著者

青木 加苗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.188, 2012-06-30 (Released:2017-05-22)

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.133-144, 2012-06-30 (Released:2017-05-22)

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Thomas Willis (1621-1675) was an English physician and anatomist who was famous for pioneering the neuroscience. He worked on the intracerebral causes of musical faculty or the "musical ear" in his book Cerebri anatome ("The Anatomy of the brain," 1664). According to Willis, the musical memory is stored in the cerebellum, which takes charge of the involuntary movements that are indispensable for life support, and is released by singing. A melody that has been heard once can be sung correctly without recalling because of this structure of musical memory. Later, Thomas Salmon, a contemporary musical theorist, asserted that the hearing capable of recognizing musical pleasure was different from the ordinary hearing that perceives general sound. Further, he referred to Willis's theory concerning the cause of that special hearing. In the eighteenth century, Salmon's idea was seconded by Francis Hutcheson, who supposed that it was an "internal sense," not an external sense (i.e., ordinary hearing), that perceived the pleasure of musical beauty. The "internal sense," which was identified with "taste," had a lot in common with Willis's "musical ear" in terms of the immediacy of judgment. Therefore, Willis's view on hearing could be understood as a possible explanation of musical "taste."

著者

山口 真季子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.145-156, 2012-06-30 (Released:2017-05-22)

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Der Komponist Ernst Krenek hat mit den Pianisten Artur Schnabel und Eduard Erdmann, die oft in ihren Konzerten Schuberts Klaviermusik spielten, zur Neubewertung der Werke Schuberts beigetragen. Krenek hat mit "dem fanatischen Schubert Verehrer" Erdmann alle Lieder Schuberts durchforscht und ausserdem Schuberts unvollendete Klaviersonate in C-dur auf Anregung von Erdmann erganzt. So zahlt diese Erganzung zu einem der bedeutenden Beispiele ihrer Neubewertung. In dieser Studie mochte ich untersuchen, welche Punkte Krenek an Schuberts Kompositionstechnik schatzte und wie er sie auf seine Erganzung anwendete. Durch die Analyse der erganzten Sonate und den Vergleich mit Kreneks Erklarung seiner Erganzungsidee sowie der Struktur der Sonate (1947) habe ich klar gemacht, was fur Krenek das charakteristische an Schuberts Musik ist. Krenek hat in seiner Erganzung Schuberts feinen Sinn der musikalischen "Ausbalancierung" und seine Technik der vielfaltigen "Varianten" angewendet. Andererseits vermied er ubermassige Umformung der Melodien und harmonische Uppigkeit. Krenek hat in dieser Erganzung eine neue Schubert-Interpretation vorgezeigt.

著者

足立 純子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.181, 2012-06-30 (Released:2017-05-22)

著者

益田 朋幸

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.182, 2012-06-30 (Released:2017-05-22)

著者

田口 かおり

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.183, 2012-06-30 (Released:2017-05-22)

著者

唄 邦弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.184, 2012-06-30 (Released:2017-05-22)

著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.185, 2012-06-30 (Released:2017-05-22)

著者

高橋 健一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.61-72, 2012-06-30 (Released:2017-05-22)

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Felsina Pittrice, written by C.C. Malvasia, contains a chapter that mainly discusses the life of Lippo di Dalmasio. In addition, this chapter briefly mentions the lives of Lippo's "disciples" such as Marco Zoppo and "others who flourished from 1400 to 1500". This chapter can be found between the section on the lives of "Franco Bolognese", Vitale da Bologna, and other artists and the biography of Francesco Francia. This paper considers how this idea of Malvasia was born, principally from the next points of view: (1) Guido Reni's taste, (2) the anti-Vasari context, and (3) the history of the reception of Lippo. Malvasia states that not only Lippo but also Francia was among the "ancient authors" loved by Reni. Recognizing Zoppo, Francia's master, as Lippo's pupil, Malvasia must have emphasized the genealogy of the maniera devota painters, from Lippo to Francia, which he had constructed on the basis of Reni. This understanding of Lippo may seem strange. But in the Bologna Renaissance there were more than a few Lippo-like images updated to the contemporary manner. It will be concluded that this range of impressions about Lippo's works also influenced the structure and accounts presented in Felsina.

著者

鄭 賢娥

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.73-84, 2012-06-30 (Released:2017-05-22)

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The Kyushuha is known as an avant-garde group active in Japan around 1960. Until now, research in early works of Kyushuha has suggested that certain characteristic societal themes are recognized, but how the artists developed these themes remains unclear. Analysis of works from the Kyushuha's active early period confirms that certain artists were handling societal themes at that time. Those themes were contemporary societal or local issues, especially those concerning coal miners in Kyushu. These thematic characteristics can also be glimpsed particularly in their involvement with poetry journals in Fukuoka, and the magazine Circle MURA. Thus, it is clear that the societal themes seen in the early work of the Kyushuha have some relationship to certain poetry journals in Fukuoka and Circle MURA, which showed similar interest in local issues. Considering the above, I would like to propose the following hypothesis. Instead of considering the Kyushuha's consciousness of societal problems as an isolated phenomenon that developed within the group, it is possible to think of it as a collective consciousness born from a movement that combined the Kyushuha, poetry journals, and Circle MURA. The purpose of this paper is to propose research into the Kyushuha from this perspective.

著者

天貝 義教

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.85-96, 2012-06-30 (Released:2017-05-22)

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In this paper I investigate the concepts of industrial design expressed by the Japanese term Kogyo-teki Isho which appeared in the Design Act of 1909, by focusing on the ideas of two representative industrial design educators Hirayama Eizo and Matsuoka Hisashi in the transition from the Meiji era to the Taisho era. In his articles published in the 1900s, Hirayama pointed out that by designing ornamentation, which was developed by the addition of elements derived from every part of the natural world, the industrial designer should elevate the aesthetic value of industrial products without interfering with their usefulness. In his articles published in the 1910s, criticizing Japanese designers for copying historical and Western style design, Matsuoka stressed that the industrial designer should display his own originality in designing industrial products for daily use, and defined that the aim of industrial design was to beautify all industrial products including daily necessities, common machines and the ditch covers. Their ideas on industrial design showed changes from the early idea of applying art to industry to the new idea of beautifying all industrial products for daily use, on which the establishment of a new institution for industrial design education was based.

著者

敷田 弘子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.97-108, 2012-06-30 (Released:2017-05-22)

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On the theory of modern architecture, standardization is an important theme to realize rationality and functionality. Kawakita is an architect who studied standardization of furniture on the theoretical basis of modern architecture. As a contemporary issue, it was also an attempt which had been done during the period of Kawakita's "architectural science supremacist". That means it was one of his "scientific" experiments. By investigating the concept of "model" which was a theoretical basis of his standardization of furniture, he interpreted the concept of "model" from the article of Adolf Behne, and put generality and sociality on it as its character. And Kawakita's concept of "model" is his idea on architecture of integration of "sciences" and its generalization, then it got a word and a concept as "model". Also, he reckoned that "technique" would make it possible of integration of "sciences" and creation of generality, which means "model". This relationship between "science" and "technique" continues from architectural theory to koseikyoiku (study of construction). From these investigations, Kawakita's standardization of furniture which started on a theoretical basis of modern architecture and continued to koseikyoiku, could be positioned as a concrete example which shows a continuation of his idea on the activity.

著者

嶋田 久美

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.121-132, 2012-06-30 (Released:2017-05-22)

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This article explores expression activities in clinical practices focusing on two cases: La Borde Clinic and Bethel House. The former is a psychiatric clinic in France known as a Psychotherapie institutionnelle and the latter is a community in Japan for people with mental disturbances founded in 1984. Both foster unique activities in ways that challenge the dichotomies in clinical practices such as art/therapy, client/therapist and normal/abnormal. In this article, two aspects of expression and art in these unique activities are verified referring to the concept of 'dispositif' by Michel Foucault, Gilles Deleuze and Giorgio Agamben. First, expression and art may function to analyze the power relations around the clinical site. Next, they function to maintain the dynamism of powers that generate liquidity and porosity among people. However, as Deleuze implies, these functions should be examined using immanent criteria. Therefore, these two cases must not be taken as universal models but should be positioned as nodes or hubs of networks concerning clinical environments. Which is why these two cases also urge us to reconsider the perspectives of disease and disability and the roles of group and community.

著者

武田 宙也

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.1-12, 2012-06-30 (Released:2017-05-22)

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Ce texte analyse le concept d'<<esthetique de l'existence>> que Michel Foucault presente dans ses derniers travaux. On entend par ce terme un mode de vie qui se construit elle-meme comme <<oeuvre>>. Il s'agit de la transformation de soi a travers le travail sur le soi : la <<poetique>> de soi. Or, dans la pensee foucaldienne, cette pratique du <<souci de soi>> a un rapport etroit avec le probleme de la verite, car selon lui <<le lien entre l'acces a la verite et le travail d'elaboration de soi par soi est essentiel dans la pensee ancienne et dans la pensee esthetique>>. C'est ce lien essentiel qui fait de la verite un grand probleme de la vie. Dans ses dernieres annees, Foucault traite d'une pratique qui s'appelle parresia en grec. Bien que la parresia designe d'abord l'acte linguistique de <<dire le vrai>>, la supposition foucaldienne du lien entre la connaissance de la verite et la pratique du soi y suggere de plus un point d'intersection entre la verite et le sujet. C'est en ce sens que la pratique de la parresia serait un enjeu de l'<<esthetique de l'existence>>.

著者

村上 真樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.13-24, 2012-06-30 (Released:2017-05-22)

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In Goethes Wahlverwandtschaften (1920/21) betrachtet Walter Benjamin das Problem der Schonheit und des Scheins. Und dann beabsichitigt er sie zu uberwinden. Benjamin unterscheidet zwei Formen des Scheins; "Venus" und "Lucifer". Der Schein als Venus ist der "Schein hinter dem sich etwas verbirgt". Das stimmt mit dem Begriff des Scheins in der idealistischen Asthetik uberein. Der Schein als Lucifer ist der "Schein hinter dem sich Nichts verbirgt". Das stimmt mit dem Schein in Nietzsches Asthetik uberein. Aber betrachtet Benjamin beide Formen des Scheins kritisch. Die Erstere lasst er an ihrem Wert verlieren, indem er sie nicht als die Hulle vor der Wahrheit, sondern als Hulle vor dem "Unscheinbaren" begreift. Die Letztere verneinte er, indem er sie nicht als Schein, sondern als Allegorie begreift. Ferrier weist Benjamin auf ein Moment von Unterbrechung dieser Formen des Scheins hin, nennt dies "das Ausdruckslose". Meine Arbeit weist darauf hin, dass Benjamin fur die Uberwindung des Scheins drei Methoden vorschlagt; (1) Verminderung des Scheins durch die Beziehung zwischen Schonheit und Wahrheit zu schneiden, (2) Entzauberung des Scheins durch die Allegorie, (3) Unterbrechung des Scheins durch "das Ausdruckslose".

著者

森 功次

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.37-48, 2012-06-30 (Released:2017-05-22)

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In the last section of Saint Genet (1952), Jean-Paul Sartre attempts to vindicate Jean Genet's immoral works. Sartre tries to save Genet from severe moral criticism in French literary world at the time. In this paper, I will organize Sartre's argument and examine his complex defense. According to Sartre, the immorality of Genet's works consists in the veriter's devious intention to invert our values and the bad influence he has on his readers. On the other hand, Sartre claims that Genet's works have some moral merits: to give readers some understanding of what Sartre calls 'solitary' positions such as Genet's, and to impress upon readers an identical possibility for themselves. Moreover, these moral merits are supported by the aesthetic appreciation of his works. The fact that readers could fully appreciate Genet's immoral works irresistibly points out to the readers the relation between themselves and the immorality of the works. It is not, however, clear how these moral merits are able to overcome the criticism against Genet. Moreover, because Sartre's argument presupposes an appreciation that deviates from Genet's own intention, which Sartre himself recognizes, it is not clear whether or not Sartre's attempted vindication can be viewed as a legitimate evaluation of Genet's works.

著者

新倉 慎右

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.49-60, 2012-06-30 (Released:2017-05-22)

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There was the first version of Michelangelo's Christ in Santa Maria sopra Minerva in Roma which had been abandoned before the completion. In 2000, Baldriga and Squarzina identified the statue of Christ in San Vincenzo Martire at Bassano Romano with the lost first version. Although they argued only about the difference of the posture between two statues of Christ in Roma and in Bassano Romano, the rediscovery is very important for the reconsideration of the shape of Christ in Roma, because being executed under the same condition of the contract the difference makes the progress of Michelangelo's idea from Christ in Bassano Romano to that in Roma clear. This paper examines the importance of Christ in Roma to Michelangelo's transition of the style in statue. The factors (mainly the twist of the body and the position of the arm) that make the apparent difference between two statues of Christ appear on the works that Michelangelo executed after Christ in Roma, and it is this Christ that Michelangelo boldly made at first time under such idea which he would continue to utilize for realizing his statue. Therefore, contrary to the comparatively low evaluation of the modern studies, Christ in Roma occupies fixed position in the stylistic history of Michelangelo's statue.

著者

武田 宙也

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.146, 2011-12-31 (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.62, no.2, pp.148, 2011-12-31 (Released:2017-05-22)

著者

佐野 みどり

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.149, 2011-12-31 (Released:2017-05-22)