstate truth or falsehood of themselves as logical cognitive judgments do. However,Kant uses the expression of "a false (or an erroneous) judgment of taste (ein irrigesGeschmacksurteil)" (V 216). If this "false (or erroneous)" is not logical one, whatdoes it mean? About what are judgments of taste false? Now, we have three leadinginterpretations of judgments of taste to resolve these questions, i.e. interpretationfrom an epistemological, moral, aesthetic point of view. But I think that the first twointerpretations are not successful, because they contradict Kant's statements in somepoints as I will show. Thus, in this paper by adopting the aesthetic interpretation ofjudgments of taste I shall answer the questions concerned, namely argue that thefalsehood (or error) of them consists in choosing an inappropriate feeling of pleasurefor the ground of judgments of taste.

著者

高木 駿

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, 2016

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In the First Book of the Critique of the Power of Judgment (1790), Immanuel Kant says that judgments of taste are not cognitive but aesthetic, because they are grounded only in a subjective ground, or the feeling of pleasure (Vgl. V 203). Now logical cognitive judgments constitute "a cognition of the object through concepts of it" (V 211 Italics mine), therefore judgments of taste must be without concepts of object, namely nonconceptual. However, Kant's example of an object of judgments of taste, "the rose that I am gazing at" (V 215), and the judgment of taste "This rose is beautiful." seem to contradict the nonconceptuality of judgments of taste themselves, because this judgment appears to presuppose the use of concepts of understanding for empirically identifying what an object is, and the cognition "This is a rose.". In this point, does Kant make a self-contradictory statement? In this paper, by considering the meaning of Kant's conception of the nonconceptuality, I shall argue that the judgment of taste "This rose is beautiful." does not contradict the conception, and thus there is no Kant's self- contradiction.

著者

岡本 源太

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.43-54, 2007-03-31 (Released:2017-05-22)

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Dans La chambre claire, Roland Barthes essaie de theoriser sur le ≪realisme photographique≫ (le mot ≪realisme≫ etant a entendre au sens philosophique, et non artistique), autrement dit sur le lien de la Photographic a la realite. Ce lien n'est pas seulement denie (la Photographic n'a pas de realite, mais de l'arbitraire), mais aussi surinterprete (la realite de la Photographic ne consiste que dans la vraisemblance), pour autant que la Photographic est produite et regardee a travers differentes mediations. Or ce deni aussi bien que cette surinterpretation ne font que meconnaltre le realisme photographique tel qu'il est concu par Barthes. Car, selon lui, la Photographic se met en rapport avec la realite par l'intermediaire de la verite de l'image, et la verite, qui se trouve dans la ressemblance, le lignage et l'air, est inseparable des souvenirs et des passions du sujet qui voit une photo. Avec cette theorie du realisme photographique, Barthes tente de sortir de la conception qui oppose l'image au reel, alors que la meme conception marque largement la societe moderne. Si cette conception est toujours dans l'air, comme le fait remarquer d'ailleurs Jacques Ranciere, le realisme photographique de Roland Barthes n'en parait pas moins actuel.

著者

平野 千枝子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.97-108, 2010

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Gordon Matta-Clark (1943-1978) is best known for his 'building cuts', which involved the physical invasion of vacant urban buildings. Through these works, he criticized urban renewal and the standardization of space in order to achieve industrial efficiency. Though they received less attention than his architectural works, Matta-Clark was also heavily involved in 'culinary' projects from the outset of his artistic career. The most important of these was 'Food', a restaurant he opened in 1971 along with a group of collaborating artists. At the restaurant, Matta-Clark emphasized human activity and allowed for the purchase, preparation and serving of food to act as a metaphor for cultural transformation. Later, in 1975, he built on 'Food' by giving a performance called 'Cuisse de Bceuf' that involved his roasting 750 pounds of beef in front of the then under-construction Pompidou Center in Paris. Earlier in his career, Matta-Clark also used food as a motif in works such as 'Agar' and 'Museum', which highlight the natural ability of mold to transform the ingredients of food. These projects set out to demonstrate the variety and vitality of unrestricted nature. I divide Matta-Clark's culinary projects into representations of 'natural' and 'cultural' transformation (after Levi-Strauss' The Raw and the Cooked') in order to discuss how Matta-Clark's motif of 'food as symbol of transformation' compliments his architectural work by criticizing the scientific and functional basis of urban renewal.

著者

星野 太

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.13-24, 2010-06-30

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In this paper, I examine Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757/59), comparing it with Pseudo-Longinus' On the Sublime. In his book, Burke does not refer to On the Sublime but once, although he shares one of the main subjects with Pseudo-Longinus, namely the "Sublime". However, in the Part V of Sublime and Beautiful, one can find some descriptions where the tradition of rhetoric, including On the Sublime, is recognized. Especially, Burkian notion of "Passion", which is discussed at the last part of Sublime and Beautiful, draws a lot of attention. According to Burke, arousing the "sympathy" or "contagion of our passion" is made possible only by words, not by paintings, architectures, or natural objects. And he assumes that the sympathy is aroused by words without "picture" (namely, mental representation). This is the very reason why, I suppose, Burke excludes Pseudo-Longinus' theory from his book on the "Sublime and Beautiful". For Pseudo-Longinus assumes that, when the violent power of speech arouses a sympathy, it is mediated as vivid image (phantasia). To put it briefly, while Pseudo-Longinus considers that the mental representation is necessary to influence other's passion by words, Burke takes the standpoint contrast with that of Pseudo-Longinus.

著者

加藤 隆文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.47-58, 2013

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This paper is an attempt to suggest a provoking theory about actions of human beings (including art-creating actions, art-appreciating actions, etc.). With this aim, I refer to Alfred Gell's posthumous book, Art and Agency (AA hereinafter), especially focusing on his concepts of 'agency' and 'index'. Because 'index' is a concept derived from C. S. Peirce's semiotics, Gell's theory may also imply a kind of applicability of Peirce's idea, though Gell's 'index' is not necessarily compatible with Peirce's. In Gell's terminology, 'index' is an object that mediates 'agency'. What he argues is that 'agency' can be attributed to not only persons but also things such as god statues as long as they (persons and things) are seen as initiating causal sequences caused by some sort of intention. Utilizing these concepts, Gell puts forward 'Anthropology of Art'. He suggests that art objects should be anthropologically examined in order to grasp their 'behaviour' (AA, p.11) in the context of social relations. In this paper, above all I remark on Gell's unique idea The Extended Mind', which is also the title for the last chapter of AA. Interestingly, according to this idea, artworks (and artefacts) and persons can be regarded analogously as 'indexes' embodying collective consciousness of social agents.

著者

嶋田 久美

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.121-132, 2012-06-30

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This article explores expression activities in clinical practices focusing on two cases: La Borde Clinic and Bethel House. The former is a psychiatric clinic in France known as a Psychotherapie institutionnelle and the latter is a community in Japan for people with mental disturbances founded in 1984. Both foster unique activities in ways that challenge the dichotomies in clinical practices such as art/therapy, client/therapist and normal/abnormal. In this article, two aspects of expression and art in these unique activities are verified referring to the concept of 'dispositif' by Michel Foucault, Gilles Deleuze and Giorgio Agamben. First, expression and art may function to analyze the power relations around the clinical site. Next, they function to maintain the dynamism of powers that generate liquidity and porosity among people. However, as Deleuze implies, these functions should be examined using immanent criteria. Therefore, these two cases must not be taken as universal models but should be positioned as nodes or hubs of networks concerning clinical environments. Which is why these two cases also urge us to reconsider the perspectives of disease and disability and the roles of group and community.

著者

松永 伸司

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.97-108, 2013-12-31

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When describing player's actions in videogame playing, we often use the sentences which seem to say that the player performs her actions within a fictional world. But it seems to be impossible for a real individual to act in a fictional location. Here is a puzzle. This paper attempts to analyze such sentences and solve this ontological puzzle. First, I examine some possible answers. Immersionism takes the sentences as expressing the player's experiences of immersion. Virtualism assumes that the sentences refer to players' actions within not fictional but virtual worlds. Realism says that the apparently fictional actions are really real. Fictionalism claims that the sentences are not true but fictionally true. I show that all of these are far from satisfactory. Then, I turn to two more sophisticated theories. Grant Tavinor's interactive fiction theory invokes Waltonian work-world/game-world distinction to account for the peculiarity of videogame fiction. John Sageng offers a realist theory according to which player's actions induce reference shifts from fictional happenings to on-screen happenings. But both have some fault as well. Finally, I claim that the apparently fictional actions are as real as actions in traditional games are, though specified by on-screen signs individuated by their fictional contents.

著者

太田 純貴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.29-42, 2008

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In his work entitled, Francis Bacon: Logique de la sensation (1981), Gilles Deleuze develops his theory of sensation by considering works by the painter Francis Bacon. The concept of the "haptic (haptique)" plays an important role in Deleuze's analysis of Bacon's paintings. The concept derives from the word "haptic ("taktisch" or "haptisch") as discussed by Alois Riegl. Deleuze captures Riegl's idea of the haptic as opposed to the optic, and extends it in a new direction. The main purpose of my study is to clarify the difference between the ideas of Riegl and Deleuze, and to achieve better understanding of Deleuze's theory of sensation by paying special attention to the haptic. In this paper, I focus on Deleuze's definition of the haptic through examining its use in his works Mille plateaux (1980) and the above-mentioned. Then I discuss the issues of color, the action of the hand, and the "meat," three things which Deleuze saw as crucial to Bacon's technique of painting. In my view, the haptic should be understood in relation to contingency and chance.

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, 2012

著者

辻 絵理子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.25-36, 2016 (Released:2018-01-01)

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The Tokalı Kilise has a rare architectural plan, which is the reason for its local nickname, ‘the Church of the Buckle’. This paper enquired closely into the programme of the northern small apse, that is, the Prothesis of the New Church. The Prothesis was used for the preparation of the Eucharist in the liturgy, often decorated by iconography related to the Communion. The Hospitality of Abraham and the Communion of Mary of Egypt under the conch emphasize the Eucharistic meaning of the place. In this article, it is focused on the themes with irregular direction and with a different layout. Christ is duplicated in the Marriage Feast at Cana spanning between the north frieze and the half spandrel of the eastern arcade. In the half spandrel, there are the servant filling the jar, the steward tasting wine, and Christ’s right hand alone blessing the water. Above her son’s hand, Mary keeps the water of ordeal in the Trial by Water. Her gesture of accepting the cup from the priest resembles closely those of Apostles taking wine from Christ in the Communion of Apostles. These themes stressing the relation to the Communion are located in the place adjacent to the Prothesis.

著者

安西 信一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.40, no.2, pp.36-49, 1989-09-30

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According to the fundamental assumption of the picturesque aesthetics, the "painter's eye" or "picturesque eye, " the eye conversant with painting, is privileged to discover "the picturesque" hidden from the common eyes. This is done (often with the assistance of imagination) by abstracting the purely visual qualities of objects and disregarding their utilitarian, moral or emotional contents. "The picturesque" is characterised by irregular movement (Salvatoresque "roughness, " etc.), which corresponds to high valuation of sketchy and free execution as an indispensable element of painting, and in a wider context, to a change in the idea of nature. The "painter's eye, " however, discovers this irregularity only through the medium of painting, a fixed frame-work. Hence, contradictorily, "the picturesque" requires compositional unity (Claudesque "harmony, " etc.). The abstractedness of "the picturesque" enables the "painter's eye" to regard whatever object in the world as possible source of new aesthetic pleasure. But this "discovery of nature" also is occasioned by conforming to the established standard of painting. Because of such circularity and conventionality, the picturesque aesthetics has been criticised since Romanticism. Nevertheless, these aestheticians themselves found the tradition of painting not so much an unassailable authority as an endless succession of exeperiments towards better ways of seeing nature.

著者

戸口 幸策

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.15, no.3, pp.53-56, 1964-12-30

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Nachdem ich die musikalische Notation des Codex Rossi 215 der Biblioteca Vaticana untersucht und einige Fragen uber die Erlauterung Pirrotta's, besonders der Divisiones, vorgeschlagen hatte, die sich nicht im klassischen System der italienischen Notation des Trecento finden ("Ongakugaku" X, 1) blieb mir die Analyse der in diesem Codex enthaltenen Stucke ubrig. In diesem Bericht habe ich von meinem literarischen und musikalischen Studium uber die 21 Madrigale des Codex gesprochen. Die Form des Madrigals war auch in der Zeit des "Syntagma Musicum" von Michael Praetorius literarisch nicht eindeutig festgestellt, und es war im Trecento nicht als eine vortreffliche Gattung der Dichtung gemeint. Es ist aber sehr sicher, dass das Madrigal quantitativ und qualitativ die wichtigste musikalische Gattung war, in der die Mehrstimmigkeit des Trecento entstand. Ich teile mit Martinez die Hypothese, das Madrigal auch als Dichtungsart erst in Verbindung mit der Musizierpraxis entstanden sei. Aber ich bin wenigstens fur die Madrigale des Codex Rossi nicht von der unfehlbaren Beteiligung von Instrumenten uberzeugt.

著者

源河 亨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.13-24, 2016 (Released:2018-01-01)

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In daily life, we judge various things aesthetically. For example: “this picture is graceful”, “this landscape is dynamic”, and “his clothes are old-fashioned”. One aspect of our ordinary practices concerning aesthetic judgement seems to support objectivism, according to which, aesthetic judgment can be assessed as right or wrong based on some objective ground. However, another aspect of our practices seems to support subjectivism (or extreme relativism), according to which, aesthetic judgement is a mere expression of subjective impressions and cannot be assessed as right or wrong. In this study, I survey the dispute between objectivism and subjectivism in recent analytic aesthetics, and present an approach that supports objectivism. I argue that some aesthetic judgement is based on “evaluative perception”. It is a special class of perceptual experience affected by evaluative component of emotion and has Gestalt-like “parts-whole structure”. Furthermore, I claim that evaluative perceptions and aesthetic judgement based on it can be assessed as right or wrong in a similar way as ordinary perception and judgement based on it (e.g. colour perception and colour judgement) can be assessed.

著者

森 功次

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.37-48, 2012-06-30

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In the last section of Saint Genet (1952), Jean-Paul Sartre attempts to vindicate Jean Genet's immoral works. Sartre tries to save Genet from severe moral criticism in French literary world at the time. In this paper, I will organize Sartre's argument and examine his complex defense. According to Sartre, the immorality of Genet's works consists in the veriter's devious intention to invert our values and the bad influence he has on his readers. On the other hand, Sartre claims that Genet's works have some moral merits: to give readers some understanding of what Sartre calls 'solitary' positions such as Genet's, and to impress upon readers an identical possibility for themselves. Moreover, these moral merits are supported by the aesthetic appreciation of his works. The fact that readers could fully appreciate Genet's immoral works irresistibly points out to the readers the relation between themselves and the immorality of the works. It is not, however, clear how these moral merits are able to overcome the criticism against Genet. Moreover, because Sartre's argument presupposes an appreciation that deviates from Genet's own intention, which Sartre himself recognizes, it is not clear whether or not Sartre's attempted vindication can be viewed as a legitimate evaluation of Genet's works.