著者

桑原 俊介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.1-12, 2015-12-31 (Released:2017-05-19)

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In dieser Abhandlung wird bewiesen, dass die Erweiterung der Wahrheit seit der sogennanten "probabilistischen Revolution" (Hacking) Mitte des 17. Jahrhunderts, die Ausdehnung derselben von der (strengen) "Wahrheit (veritas)" zu der "Wahrscheinlichkeit (probabilitas, verisimilitudo)", ein Moment fur die Entstehung der Asthetik Baumgartens gewesen ist. Das wissenschaftliche Wissen (scientia) blieb, besonders seit Descartes, streng auf die Wahrheit beschrankt, die nur durch die deduktive Demonstration ermittelt wird, wahrend die Wahrscheinlichkeit, die nur durch die "Autoritat" oder "Billigung" durch andere bestand, vom Bereich des wissenschaftlichen Wissens vollkommen ausgeschlossen war. Jedoch, wenn der Wahrscheinlichkeitsbegriff durch jene Revolution mathematisch oder statistisch, also quantitativ neu formuliert werden wurde, wurde das Wahrscheinliche nicht nur in der Mathematik sondern auch in der Logik als "der Grad der Wahrheit" quantitativ behandelt werden konnen. Es konnte ein Moment fur die Entstehung der Asthetik Baumgartens sein, dass er diesen quantitativen neuen Wahrscheinlichkeitsbegriff in seine Asthetik aufgenommen und mit ihm den Begriff der "verisimilitudo" in seiner eigenen Weise bestimmt hat.

著者

坂田 奈々絵

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.13-24, 2015-12-31 (Released:2017-05-22)

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Abbot Suger led the rebuilding of the Abbey of Saint-Denis in the twelfth century. He recorded his theological ideas about the new building and the love of jewels and gold. E. Panofsky has described this document as expressing typical medieval aesthetic ideas. In the same age, Bernard of Clairvaux worked to reform monasticism. He thought that the luxuries of monastic buildings and churches were contrary to the rules of Benedict. Both of these abbots considered art to be a spiritual aide, and thought that the use of art in religious buildings was meaningful. However, Suger had an optimistic view of the use of "the materials" and arts, whereas Bernard was more cautious. We can argue that these differences stem from their contrasting views of liturgy. For these men, liturgical theology was a basis for the theory of the material world, and art in particular. Suger argued that liturgy represented a harmony between the material and the immaterial, emphasizing the incarnation and creation of God in the liturgy. In this way, he paid attention to the way that material things were used in the service of God, and saw their secular value as also representing their suitableness for God. However, Bernard emphasized the relation between liturgies, congregations, and symbols. He regarded the spiritual attitude of the congregation as more important, and argued that liturgical ceremony itself does not produce sanctity. He also argued that material treasures such as jewels were potentialy dangerous.

著者

百合草 真理子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.25-36, 2015-12-31 (Released:2017-05-22)

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From 1520 to 1524, Antonio Allegri da Correggio (1489-1534) depicted the Second Coming on the cupola in San Giovanni Evangelista in Parma. This painting has been pointed out the formal relationship to Raffael's "Transfiguration" (1518-20). Though it has been over looked its theological significance, according to St. Bede, the transfigured Christ not only prefigured his outward appearance at the Second Coming, but also related to the resurrection of Christ and the Elect. In the early 16^<th> century, especially in Italy, the Transfiguration, the Resurrection and the Ascension that implies a reference to his Second Coming were conflated by lifting Chirst off the ground. From this iconograhic tradition and the liturgical context of San Giovanni Evangelista, I consider that Correggio adopted the Transfiguration type for the Second Coming on purpose to represent the glory revealed by his resurrection. Moreover, the subjects for the western cupola and the apse, the Transition of St. John Evangelist and the Coronation of Virgin, mean that the image of Christ on the ceiling, which underscores his human body, reminded the viewer of his own resurrection that would take place in the future. Consequently, I conclude that the cupola represents Christ's nature as both God and man, in contrast to the precedent view that read only his divinity there.

著者

国清 景子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.37-48, 2015-12-31 (Released:2017-05-22)

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The presence of specific themes in Rembrandt van Rijn (1606-69)'s works has been pointed out by Held and other scholars. These themes serve as essential concepts to unite his works regardless of subject matter of a given work. Blindness is considered to be one of such themes. Rembrandt's works illustrating the Apocryphal Book of Tobit are considered to include the blindness theme. However, though Tobit, the main character of the Book of Tobit, is a blind man, the 17th-century-people considered the book was enlightening piety, mutual assistance and industry. Tobit's blindness merely serves as a basic context for the miraculous healing of Tobit's eyes, and is not a dominant theme. Instead what is remarkable is that Rembrandt repeatedly depicted the healing as a cataract operation at that time. This essay explores the background of the painter's repeated use of the operation motif to depict the miraculous healing of Tobit's eyes. To this end, the essay looks into other Rembrandt's works illustrating a medical operation and compares them with the said works. And finally it reveals that Rembrandt's works depicting the healing of Tobit's eyes are allegorical representation that while being subsumed into Sight, Touch is the sense that supports Sight.

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, 2015-12-31 (Released:2017-05-22)

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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

宮崎 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.61-72, 2015-12-31 (Released:2017-05-22)

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Francois Tronchin (1704-1798), amateur genevois, a prononce trois discours sur la peinture a la Societe des Arts de Geneve en 1787 et 1788. Les manuscrits de ces discours ont ete publies dans le Discours relatif a la peinture, ou est demontree une theorie unique de Tronchin sur le fini. Cependant, malgre l'importance de l'auteur, grand collectionneur et ami des meilleurs artistes du siecle, le Discours n'a pas ete profondement analyse par les historiens de l'art. Cet article a donc pour objet d'eclaircir les apports theoriques du Discours en ce qui concerne le fini de la peinture. Pour cela, nous mettons en evidence l'activite de Tronchin, collectionneur des peintres hollandais reputes pour le grand fini de leurs oeuvres, gui forma ses theories en acceptant et modifiant les positions du peintre genevois Jean Etienne Liotard, et des theories traditionnelles et connues dans l'Europe francophone du XVIII^e siecle. Ainsi, il s'agira de saisir les enjeux abordes par Tronchin: 1) l'importance accordee au fini et la theorie sur la secheresse; 2) la relation entre le fini et la distance necessairement tenue entre le spectateur et l'oeuvre, 3) l'influence du climat portee sur le fini des artistes hollandais.

著者

伊集院 敬行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.85-96, 2015-12-31 (Released:2017-05-22)

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Inspired by a short story by Julio Cortazar's "Las babas del diablo" (1959), Michelangelo Antonioni both wrote and directed Blow-Up (1967). However for a lot of people, it seems that Blow-Up was loosely based on Cortazar's story. "Las babas del diablo" is a fantastic story. On the other hand, Blow-Up was regarded as 'absurd', like Antonioni's previous other existentialistic films. But, we can't overlook the uncanny atmosphere common to both works. According to Freud's "The Uncanny", a sense of the 'uncanny' derives from the anxiety caused by a repressed infantile 'castration complex'. Certainly we can find an oedipal scenario in "Las babas del diablo". In fact, Cortazar had been influenced deeply by Freud's writings and surrealistic literature. Furthermore, if we search for an oedipal complex in Blow-Up, we can notice this phenomenon. So, this paper tries to find the close relationship between these works from a psychoanalytic point of view, and to clarify that although Blow-Up does not follow the text of "Las babas del diablo" closely, Antonioni's adaptation shows his keen understandings of Cortazar's story.

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.66, no.1, pp.211, 2015-06-30 (Released:2017-05-22)

著者

青木 孝夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.212, 2015-06-30 (Released:2017-05-22)

著者

大石 和久

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.212, 2015-06-30 (Released:2017-05-22)

著者

岩崎 陽子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.213, 2015-06-30 (Released:2017-05-22)

著者

八幡 さくら

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.214, 2015-06-30 (Released:2017-05-22)

著者

遠山 公一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.215, 2015-06-30 (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.66, no.1, pp.149-160, 2015-06-30 (Released:2017-05-22)

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Cette etude se propose d'examiner les fonctions representatives des Cabanes Eclatees, une serie d'oeuvres de Daniel Buren, qui se situe a un tournant de ses activites, par l'analyse du point de vue structurale. Dans les activites de Buren, les Cabanes Eclatees sont categorisees comme ≪travail situe≫ qui a un archetype transportable, a la difference du ≪travail in situ≫, connu comme son travail representatif, qui devoile la specificite du lieu par ses rayures. Ainsi, il serait important d'etudier non seulement ≪le travail in situ≫, mais aussi les Cabanes Eclatees pour etablir une perspective globale sur ses activites. Les Cabanes Eclatees ont des particularites structurales : la mise en abyme, le treillage, la presentation du chassis, des evidures et des ouvertures. Ces particularites engagent le spectateur a prendre conscience, premierement, sur l'ambiguite entre l'oeuvre et la salle d'exposition; deuxiemement, sur l'espace du musee et sur l'institution museale; troisiemement, sur l'autocritique de l'oeuvre ; et enfin, quatriemement, sur le spectateur lui-meme. Ensuite, des ouvertures, des couleurs ou des miroirs suscitent des jeux libres du spectateur comme des decors de theatre sans acteur. En conclusion, les Cabanes Eclatees sont considerees comme un dispositif qui amene le spectateur a la prise de la conscience et au jeu.

著者

松原 薫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.161-172, 2015-06-30 (Released:2017-05-22)

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This paper considers the role of the theory of melody (die Melodielehre) in Johann Mattheson's Der vollkommene Capellmeister. In the first half of the eighteenth century, the mathematical view of music and the strict artificial contrapuntal theory were often criticized. As this paper will exemplify, Mattheson criticized the former in "Die canonische Anatomie" (in a dispute with Heinrich Bokemeyer) and the latter in Das neu-eroffnete Orchestre. These two criticisms, however, seem to be inconsistent with his description of the contrapuntal theory in the third part of Der vollkommene Capellmeister, which encompasses the northern German Baroque theory. I then turn my attention to the role of Mattheson's theory of melody, wherein he regards the melody as 'noble simplicity' or 'naturalness'. He also introduced the words 'Symphoniurgie', instead of 'counterpoint' at the bridge of the explanation of a single melody, and 'Vollstimmigkeit', or full-voicedness, which means an artistic combining of different melodies sounding together simultaneously. This re-definition of the counterpoint indicates that he considered it the mass of the plural melodies. Mattheson's theory of melody leads to the integration, without inconsistency, of the contrapuntal theory and the criticism of the mathematical view or rational, artificial treatment of music.

著者

金子 智太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.185-196, 2015-06-30 (Released:2017-05-22)

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American documentary recordist, commercial producer, Tony Schwartz(1923-2008) is best known for the sound producer of a controversial political advertisement, "Daisy"(1964). Since 1940s, he recorded street music, voices of his neighbors, and diverse environmental sounds in Manhattan where he lived, and edit them to produce records. The aim of this essay is to understand how he listened to acoustic environment through his microphone and how his mode of listening was formed, by discussing these works and his texts, and cultural situation in which he was placed. It appears that his explanation about communication through electronic media in his advertisement theory evolved out of the practice of environmental sound recording. This essay therefore examines his documentary recording in detail referring to the theory, and attempts to show the importance of listening to "sound patterns" in acoustic environment for his practice. Sound pattern means sensorial qualities of sound that take on significance only after the listener has received them.

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.201-206, 2015-06-30 (Released:2017-05-22)

著者

大熊 洋行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.207, 2015-06-30 (Released:2017-05-22)

著者

杉山 卓史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.208, 2015-06-30 (Released:2017-05-22)

著者

川野 惠子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.209, 2015-06-30 (Released:2017-05-22)