著者

利光 功

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, pp.1-11, 1994-12-31

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From the second half of the 1940's to the first half of the 1960's, as is generally known, the linguistic analytic method has dominated over Anglo-American aesthetics. Recently this aesthetics, now colled anaylitic aesthetics, has been retrospected and reexamined by the various sides. Then, we also would like to analyze and loom up its primitive figure, focussing on the William Elton (Ed.) ; Aesthetics and Language (1954). In our view, analytic aesthetics can be characterized by the following three aspects, that is, its presupposition, theme and aim. (1) Analytic aestheics presupposes that the aesthetic discourse must be fundamentally empirical scientific, and based on the fact or its experience. (2) Its main theme is to analyze the ambiguous concepts and propositions, and to clarify the aesthetic discourse. (3) Its final aim is to take up the position that there is no such thing as essence in art and, therefore, no criterion for the judicial criticism. And J. A. Passmore once called aesthetics which searches for essence or the general properties dreary. Our conclusion, however, is that not aesthetics proper but analytic asethetics is dreary, for the latter never affords any insights about aesthetic or artistic phenomena.

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

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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

西村 清和

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.4, pp.1-14, 2003-03-31

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In his film "Strike", Eisenstein abruptly cuts from a shot of the slaughter of workers to one of the slaughter of a steer. Such a cutting is understood as a typical example of film metaphor, while it has been not incontrovertible among theorists whether it is a real metaphor. Do film metaphors or, more generally, visual metaphors exist in the world? We could enumerate three types of traditional theories of metaphor, i.e. the substitution, the comparison, and the interaction theory. These have a conception in common that metaphor is, just like synecdoche and metonymy, a relation between two things referred to by two words. Meanwhile, influenced by Max Black's epistemological view of metaphor, philosophers often use the word 'metaphor' in the expanded sense including 'analog-model' or 'symbol'. It is sure that an analog-model is a mode of recognizing the world based on the relation between two things. But metaphor is, we claim, nothing other than a linguistic phenomenon of predicative modification of a subject. If it is true, it follows that metaphor in its proper form can not appear at the dimension of such visual images as paintings and films.

著者

城丸 美香

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.4, pp.28-41, 2004

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According to Walter Benjamin, the photography is the first revolutionary reproduction technology, and the invention of it has brought a certain critical situation, "a poverty of experience" or "a decline of experience". It has progressed with the change in the communicative form from the story to the information. The photography reproduces traumatic shocks, and it has two opposite functions, repetition and reproduction. On the one hand, repeating shocks is a fragmentation of time and space. On the other, reproducing shocks is a reconstruction of a new spatial-temporal order by re-arranging those fragments. And this re-arrangement (=construction) is done by means of words (characters). The construction is that people read a (non-sensitive) similarity between words and fragments of various things which are released from all relations, and by doing so, set them in a new context where things can expose their new meanings. This new context is the place where things can gain the actuality. The function of photography is to form the space where all possible words can exist toward an image, and Benjamin found out the possibility of new collective experience in this space.

著者

富士栄 厚

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.48, no.4, pp.48-59, 1998-03-31

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In previous remarks, I have stated that <Spiral Jetty> of Robert Smithson was inspired by the form and the concept of Babel Upside-Down. I also explored the analogy between the pigment of the Salt Lake and human blood. (Ph. D. dissertation, "American Land art and the notion of the picturesque and sublime." University of Paris I, 1993.) In the present paper, I shall focus deeper into these concepts regarding Smithson's <Spiral Jetty>, reflecting upon my research of Metamorphosis of the Spiral and its association with the concept of Goethe. I shall also put forth my ideas on the reconstitution of the "Figure" of <Spiral Jetty> through synthesizing the triangular and reflexive relation between A : Site works of Spiral Jetty. B : Text on S. J. C : Films on S. J. Situating the problematic of Topos of <Spiral Jetty> in classical term, I will attempt to display the Reversibilty of Topos (Babel Upside-Down) as a form in the frame of Time/Space. I will involve the analogy between the circulation of blood in the human body and the organic form of red water at Salt Lake exploring the concept of "Inside-Out".

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, 2006-09-30 (Released:2017-05-22)

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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

木村 智哉

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.49-60, 2010

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This paper aims to discuss the meaning of the revolution that happened to animation in Japan from the 1950's to the 60's. There are two features to which I pay attention: the historical peculiarity of the revolution, and the common trend of the animation movies for commerce and those for non-commerce. There are three topics that are the points of the discussion: the trends of domestic production companies, the introduction of overseas animation movies, and the transition of criticisms. This paper clarifies the following: first of all, the revolution of the animation expression at that time invented a new image by the abstraction of form or movement and by the unification with sound; secondly, the revolution supported the attempt of small-scale productions or independent animators who opposed to major movie companies; and thirdly, however, the same revolution contributed to the lowering of the cost of commercial studios. These phenomena can be related to the revolution of the expression of the audiovisual arts that happened widely from the 1950's to the 60's.

著者

河上 春香

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.49-60, 2016 (Released:2018-01-01)

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This paper examines the political situation of surrealism in Czechoslovakia in 1930s. In Czechoslovakia, Surrealism was developed in the close relationship with communism. For ideological and other reasons, the Prague movement emphasized a dialectical way of thinking. In other words, Surrealism was considered to be a process whereby reality and the self were apprehended through the synergistic and dialectical relationship between deliberate (conscious) and involuntary (unconscious) acts. In addition, surrealism was undergirded by the rule of “recounting truth”. According to Michel Foucault, “recounting truth” involves defining an autonomous position vis-a-vis one's relationship with truth – in other words, it is a technique of governing the self. Karel Teige describes Surrealism as an artistic and practical means for revolutionaries to establish the self. However, attempting to connect Communism and Surrealism is forced: while the Communist ideology attempts to enforce one extreme form of “truth” in order to control people, the “truth” presented by Surrealism is something ever-changing and varying from person to person. By linking Surrealism and Socialist realism, Teige attempted to suggest that Communist culture should develop diversity and complexity. However, with Stalinism wielding power in Czechoslovakia, that idea was only possible for a brief time.

著者

古川 萌

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.49-60, 2014-06-30

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The lives of the artists, or Vite, written by an Italian painter and architect Giorgio Vasari (1511-1574), has been considered as one of the most important works in art historiography. However, since Vasari has shown the development of artistic styles and the triumph of maniera moderna in this work, a simple fact seems to have been overlooked for quite a long time, that this book is substantially a collection of artists' biographies, rather than an extensive treatise on the history of art. This essay returns to the fact, and attempts to reconsider the structure and purpose of this book. Epitaphs and woodcut portraits of artists contained in Vite are examined to demonstrate how Vasari views these biographies as funerary monuments to assure their eternal fame, making the whole book a temple to house them. Through the analysis, Vite will also reveal itself as a tool to promote Cosimo I de' Medici's artistic patronage. This is achieved by echoing the act of mourning their artists, which was practiced by such people as Cosimo il Vecchio de' Medici and Lorenzo de' Medici, consequently emphasizing the continuity from the Florentine Republic era.

著者

岡田 進之介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.73, no.2, pp.13-24, 2022 (Released:2024-01-01)

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In this paper, I try to explain what stories in a narrative and their identities are. I argue that stories are a form of narrative content relative to the interest. In section 1, I discuss the story–discourse relationship in the tradition of narrative theory, pointing out that it has been an indispensable premise of those theories, however it is argued that there is some fundamental ambiguity about these concepts. Next, Section 2 examines the literature about the topic of story in the modern aesthetic inquiry. I critically consider the “identity theory” and “type theory” (A. Smuts), “event theory” (A. Takada), and “idea theory” (W. D. Cray) and examine their problems. In section 3, in order to address those issues, I propose the interest-relative theory, which identifies stories as interest-relative narrative content by drawing on the theory of interest relativity of narrative content by P. Lamarque.

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.68, no.1, pp.121-132, 2017 (Released:2018-07-01)

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This paper selects Neo-Riemannian theory and aims to contextualize and characterize the developmental process of the relevant academic discipline by tracing the complementary and competitive relationship of Neo-Riemannian theory with the existing Schenkerian theory. Neo-Riemannian and Schenkerian theories cannot be compared even by analytical objects. However, as observed by Julian Hook (2007, 168) who considers it a “mistake” if one regards “transformation” and “prolongation” as antithetical conceptions, even though there is a fundamental difference between the theories, the integration or differentiation of both theories has been suggested in several studies (Cohn 1999, Samarotto 2003, Hook 2007, Goldenberg 2007, Rings 2007, Baker 2008). This case study examines the effects of the methodological arguments that advocate a new theory over an existing one. The effects are divided into two categories: first, enabling heuristic interpretations through a hybrid theoretical framework by quasi-integration and, second, showing the capacity of one theory by explaining what the other theory reveals. In other words, a series of arguments arise from the methodological difference related to the priority of “interpretation” or “method,” that is, the theory that sets as an end objective renewing the interpretation of musical pieces, holding the incompatibility of methods, or evoking a new theoretical model.

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.1-12, 2012-12-31 (Released:2017-05-22)

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After "The Intentional Fallacy" (1946/54) by W. K. Wimsatt Jr. and M. Beardsley, the role of the artist's intention in the interpretation of artwork has been one of the central topics in analytical aesthetics. Recently, this issue has been mainly debated between moderate actual (MAI) and hypothetical intentionalism (HI). In this paper, I demonstrate some difficulties of MAI, comparing it with HI. First, I survey Carroll's version of MAI and point out its main arguments: accessibility to "actual intention" and the reliance on private documents. I examine them and show that the discrimination of MAI from HI is unclear. Additionally, I insist that, against Hans Maes' arguments, MAI has no advantages in interpreting contemporary art, because MAT overlooks the distinction between "semantic" and "categorial" intention, which Levinson draws. Since contemporary art employs diverse materials which have no code to mean something, semantic intention cannot play any role in making such artwork. Instead, categorial intention is the precondition for making it art and tells us how it is to be conceived or approached. Through this examination, I argue that there is no reason to maintain MAT, at least in Carroll's version.

著者

加藤 喜市

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.120, 2015-12-31 (Released:2017-05-22)

著者

太田 英伶奈

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.37-48, 2019 (Released:2021-05-08)

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Byzantine illuminated psalters with full-page illuminations for specific psalms (notably Ps. 1, 50, 77, 151) and for the Odes are called as ‘Aristocratic psalters’. The term derives from a mere impression that these psalters were commissioned by Byzantine aristocrats, though in reality 4 manuscripts out of 6 which we know the name of its patron were ordered by monks and nuns. The manuscript Dionysiou 65 housed by the monastery of the same name in Mount Athos is of special interest amongst these 6 manuscripts, with a illumination depicting its patron, Sabas, as the deceased. Including this image, the manuscript has at its beginning a unique iconographical programme which could be labeled as ‘Sabas’s Salvation Cycle’, consisting of 7 full-page illuminations. The 3 illuminations, ‘Sabas worshipping the Virgin (f. 12v)’, ‘Solomon (f. 13r)’ and ‘David (f. 13v)’ wrap up this cycle. The whole illuminations of the manuscript have not been fully studied, yet previous research on these 3 illuminations are particularly scarce probably due to their iconic nature, compared to the other illuminations with more narrative elements. This paper discusses the function of these 3 illuminations as prefigurating the Virgin and praying for the patron’s salvation.

著者

井戸 美里

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.73-84, 2015-12-31

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The late sixteenth to early seventeenth century produced many narrative paintings which based on classical literature such as the Tale of Genji and the Tale of Heike. It should be noted however that the number of folding screens which visualized the Tales of the Soga increased, especially in the early seventeenth century. In this paper, I would like to analyze the motifs of the Soga screens that were said to be taken from the Kowaka version of the Tale of the Soga. The motifs which were selected from the text of Kowaka were elaborately juxtaposed on the screen, representing the originality and authority of the warrior families. I will also consider the space of kaisho where warriors gathered for some rituals with a banquet and newly emerging performing arts such as Noh theatre and Kowaka were often performed, since the emergence of the gathering space of kaisho seemed to cause an increase of the production of these narrative folding screens. Kowaka-mai performances, which often narrated stories from war chronicles, functioned not only as a pacificatory requiem for those who had died in past wars but also as an expression of desire for a more peaceful future.

著者

池田 まこと

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.37, 2016 (Released:2017-07-18)

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Language crisis occurred mainly in Germany and Austria of the early 20th century. It means the Situation that a language losts a function of the reality recognition. R. M. Rilke (1875-1926) is one of poets who experienced the language crisis. His crisis has been often compared with that of Hofmannsthal (1874-1929) conventionally. However, the comparisons were intended to rather give the common points of both. Therefore, this article tries to make their difference clear, and throw light on the originality of Rilke’s crisis. This report compares Rilke with Hofmannsthal with following three points: (1) the aspect of the crisis, (2) the factor of the crisis, (3) the way to solve the crisis. In conclusion, the aspect of Rilke’s crisis is more existential than that of Hofmannsthal’s crisis. The crisis of Rilke occurs on a road establishing the view of the world of own, and, for it, the crisis of Hofmannsthal produces it to defeat a view of the world that was already established. The former tries to solve his crisis through verbal expression, and, for it, the latter pursues nonverbal expression.

著者

新田 孝行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.133, 2016 (Released:2017-07-18)

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The staging of Norwegian opera director Stefan Herheim (1970-) is characterized by a critical musicology, such as musical hermeneutics of Lawrence Kramer. Like Kramer, Herheim takes advantage of the performative power of interpretation. His puzzle-like mise-en-scène, where a number of historical facts concerning the composer and the reception history are simultaneously visualized, is a summary of the information on the opera, which helps us to make up our stories. Equally important are the emotional and even religious aspects of Herheim’s staging. He often directs an opera to show that its tragedy was already done at the beginning. The unrealized possibilities are suggested by the coexistence of past and present which reproduces the ambiguity of reality. We feel regrets about the past of the characters, and about our own past. This experience has a cathartic effect of what I call operatic flashback, which functions as a therapy for us because we are not sure of the rightness of our choices about life in the era of postmodern loss of legitimacy. Opera has told incessantly the failed attempts to change the course of fate, most distinctively exemplified in the myth of Orpheus. Herheim’s opera is a postmodern version of the myth.

著者

山下 尚一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.13-24, 2012-12-31

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Nous nous proposons dans cet article, en analysant <<L'esthetique du discontinu dans la musique nouvelle>> de Gisele Brelet, d'examiner la temporalite chez Bergson, Bachelard et Brelet. Cette genealogie du temps, Bergson-Bachelard-Brelet, nous montre une nouvelle lecture de l'esthetique musicale de Gisele Brelet. Nous essaierons d'abord de constater dans les arguments brelettiens la transition de l'esthetique de la continuite de la musique tonale a celle de la discontinuite de la musique atonale, c'est-a-dire transition du concept de la duree bergsonienne a celui de l'instant bachelardien. Ensuite, nous nous interesserons au probleme de la continuite profonde que Brelet repere fmalement dans le temps musical. Nous chercherons de la, en comparant les theories du temps chez Bergson, Bachelard et Brelet, a reinterpreter l'esthetique du discontinu de Brelet. Notre examen revelera enfin le temps musical paradoxal qui est a la fois duree et instant, temps qui consiste precisement en duree instantanee.

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, 2007

著者

松永 伸司

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.97-108, 2013-12-31 (Released:2017-05-22)

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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.