著者

阿部 公正

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.8, no.2, pp.50-54, 1957-09-10

著者

前川 道郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.32, no.3, pp.1-13, 1981-12-31

被引用文献数

1

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O. von Simson characterized the form and idea of Gothic church architecture by two qualities, as "luminosity" and as "geometrical order". I have already discussed the first quality, and it is time to certify the second. In this treatise I have intended to clarify situation of geometry by Gothic architects. After discussing importance of geometrical order for architectural space in general, I have surveyed mediaeval geometry, reffering to treatises by L.R. Shelby, historian of technology. Then, after examining geometries of Villard de Honnecourt and Mathes Roriczer, as well as studying, as an example, history of drawing regular pentagon from Euclid to Durer, I have reconfirmed that geometry of Gothic architects was just what Shelby called constructive geometry distinguished from theoretical geometry and practical geometry both by geometer. Geometry of Gothic architects does not belong to theory as one of seven liberal arts, but to technique of building craft. It does not mean geometry has nothing to do with the art of architecture. Northern Gothic architects used to design their buildings according to some basic geometrical figures by forming plan, section and elevation in one system, as was shown in the minutes of Milan Cathedral in the 14th century.

著者

伊藤 るみ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.37, no.3, pp.24-34, 1986

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Kurt regarded the energy in music as psychic phenomenon. He thought it important that we had the impression of space only when we listened to the music but not when we heard sounds. Because in music we use terms of "Raumvorstellung", for example "high or low". Kurt distinguished "klanglicher Raum" from "musicalischer Raum". The former is the space formed by the positions of instruments and the latter, by the energy in music. He thought that the musical space was more important than the acoustic space, because this is physical while that is psychic. From his point of view, the true dissonance of tones or chords is not acoustic but musical-the musically dissonant tones have the energetic tension (Spannung, Erregung), the value of which the psyche can determine. The motion in music is not actual motion of tones but the motion of "Kraftzug"-the change of tense energy (Spannungsenergie). We grasp this motion by "Hinuberhoren"-"Nebenhoren", "Voraushoren" and "Zuruckhoren". And we understand the above psychologically. In this sense the musical aesthetics of Kurt is basically psychological.

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.3, 2005-12-31

著者

岡田 暁生

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.44, no.1, pp.58-68, 1993-06-30

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Der sog. musikalische Neuklassizismus, als dessen Vertreter Igor Strawinsky gilt, ist eine Bewegung, die mit dem Klassizismus von Picasso oder mit den Bearbeitungen der griechischen Tragodien von Jean Cocteau vergleichbar ist. Er versucht namlich, den Mythos der Originalasthetik seit dem 19. Jahrhundert zu uberwinden und statt dessen die Asthetik der Bearbeitung (bzw. Parodie oder Pastiche) zur Geltung kommen zu lassen. Und Strawinskys <Pulcinella>, das eigentlich nichts mehr als 'Bearbeitung' der Werke von J. B. Pergolesi (einem neapolitanischen Komponisten aus dem 18. Jahrhundert) ist, stellt ein paradigmatisches Werk dieser Stromung dar. In dieser Studie sei versucht, durch den Vergleich zwischen dem Original und Strawinskys Bearbeitung einige Aspekte der Musikasthetik des Neuklassizismus herauszukristallisieren. Ins Zentrum geruckt werden dabei u. a. die folgenden drei Punkte. 1. Das Verfahren, das Original-ohne seine Struktur im Geringsten zu verandern-mit einer ganz charakteristischen, verfremdenden Gestik und Instrumentation zu bearbeiten und es dadurch ganzlich zu deformieren. 2. Abkehr von der Originalasthetik des 19. Jahrhunderts zur alten Asthetik des Handwerks, d.h. die Tendenz, durch ganz unauffalligen Korrekturen dem Original Prazision des Ausdrucks zu verschaffen. Und 3. Strawinskys anti-historistische Haltung und seine besonderen Spezifika in der Geschichte der Bearbeitung im 20. Jahrhundert.

著者

田中 均

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.1-14, 2007

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In this paper, I investigate the relationship between love and art in the novel Lucinde. First, I analyse two cases of disappointments in love experienced by the young painter-and protagonist-Julius, which are symbolised by certain aesthetic defects:Lisette could not respond to Julius' love because of her life as a prostitute, which corresponds to her sensualistic tastes. Likewise, Julius' fruitless love for a married woman gave rise to a strained style to his painting. Second, I focus on his relationship with Lucinde, in which they completely affirmed each other's individuality. The reconciliation with his own life through love brought grace and maturity to his art. This should be interpreted as the realisation of 'the romantic', which is defined in Schlegel's essay 'Dialogue on Poetry' as a combination of 'the sentimental' and 'the fantastic'. Third, I turn my attention to the distinction by Julius between male and female love. He believes that, in contrast to female love which is concentrated only towards one object, a man can develop friendships between multiplicities of mature spirits and thus complement his own individuality. From this, I draw the conclusion that, in this novel, a female artist is excluded from the artistic cooperation.

著者

細田 明宏

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.37-48, 2011-12-31

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In Bunraku, a single puppet is manipulated by three puppeteers. In this paper, we will consider the method of operating Bunraku puppets by referring to the theory of the Joruri narrative because Bunraku is formed by uniting Joruri and puppets. In the 17th century, special puppeteers, Tezuma ningyotsukai, appeared and showed off their clever techniques. Bunraku puppeteers, under the influence of them, wanted to manipulate finer movements and needed two assistants as co-operators. Thus, the manipulation method of Bunraku puppets was established in 1734. Furthermore, the mechanism inside of the Bunraku puppet head was made for richer expression of emotion; these mechanisms were used to show the puppeteer's technique in Tezuma puppets. Actually at that time, there was a significant change in the artistic theory of Joruri. From that point, the importance of expressing the feelings of the characters has been established. There is a similar claim written later in the theoretical book about how to operate the Bunraku puppets. In brief, the operation method of Bunraku puppets was established for expressing the character's feelings, in accordance with the artistic theory of Joruri.

著者

小田部 胤久

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.37, no.1, pp.71-72, 1986-06-30

著者

服部 幸三

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.12, no.3, pp.56-59, 1961-12-30

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In the musical theory and aesthetics of the 17th and 18th centuries the so-called musical "Figures" play an important role. In studying these "Figures", it is most important to observe and grasp them in the light of the musical style and philosophy, which constitute the background of them. From this point of view the author has studied the original theoretical works of J. Burmeister, Chr. Bernhard, J. G. Walther, J. Mattheson and J. A. Scheibe, laying special emphasis upon the practice of musical composition, as explained in each of them, and intending to obtain a comprehensive survey of the development of the "theory of musical figures".

著者

今山 正幾

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.3, 2002-12-31

著者

廣田 孝

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.51, no.1, pp.37-46, 2000-06-30

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TAKEUCHI Seiho was born in 1864 and he started to study traditional Japanese painting under KONO Bairei. In 1886, he attended Ernest F. Fenollosa's lectures on Japanese painting, which made him consider the future of Japanese painting. While many of his contemporary artists tended to adopt Western style in modernizing Japanese painting without much success, Seiho was not particularly impressed by it. He made a careful comparison of Western with Japanese painting and came to the conclusion that what characterized Japanese painting was shai, "expressing the painter's inner lyrical inspiration using what he or she sees out there as a form of expressing it, " upon which he placed special emphasis in his attempt to innovate his painting. Convinced of his original idea after the visit to the 1900 Paris Exhibition, Seiho attempted to transcend the old style which was almost exclusively concerned with umpitu, "brushworking" and to combine shasei, "sketching to grasp the outer characteristics of objects, " with shai, "expressing his inner lyricism." At the same time, he made an effort to attain shohitu, "the utmost simplicity out of which no touch whatso-ever could be eliminated."

著者

木村 直弘

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.39, no.3, 1988-12-31

著者

松野 敬文

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.43-56, 2007-09-30

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Balthus' admirers often maintain that the artistic quality of his works originates not only from his association with the iconographies of Western classical paintings but also from his depiction of human figures in the old masters' style. This paper, however, tries somewhat conversely to put forward as a hypothesis that their uniqueness lies rather in their lack of naturalism. Through the stylistic analysis of La Montague (L'Ete), one of his actual works as a material, it will be shown here that his anatomically inaccurate treatment of human figures and his trick of making up for this have actually made his artistic characteristics. As it can be easily seen from this large-sized work, many formal problems arise when Balthus composes human figures: improbable centre line of the body of the half sitting man, unnatural connection at the invisible neck of the standing woman, the wrong position, on the ground, of the legs of the sleeping woman, and totally, the unnaturalness of all standing figures. Characteristically, these deficiencies are concealed by various techniques such as the strict formation of the picture plane, the accurate arrangement of colours, and the magnificent depiction of a landscape as well as the topographical revisions and the handling of the light source. La Montague (L'Ete) can be accordingly considered as a suitable guide to study how his figures relate to landscape, and what influence the painter's technical poverty brings to his works.

著者

近藤 幸夫

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.48, no.3, 1997-12-31

著者

Tanaka K.

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.13, no.1, pp.78-79, 1962-06-30

著者

西村 理

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.1, pp.71-84, 2002-06-30

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Unter dem Begriff "Wiener Schule" versteht man heute Arnold Schonberg mit seinen Wiener Schulern (hauptsachlich Alban Berg und Anton Webern) sowie den Musikstil dieses Kreises, der sich mit der Atonalitat und der Zwolftontechnik auszeichnete. Dass die Bezeichnung oft mit Attributen zusammen gebraucht wird (die "neue" bzw. "zweite" Wiener Schule), stellt ihren engen Bezug zur Wiener Klassik dar. Der Begriff entstand in der ersten Halfte des 20. Jahrhunderts und fand durch die schriftstellerischen Tatigkeiten der Schonberg-Schuler Verbreitung. Indem sie ihre eigene Musik absichtlich mit der "Wiener klassischen Schule" - ein Ausdruck fur die Wiener Klassik bei Guido Adler, bei dem sie Musikwissenschaft studierten - stilistisch in Zusammenhang brachten, bedeutete der Stilbegriff nicht nur die Kontinuitat deutscher Musik, sondern auch die Zugehorigkeit zur Stadt Wien. Diese war nach ihrer und Adlers Vorstellung der Ort, wo verschiedene Volker unter der Obhut des Deutschtums integriert werden sollten. Solcher Vorstellung lag die politische Ideologie der Juden, sich an die deutsche Kultur zu assimilieren, zugrunde, was zusammen mit anderen Momenten zur Entstehung des Begriffes "Wiener Schule" hinfuhrte.

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

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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.

著者

千速 敏男

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.3, pp.34-47, 1987-12-31

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The still-life painting, essentially founded on the realistic depiction, becomes established as a genre, when it overcomes the "disguised symbolism". Some attempt to dispense with the "disguised symbolism" appeared in the late 15th century (H. Memling), and then, in the middle of the 16th century, realistic depictions of still-life were fostered by the positive life-style of bourgeoisie and the popularity of the natural history (P. Aertsen, L. tom Ring). But they were restricted to the religious or moral subjects. In the end of the 16th century or the beginning of the 17th century, when the acute feelings for the transiency of the nature, stimulated by the new view of the nature (e. g. G. Bruno), and the grief about the transiency of the human affairs, connected with this view, were popularized, the still-life painting was firmly established as a genre. This fact will be made visible by the difference in the type of "vanitas"-motives of between J. de Gheyn and his followers. De Gheyn used literary motives, and expressed the old type of the vanitas idea connected with the doctrine of salvation. But his followers used new motives, which appeal visually to us for the transiency of the nature or human affairs.

著者

佐藤 真理恵

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.44-57, 2008-12-31

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A classical Greek noun, prosopon originally means both face and mask. This paper takes advantage of the reason why this term connotes both of them, which seem directly-opposed ideas by our means. Prosopon is consisted of prefix pros and noun ops, and signifies the thing towards etes literally. It is, to sum up, appearance as surface-front, and dislocates structure of binomial confrontation between face and mask. Nevertheless, it is also impossible to disregard the rest of prosopon which is beyond description in just an aspect above-mentioned of it. Because, prosopon which need the others and is given by the exterior, is fated to be read by someone confront, for indeed its character it is open for and exists in the exterior. And, from a point of view of the watching it, these surface prosopon is a field presence and absence crossing. However, in the other side, in the ancient Greek texts, the action that restores its primary mean as appearance has applied to a moment for conquer a fear of death. Anyway, different from a modern concept, prosopon in the ancient Greek is heteronomous, the face that could not but start from the character of surface-front.

著者

相澤 照明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.33, no.1, pp.53-63, 1982-06-30

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According to Hume, sympathy is a very powerful principle in human nature by which man enters into the sentiments of others and partakes of their pleasure and uneasiness. Nevertheless man more easily sympathizes with his relation and acquaintance owing to his propensity to be affected by the contiguous objects rather than by the remote. But if man surveys himself as he appears to others or considers others as they feel themselves, he is obliged to overlook his own interest, and consequently his naturally selfish sentiments and opinions come to be corrected. Such an extensive sympathy with the interest of society makes man form some general standard in moral judgement. In that sense sympathy is the dynamic force by which the social feeling is constructed out of the individual feeling. Sympathy also plays a significant role in Hume's utilitalian views of beauty. When an object is useful, that is, when it has a tendency to produce pleasure in the possessor, it is sure to please the spectator because by sympathy he shares satisfaction with the possessor, and on that occasion the object is esteemed beautiful. In the final analysis, the idea of utility brings about the sentiment of beauty through the very force of sympathy which is inseparably correlated to imagination.