著者

笠原 潔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.46, no.3, 1995

著者

土田 耕督

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, 2018

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In the beginning of the thirteenth century, during the Shin-kokin period, waka poetsfollowed classicism, reusing words and subjects from old poems. At the same time, theywere in pursuit of atarashiki kokoro, or new content. New kokoro does not representperfect newness that has never been composed; it represents content that overlaps withthe classics. Moreover, the word atarashi has ambiguity; while new content is indeedideal, novel subjects and how to use words are avoided. On the other hand, the wordmezurashi means a kind of unexpectedness achieved by using old words in differentcontexts from past works. Mezurashi becomes especially significant in post-Shin-kokinwaka.Nevertheless, since the fifteenth century, old poetry has begun to be ignored, and thefocus has shifted to the kokoro of an individual poet. Atarashi, implying a newness thatnobody has composed before, is emphasised and involves mezurashi. Such idealisationof novelty, which is regardless of differences from the old, brings the modern meaningof 'originality' to medieval waka.However, the classicism of waka never died until the modern era. Autonomoussystems that identify differences from the classics as a norm have existed; thereby wakahas acquired the extendibility and sustainability of composition.

著者

前田 富士男

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.23, no.3, 1972

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Die Kunsttheorien und Werke von Klee wahrend der Bauhaus-Zeit zeigen uns, dass der Begriff der Gliederung in seinem bildnerischen Denken eine grosse Rolle gespielt hat. Bei Klee bedeutete die Gliederung ursprunglich einen Prozess der Schaffung, der durch die Zusammensetzung der formalen Elemente Einzelheiten zu einem Ganzen werden liess. Der Kunstler hat diesen Prozess als die Synthese einer dividuellen und individuellen Gliederung begriffen. Doch befindet sich die dividuelle Gliederung, die einen mathematischen, konstruktiven Charakter hat, in dem Urzustand des Schaffungs prozesses und wird auf dem Weg des Arbeitsprozesses zur lebendigen, individuellen Gliederung erhoben. Dieser Gliederungsbegriff ermoglicht, dass Klee den schopferischen Weg begreift als den werdenden Prozess, die Beseelung der mathematischen Grundform, das Fortschreiten vom Statischen zum Dynamischen. Aber die Notwendigkeit der Kompositionsweise beruht nicht nur auf der inneren Notwendigkeit des Malers, sondern auch in der Resonanz der Gesetzmassigkeit schaffender Naturkraft. Der Verfasser stellte durch die Analyse von zwei Gemalden, "Scheidung abends" und "Wachstum der Nachtpflanzen", diesen Gliederungsbegriff als die Eigenschaft der Formensprache von Klee dar.

著者

原田 佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.53, no.3, 2002

被引用文献数

1

著者

今村 信隆

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.49-60, 2015

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The main purpose of this paper is to examine Roger de Piles' Conversations (1677), not only as the consistent theory of paintings, but also as a story, where the characters communicate with each other, looking for some steady grounds for consensus of their tastes. In the first part of Conversations, three characters discuss the proper taste and correct judgement on paintings. Pamphile, the instructor, firstly shows that, in order to obtain sane judgement, it is necessary to argue about various paintings with others, but at the same time not to accept their opinions without the conviction that they are reasonable. However, there is no further explanation of this seemingly important concept, "reasonable" in the whole book. Instead of such detailed explanation, Pamphile affirms that one has to build his taste on the basis of the Antique works' taste which is amended by Nature. Three additional characters in the second part, that is, Caliste, Leonidas, and Philarque respectively can be considered as advocates of the Antique works, Nature, and the Antique works amended by Nature. Here, de Piles do not ask whether each kinds of taste is fundamentally reasonable or not, but depict Caliste as a failure in this honnete conversation.

著者

尾崎 彰宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.44, no.3, 1993

著者

池上 英洋

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.2, pp.25-36, 1999-09-30

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Questo saggio si e posto due obiettivi : 1) chiarire la funzione dell'anamorfosi come simbolo della "vanitas" ; 2) collocare questa arte nel contesto filosofico del periodo. Per il primo scopo, si e considerato il caso dell'anamorfosi di un teschio nel quadro "Gli Ambassiatori" di Hans Holbein il giovane, tenendo conto delle ricerche precedenti di Ganz, Samuel, Kemp e soprattutto Baltrusaitis. Si e quindi proceduto all'analisi delle funzioni dei tre diversi tipi di spazio simulati nel quadro. Per quanto riguarda la ricostruzione del contesto storico, si sono analizzate le teorie filosofiche del periodo, in particolare uno dei massimi esponenti : Rene Descartes. La conclusione a cui si e giunta e che, a differenza di Baltrusaitis e altri, l'anamorfosi non era piu un simbolo della "vanitas". Nella meditazione cartesiana l'anamorfosi non puo essere considerata neanche la "magia artificiale" che inganna, al di la del vero e del falso : era solamente un esempio della trasformazione dall'uno all'altro di un'unica esistenza con lo stesso valore. Questo puo essere una spiegazione del perche questa arte e stata presto dimenticata nonostante l'antica voga.

著者

大原 親

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.13, no.2, pp.27-37, 1962

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In Kate Hamburgers Kritik gegen R. Ingarden sind zwei bedeutendeste Probleme gehalten : 1 die Wesensbestimmung muss nicht tautologisch sein, 2 die Kunst soll in bezug auf die Wirklichkeit betrachtet werden. Um sich in Tautologie nicht aufzulosen, will Hamburger "nicht nur die Sprache selbst anschauen, sondern hinter oder unter sie sehen." In dem standigen Vergleich der dichtenden mit der nicht-dichtenden will sie die Struktur der Dichtung erarbeiten. In Zusammenhang mit der Stellung der Werkinterpretation wie E. Staiger, W. Kayser will ich die Bedeutung von Hamburgers Methode betrachten, und die Richtung nach zusammenhangende Interpretation in dieser Methode erfinden.

著者

森田 亜紀

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.48, no.3, pp.59, 1997-12-31 (Released:2017-05-22)

著者

Fukuda T.

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.19, no.2, pp.79-80, 1968-09-30

著者

礒山 雅

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.50, no.2, pp.49-60, 1999-09-30 (Released:2017-05-22)

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Richard Wagners Buhnenwerke sind eine Art von Variationen um das Thema "Erlosung". Dieser Begriff gewann erst im "Tannhauser" ein grundlegendes Gefuge, und zwar durch eine Unterscheidung zwischen "Heil" und "Erlosung". Diese bedeutet ein tief empfundenes Wiedererlebnis des Leidens Christi am Kreuz. Wagner wollte diese Idee im bemerkenswerten Prosaentwurf "Jesus von Nazareth" (1849), einem Ergebnis seines Studiums vom Neuen Testament, weiterentwickeln. Wagners Erganzungen zum Entwurf machen sein eigenes Jesus-Bild in diesem scheinbar Evangelientreuen Passionsdrama klar. Jesus, der den Titel "Judenkonig" ablehnt, ist der Erloser aller Menschen. Er ubt sein Erlosungsamt durch seine Lehre von der Liebe und sein Opfertod aus. Die Liebe vernichtet das Gesetz, Quelle der Sunde, und bringt den Menschen in seine naturliche Lage zuruck, wo er Gott in sich erkennen kann. Mann soll sich Jesus' Opfertod als Vorbild nehmen, weil dieser eine Aufhebung des Egoismus und die vollendeste Tat der Liebe ist. Es ist erstaunlich, dass Wagner eine solche unrevolutionare Konzeption am Vorabend der Dresdner Revolution vorbereitet hat. Letztlich konzentrierte er sich im "Parsifal" auf dem Erlosungsbegriff. Sein Grundgedanke ist hier als Prozess einer Erreichung dramatisiert. Der Titelrolle lebt das Leiden Christi nach, wird zum Erloser und "erlost" Christus.

著者

森 洋子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.34, no.4, pp.25-40, 1984

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David Garrick dedicated for Hogarth's tombstone an epitaph with the inspired words, "pictur'd Morals". The present author interprets these words as being the embodiment and the key to Hogarth's art. This paper will discuss how Hogarth intended to warn - and to preach to - viewers of his prints about human vices that could be traced back to the medieval Christian iconography of "Seven Deadly Sins". For this purpose Hogarth chose the subject matter of his prints from topics of contemporary newspapers and journals, that is, "modern moral Subject". In my opinion "Pride" can be found in The Bench ; while "Gluttony" in Plate VII of Industry and Idleness, may have been inspired by Bruegel's Fat Kitchen. "Luxury" is one of the main vices in Hogarth's Progresses. The marriage of the Rake with an old, one-eyed, rich but ugly maid reminds one of the Northern tradition of "an unequal couple" of which the most popular pictures were painted by Cranach. Also, Hogarth's A Rake's Progress might be compared with Jacques Callot's series The Prodigal Son which faithfully illustrated a well-known parable. However, Callot's Prodigal Son has a happy ending, while Hogarth leads his Rake-and most of his other protagonists-to a tragic death as a result of their vices. Finally the author will point out that the works of Hogarth's contemporary, Jonathan Richardon (The Theory of Painting, Essay on the Art of Criticism and The Science of a Connoisseur), may have been theoretical sources for Hogarth's notion of the utility of painting, namely for the entertainment and the improvement of the mind. Previous authors have seemingly overlooked this important relationship.

著者

吉成 優

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, 2011

著者

利光 功

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, pp.1-11, 1994-12-31 (Released:2017-05-22)

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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

遠藤 太良

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.120, 2018 (Released:2020-03-23)

著者

里中 俊介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.121, 2018 (Released:2020-03-23)

著者

宇佐美 達朗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.112, 2018 (Released:2020-03-23)

著者

望月 典子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.113, 2018 (Released:2020-03-23)

著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.114, 2018 (Released:2020-03-23)

著者

外山 悠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.116, 2018 (Released:2020-03-23)