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.62, no.2, pp.103, 2011-12-31 (Released:2017-05-22)

著者

石黒 義昭

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.173, 2011-06-30 (Released:2017-05-22)

著者

今井 晋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.174, 2011-06-30 (Released:2017-05-22)

著者

一色 裕

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.175, 2011-06-30 (Released:2017-05-22)

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.62, no.2, pp.1-12, 2011-12-31 (Released:2017-05-22)

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From the early period of his career, Paul Ricoeur (1913-2005) focused on project and action as a form of self-understanding. In the 1970s, he associated the concept of self-understanding with the question of interpretation of poetic language such as metaphor and narrative fiction, arguing that the act of interpreting poetic works enabled the reader to project a new existence. However, Ricoeur's own account on this association is fragmentary, even containing internal contradictions. Especially, his idea of "the world of the text," despite its centrality in his argument, seems to conflict with his earlier thoughts. Yet, we should note that in Temp et recit (1983-5), Ricoeur reconsidered and modified that concept. Though virtually no attempt has been made to elucidate the significance of this modification, it is crucial to reinterpret his texts written in the 70's in light of the revision made in the 80's for understanding the design of Ricoeur's hermeneutics integrally. By investigating the process of the shift from interpretation to project in terms of the reader's act, this paper will reconstruct Ricoeur's apparently fragmented hermeneutics as a whole, thereby demonstrating that he regarded interpretation as an act of dialogue and a creative activity supported by imagination.

著者

橋本 周子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.13-24, 2011-12-31 (Released:2017-05-22)

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Dans cet article, nous souhaitons eclairer le concept de gourmandise selon Brillat-Savarin par la lecture de son texte. Dans les recherches precedentes sur l'histoire de l'alimentation a Paris d'apres la Revolution Francaise, it est de coutume de decrire la vie a Paris comme une scene de carnaval. Dans ce contexte, le texte de Brillat-Savarin, qui est considers comme une sorte de symbole de la culture de la gastronomie francaise grace au succes de la Physiologie du gout (1826), n'a pas ete suffisamment analyse jusqu'a aujourd'hui. Bien que le titre nous false imaginer qu'il admire completement le <<gout>>, la chose la plus importante pour l'auteur fut en effet le plaisir modeste donne par la <<convivialite>>, qui est a l'ecart du plaisir sensuel du <<gout>> physique. Nous considerons d'abord son approche de justifier l'acte de gourmandise, non comme un vice mais comme un acte recommandable pour l'entretien du corps. Ensuite, apres avoir vu comment it transpose cet argument au niveau de la morale de la societe, nous considerons la tendance de son concept de gourmandise qui tend a rapprocher le plaisir de la sociabilite, quitte a mepriser le plaisir sensuel qu'il avait pourtant precedemment justifie.

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.62, no.2, pp.25-36, 2011-12-31 (Released:2017-05-22)

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Jean Gremillon (1901-59) etait musicien avant de devenir cineaste et it a meme compose de la musique de certains de ses films. En effet, on a toujours parle de la musicalite de son cinema. Le plus remarquable, c'est que Remorques (1939-41), mis en musique par Alexis Roland-Manuel, a ete fait allusion a l'opera bien qu'il ne soit pas son adaptation cinematographique, ni un film-opera qui contient des scenes de sa representation. Si Remorques est une sorte d'opera, c'est parce que ce film est meticuleusement elabore au niveau des acoustiques comme par exemple dans la sequence finale evoquant l'agonie de la femme isolee (Madeleine Renaud) par l'oratorio qui commence tout apres sa mort. De plus, la direction d'acteurs et la figuration cinematographique chez Gremillon font apparaitre des secrets caches des comediens, en creant des personnages allegoriques comme celles de l'opera, dans le but qu'on soit invite a porter des hypotheses sur leur identite ou, selon les mots du cineaste, "trouver et rejoindre leur secret". Catherine (Michele Morgan) est plus et autre que ce qu'elle est comme Wotan ou Salome. Remorques, film qu'il existe des personnages operatiques sans voix chantee, peut etre lui-meme defini comme un double de l'opera.

著者

太田 峰夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.121-132, 2011-06-30 (Released:2017-05-22)

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In the first half of the 20^<th> century many musicologists tried to notate folk songs precisely by the help of recording media. In the case of Bela Bartok we can see that his notation of folk songs became more and more detailed as his career progressed. It is certain that the phonograph played an important role in this change in notation, even though several other factors such as the spread of "audile technique" for concentrative listening also could have been important as well. While Bartok believed that the track of record was the most authentic record of songs, he continued to use the traditional way of notation with additional signs. Consequently, aided by a phonograph with a headset, he could "discover" such unknown stylistic features as "Bulgarian rhythm" that might enlarge the vocabulary of traditional European art music. Considering his notion of "Bulgarian rhythm" as "common character of south eastern European folk music" on one hand, and the frequent appearance of "Bulgarian rhythm" with Hungarian stylistic features in his works on the other, perhaps we may say that phonograph contributed not only to his scholarly activity but also-if indirectly-to his modernist creative activity.

著者

千 宗員

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.133-144, 2011-06-30 (Released:2017-05-22)

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"Wabi" and "sabi" are the words that best express the idea of chanoyu. In this essay, I will consider how these concepts were interpreted and formed chanoyu philosophy by the successors of the founder of the way of tea Sen no Rikyu, through the words of the third generation Genpaku Sotan and the fourth generation Koshin Sosa. From Sotan's letter, it is clear that he was inclined towards "sabi" rather than "wabi". As an example, in the tea gathering, Sotan only used the minimum number of utensils in the smallest tea room. Sotan placed no value on special items or social position and led a life of poverty. He found value in simple and "roughness" things and called this idea "sabi". Koshin intended to continue in the spirit of "sabi", as can be seen in his tea writings. By "sabi" he means finding value in things as they naturally are, and the aesthetics and actions of chanoyu should be harmonized with nature. As a way of realizing this, Koshin took importance on training and through the accumulation of practice one could reach the state of "sabi" or achieve a state of mind that was at one with nature. Thus, Sotan and Koshin developed the philosophy of "sabi", which was not merely an aesthetic one, but one that sought to develop the spirit of a tea practitioner.

著者

河野 道房

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.145, 2011-06-30 (Released:2017-05-22)

著者

鄭 賢娥

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.168, 2011-06-30 (Released:2017-05-22)

著者

秦 明子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.169, 2011-06-30 (Released:2017-05-22)

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.62, no.1, pp.170, 2011-06-30 (Released:2017-05-22)

著者

北野 雅弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.171, 2011-06-30 (Released:2017-05-22)

著者

高野 裕子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.172, 2011-06-30 (Released:2017-05-22)

著者

吉田 直子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.25-36, 2011-06-30 (Released:2017-05-22)

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Seinen Plastik von 1778 untertitelt J. G. Herder, Einige Wahrnehmungen fiber Form und Gestalt aus Pygmalions bildendem Traume. Das Pygmalion-Motiv hat Herder von Rousseaus musikalischem Drama (1770) ubernommen. Nach Rousseau bringt Pygmalion Plastik zum Leben, und da lebt er. Dazu schreibt Herder "Wir werden mit der Natur [der Korper der Plastik] gleichsam verkorpert oder diese mit uns beseelet", wenn wir "Ausdruck der Kraft im Gefasse der Menschheit" in dem Korper fuhlen. In der vorliegenden Arbeit wird diese kunstlerische Erfahrung als pygmalionische Verkorperung bestimmt wie folgt: (1) Dabei ist man in anfanglichem Zustand, das den gebildeten Vermogen des Subjekts vorhergeht, wenn er nicht durch den Gesicht, das "der kunstlichste, philosophischste Sinn" ist, sondern durch das Gefuhl, das das Grund legendste erfassen kann, erfahrt. (2) In diesem Zustand kann er durch "Mitempfindung" fur die Seelenkraft in der Korper anfangliches-Ich werden. (3) Nach Herders Vom Erkennen und Empfinden (1778), bedeutet dieser anfangliches-Ich "unser reizbares Ich", das Herder auf Albrecht von Haller gefuhrt wird. Ich mochte diese kunstlerische Erfahrung nach dem Pygmalion-Motiv uberlegen, um Herders Plastik nicht nur auf die Umwandelung der modernen Hierarchie der Sinne, sondern auf Herders weitere anthropologische Philosophie zu beziehen.

著者

杉山 博昭

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.37-48, 2011-06-30 (Released:2017-05-22)

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This Paper provides detail of Pentecoste, a kind of sacred plays called Sacre Rappresentazioni, which were presented in Florence in fifteenth century. Little is known so far about direction and presentation of Sacre rappresentazioni except for Annunciazione and Ascensione because of lack of document by the audience. However, checking the text by Giuseppe Richa of the eighteenth century and the documents of congregation makes us realize the detail of Pentecoste. This verification suggests two distinctions of the direction: overwhelming illumination with calorific value and replacement of wooden dolls with live performers. The former distinction naturally leads us to speculate interesting stimulus to the audience: on their sense of sight, hearing, smell and touch. In addition, the latter character suggests us a possibilitiy that the audience would receive the representation as a kind of heretic image of imparting life. Therefore, direction and presentation of Pentecoste coincidence with the fact that Sacre Rappresentazioni had cross-fields character.

著者

桑原 夏子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.49-60, 2011-06-30 (Released:2017-05-22)

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This paper examines the reason for why Fra Filippo Lippi chose Annunciation of the Death of the Virgin and Arrival of the Apostles as subjects for the central predella of his Barbadori Altarpiece. In addition to being very rare, these two subjects are painted as though the events represented by them are occurring simultaneously. This altarpiece was placed in the Barbadori Chapel, which the Confraternity of Orsanmichele had the responsibility of constructing. I demonstrate that the confraternity's charity was reflected in the choice of these subjects. The rules of the confraternity show that they promised the confession, extreme unction, and courteous burial to their members, allowing them to accept death peacefully. Annunciation of the Death of the Virgin shows the calm acceptance of death and Arrival of the Apostles suggests the attendance of one's deathbed and burial. To further demonstrate that Lippi constructed his work to suggest the charity of the confraternity, I perform a comparison of the central predella to source detailing its subjects, a comparison to preceding works, and an analysis of the composition. Most likely, my interpretation is congruent with the intentions of Gherardo Barbadori, a captain of the confraternity who ordered the construction of the chapel.

著者

秦 明子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.61-72, 2011-06-30 (Released:2017-05-22)

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The Medici family, particularly Laurentian Florence of the 1470's had a predilection for Flemish art. This paper focuses on this artistic exchange between Florence and Flanders in the late 15th century. As previous studies have emphasized, Flemish paintings were usually esteemed for their realistic characteristics. But the majority of Flemish paintings in Florence was actually painted on cloth. These cloth paintings, or panni dipinti, offered a wide range of images of secular subjects to the Florentine upper-classes. I would particularly like to examine the "danza moresca", which is listed twice in the Medici inventory of 1492. The "danza moresca" is an exotic, bizarre competitive dance for the sexual favours of a woman. It is significant that this bacchanalian kind of painting was placed in both an urban palazzo and a suburban villa. The actual painting is now lost, however we can examine a Florentine print that was related to its records in the inventories. Through this process, this study shall reveal that the Flemish paintings also fulfilled the Medici's taste for a kind of grotesque which can also be seen as a direct visual equivalent of Lorenzo's Canzone Carnascialesche.

著者

山本 友紀

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.73-84, 2011-06-30 (Released:2017-05-22)

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The present paper proposes to analyze the theme of the Modern City in a series of loosely related works by French painter Fernand Leger (1881-1955) from 1919 to 1923. After returning from the Great War, Leger proved remarkably productive and tackled several different styles and themes at once, thus leading previous critics of his art to describe this stage in his career as a particularly eclectic one, especially when compared with the contemporary "call to order" within the avant-garde circles. Nonetheless, it is a common trend in these studies to somewhat overlook the overarching motif-based on the painter's deeply personal interpretation of modern urban life-which served to conceptually unify these works. It is our intention therefore to reassess Leger's conception of the City and reveal the significance of his works on this theme in a new light. He was very receptive to the dramatic changes around him and showed great interest in the emerging forms of modernist architecture. This choice of subject led him to move from his early "simultanist" evocation of life in the Modern City towards a socially-engaged and boldly pictorial exploration of new possibilities within a revolutionary concept of urban space.