著者

守谷 広子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.132, 2014-12-31 (Released:2017-05-22)

著者

桝田 倫広

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.146, 2014-06-30 (Released:2017-05-22)

著者

利根川 由奈

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.132, 2013-12-31 (Released:2017-05-22)

著者

中村 泰士

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.119-130, 2013-06-30 (Released:2017-05-22)

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Cet article propose d'etudier la methode de visualisation d'Odilon Redon en analysant la tendance de l'association des images dans trois series de La Tentation de Saint Antoine. Redon explique que ses oeuvres sont le fruit <<d'une combinaison de divers elements rapproches, de formes transposees ou transformees>>. Cette citation nous permet d'entrevoir sa methode de combinaison des images par similarite et par contiguite. Aussi, l'analyse des oeuvres d'Odilon Redon par la similarite et la contiguite, que Roman Jakobson presente comme les deux types du developpement d'un discours va-t-elle eclaircir la methode de visualisation symboliste. L'analyse revele, dans la premiere serie, la combinaison par contiguite avec le diable et la combinaison par similarite des dieux paiens et des monstres. On constate egalement dans la deuxieme serie la combinaison par similarite des dieux paiens et des monstres. On peut reconnaitre le caractere dominant de la combinaison par similarite dans les deux oeuvres qui presentent une forte tendance d'association substitutive. A l'inverse, la troisieme serie se caracterise par la superiorite de la description par contiguite et par une forte tendance d'association predicative avec une situation concretisee par l'insertion des paysages. Darts la methode d'Odilon Redon non seulement la substitution par similarite mais aussi la description par contiguite jouent un role important.

著者

王 文萱

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.121, 2012-12-31 (Released:2017-05-22)

著者

早川 恭只

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.97-108, 2012-12-31 (Released:2017-05-22)

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Many films which take disasters like earthquakes as their subjects are fictional. And life goes on (1992) is a movie about the big 1990 earthquake in Iran. However, fiction and reality are interwoven equivalently by Kiarostami. This truly reflects his own style of making films. The earthquake really hit a place where Kiarostami had shot a previous film, and And life goes on is just a fiction based on reality, in which a cineaste who is an actor travels with his son to ask the safety of previous cast members. This film can pretend to be a documentary, but includes the exposure of being fiction, and its fictional images are contrasted by the views of the devastated area and victims' narration. However, the local children seem to play what they should be beyond themselves and their roles in the film. In such their self-direction, we can recognize a truth about children who have got not only a victims' desire to continue living and their daily lives but also the film makers' desire to expect such a situation. The evidence of a child's life can be brought to such interstice between fiction and reality, where the difference between them melts and fuses.

著者

渡辺 洋平

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.25-36, 2012-12-31 (Released:2017-05-22)

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Dans Proust et les signes, Gilles Deleuze a defini l'ceuvre d'art comme une machine. C'est la premiere fois que le concept de machine apparait dans ses oeuvres, et selon Deleuze, l'oeuvre de Proust A la recherche du temps perdu est elle-meme une machine. Notre etude est une tentative pour extraire de cette oeuvre sur Proust les conditions necessaires a l'existence de ce concept de machine. Et pour cela, nous confrontons Proust avec Platon selon la demarche de Deleuze. En effet dans ce livre, Deleuze parle souvent du platonisme de Proust, qu'il considere comme le renovateur de la reminiscence de Platon. Il nous semble que le concept de machine est rendu possible par cette renovation. Il existe aussi une autre condition a ce concept: la theorie du temps. Deleuze a deja presente une theorie originale du temps dans Difference et repetition, mais elle se presente sous un nouvel aspect avec l'art comme machine. Ueclairage apporte sur ces questions permet de reveler l'importance primordiale de Proust dans la pensee de Deleuze.

著者

西田 紘子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.153, 2009-12-31 (Released:2017-05-22)

著者

小川 佐和子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.107, 2011-12-31 (Released:2017-05-22)

著者

江口 みなみ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.104, 2011-12-31 (Released:2017-05-22)

著者

増田 哲子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.73-84, 2011-12-31 (Released:2017-05-22)

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This paper focuses on the image of "eating" in Francisco Goya's Saturn Devouring His Son (1820-23). We aim to grasp the meaning of "eating" in the above and other works of Goya by examining the grotesque body image of Saturn who devours his victim with wide-open mouth and eyes, angular limbs, and disheveled grey hair. As a court painter at the end of the 18^<th> century Spain, Goya was commissioned for works like portraits and tapestry cartoons, where he drew the dignified public body of royalty and nobility, which represented the classical notion of "ideal beauty." However, in a series of works executed after the Peninsular War of 1808-1814, such as the Disasters of War and the Black Paintings, Goya painted distorted and grotesque images of bodies that eat, excrete, grow old, die, and decay. In these images, Goya represented the body as "matter" that was far from the ideal beauty. In this article, we show that the grotesque image of "eating" in Goya's works does not convey the enjoyment and pleasure of life but the insatiable desire to eat, cruelty, and violence in the act of eating, as well as aversion to food.

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.97-108, 2011-06-30 (Released:2017-05-22)

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INA Nobuo is known as the photo critic who emphasized the medium specificity of photography in his essay "Return to the Photography" in 1932 and who theorized and encouraged the reportage-photography. So researchers regarded his concept of reportage-photography as the consequence of pursuing the nature of photography. But it's a little known fact that he edited the graph-montage entitled "Scoping out the Crisis" on the magazine Hanzai-Kagaku in 1932. Interestingly, he used not only photographs but also some illustrations in his work. The aim of this paper is to re-examine his concept of reportage-photography through discussing the reason why he used some illustrations. In the era of "Ero-Gro-Nonsense" not a few books insert some erotic and exotic images to gratify the reader's desire. In response, rendering the exploring, consuming or looking people by caricatures, and the explored, consumed or looked people by photographs, his graph-montage represents class confrontation and the photography as spectacle negatively, because he assumed that photographs has to be used to convey "thought and emotion" clearly through the printed media. In this way he valued the editing on the printed media more than the property of automatic recording.

著者

高久 馨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.126, 2010-12-31 (Released:2017-05-22)

著者

蘆田 裕史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.113, 2010-12-31 (Released:2017-05-22)

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.163, 2009-12-31 (Released:2017-05-22)

著者

森 功次

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.16-29, 2009-12-31 (Released:2017-05-22)

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Dans la pensee de l'art chez le premier Sartre, l'image et le reel sont-ils distinctement separes? Sartre a-t-il meconnu la materialite de l'oeuvre d'art? Il serait excessif d'affirmer cela. Premierement, si l'on examine les concepts de <<spontaneite pre-volontaire>>, de <<degradation>>, et de <<motivation>> dans la theorie de l'image de Sartre, il apparait clairement que dans l'experience de l'oeuvre, le reel se maintient derriere l'imaginaire. La negation de l'existence de l'objet d'appreciations esthetiques ne signifie pas ne pas voir l'oeuvre. Deuxiemement, par comparaison avec le reve, l'experience de l'oeuvre d'art maintient des relations plus etroites avec le reel. Certes, le reve et l'experience esthetique constituent pareillement une experience de la conscience captive et concernent l'imaginaire, et Sartre lui-meme a d'ailleurs souvent decrit la ressemblance entre les deux. Mais dans L'imaginaire, a certains egards-notamment la distance vis-a-vis du reel, la facilite de la reflexion, et la nature du sentiment-, Sartre a clairement distingue l'experience esthetique de celle du reve. De ce point de vue, dans la theorie sartrienne, la realite de l'oeuvre, elle aussi, joue un role efficace.

著者

栗原 詩子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.71-84, 2007-06-30 (Released:2017-05-22)

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Although expression in films includes temporal and aural content, film study has attached much more importance to spatial and visual components in films. In an attempt to correct for this indifference towards temporal and aural content in film study, this paper analyzes Rythmetic (1956), an animated film of Norman McLaren (1914-1987), from the perspective of music analysis. In Rythmetic, wherein numerical characters engage in arithmetical operations on the screen, six kinds of scratched sound on the film are the main part of aural expression. The cut-paper animation for mathematical activity on the film frame results in an innovative rhythm structure that is quite different from traditional notation. That is where we realize the ingenuity of McLaren who defined animation as "the art of manipulating the invisible interstices that lie between the frames." Not a few appreciative of Rythmetic ranked this animated film "First Prize of Abstract Films" (in Rapallo), or "Diploma of Merit" (in Edinburgh). This film, however, has been often described only as a work "for education" because of its visual impression of chalkboard in the class of arithmetic. This paper threads out the seesaw between the arithmetical regularity and the aesthetical joke of the numbers, and reveals the process from the stark contrast into cross-fertilization of them.

著者

伊藤 政志

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.1-14, 2007-03-31 (Released:2017-05-22)

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In §15 der Kritik der Urteilskraft fragt Kant: ≫ob sich auch die Schonheit wirklich in den Begriff der Vollkommenheit auflosen lasse≪. Kant kritisiert Baumgartens und Meiers Asthetik, welche die Schonheit als die nur in verworrener Weise vorgestellte Vollkommenheit begreift, und baut auf der Grundlage des ZweckmaBigkeitbegriffs seine eigene Asthetik auf. Freilich ubernimmt Kant verschiedene Begriffe aus Baumgarten und Meier. Vor allem der Begriff ≫Lebhaftigkeit≪ ist ein ihnen gemeinsames Merkmal der asthetischen Erfahrung, der eine wichtige Roll in ihren Theorien spielt. Baumgarten und Meier gebrauchen diesen Begriff als Metapher, um eine Erfulltheit der asthetischen Erkenntnis zu kennzeichnen, die durch die Abstraktion der Vernunft nicht beschadigt wird. Dagegen wirkt der Begriff ≫Lebhaftigkeit≪ bei Kant nicht mehr metaphorisch. Denn fur Kant bedeutet die Schonheit zuerst die Naturschb'nheit, die man in der lebendigen und organischen Natur wahrnehmen kann. Also liegt zwischen leibnizwolffischen und kantischen Asthetik eine Wende, die dieser Aufsatz die teleologische Wende vom Schonen nennt. Dieser Aufsatz geht dem Weg Kants zu dieser Wende nach und versucht zu zeigen, welche neuen Moglichkeiten Kants Asthetik dadurch eroffnet hat, dass sie die ZweckmaBigkeit anstelle der Vollkommenheit als Leitfaden des Gadankens uber die Schonheit auffaBt.

著者

小松 健一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.15-28, 2006-12-31 (Released:2017-05-22)

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L'opera del Correggio, Venere e cupido con satiro, e generalmente accomunata a l'Educazione di Cupido, conservata alia National Gallery di Londra. Le dimensioni dei due dipinti, tuttavia, non corrispondono ed inoltre gli studiosi ritengono che il quadro di Londra sia stato dipinto prima di quello del Louvre. Le iconografie dei due dipinti, l'Educazione di Cupido e Venere svelata da satiro, ignote al mondo antico, sono invenzione degli umanisti rinascimentali. Si trovano questi due motivi "pseudo-antichi" nell'Hypnerotomachia Poliphili, pubblicato nel 1499 a Venezia, una probabile fonte iconografica delle opere correggesche. Basate sulle descrizioni di Polifilo, le due scene furono adattate facendo riferimento alle sculture mantovane ed alle incisioni degli Amori degli Dei di Caraglio. La sensualita di Venere del Louvre e derivata dalla descrizione fatta da Polifilo di una scultura di ninfa. Queste due "donne dormienti", che hanno sostanzialmente l'ambiguita dell'identita, rappresentano la bellezza di nudita come opere "pseudo-antiche". Tale relazione con l'antichita rappresenta il gusto del committente Nicola Maffei, famoso collezionista di sculture antiche.

著者

新田 博衛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.84-86, 2006-09-30 (Released:2017-05-22)