著者

浅沼 敬子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.133, 2007-12-31 (Released:2017-05-22)

著者

石田 圭子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.134, 2007-12-31 (Released:2017-05-22)

著者

柳沢 史明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.94, 2007-09-30 (Released:2017-05-22)

著者

樋笠 勝士

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.95, 2007-09-30 (Released:2017-05-22)

著者

愛宕 出

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.95-96, 2007-09-30 (Released:2017-05-22)

著者

神林 恒道

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.96-97, 2007-09-30 (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.58, no.3, pp.1-13, 2007-12-31 (Released:2017-05-22)

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In this paper, I examine Kant's conceptions of civilization and culture, which beautiful arts and sciences promote. In the 18th century, Rousseau blamed arts and sciences, because they let human beings collapse morally. On the contrary, Hume appreciated them, for they promote sociability and are the beginning of civilization. In Observation and Universal History, Kant shared the view with Hume. He thought that a feeling of honor and unsociable sociability which were human nature promoted civilization. Having the feeling of honor, one can take another standpoint and be socialized. In this view, beautiful arts and sciences are of public value. In Kritik der Urteilskraft (1790), Kant argued about culture from the standpoint of teleology. There, he thought that civilization was inadequate for ultimate end of nature. Because civilization do no more than acquire skill and there is no will. In teleology, Kant interprets that culture of discipline, which arts and sciences promote is ultimate end, for the pleasure that is universally communicable in arts and sciences makes human civilized (gesittet). I point out that in concept of culture of discipline Kant attached importance to arts and sciences. By them we can make unique community.

著者

柳沢 史明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.14-27, 2007-12-31 (Released:2017-05-22)

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Les arts chez Georges Bataille sont souvent lies a la conception ontologique et existentielle d' "angoisse". L'angoisse, pour Bataille, est le sentiment d'un danger qui visite l'homme qui s'affronte a la mort. Par ailleurs, en eveillant les attentions sur la mort habituellement cachee, elle est aussi le sentiment de l'attente de franchir la vie quotidienne et "un monde avare". Toutefois, bien que l'intention d'introduire les elements de mort (i.e., l'angoisse, la souffrance et la douleur) soit cruciale dans la vie quotidienne, il faut eviter que la vie soit menacee excessivement. Et alors, pour raison d'equilibre entre la vie et la mort, Bataille dit qu'on doit recourir aux "tricheries", c'est a-dire, aux arts. Selon Bataille, le pouvoir de l'art concerne l'effet d'evocation. Compte tenu de l'usage de (revocation), qui autrefois principalement signifiait "appeler les morts par la magie", Bataille considere l'evocation comme une apparition intime de ce qui n'est ni substantiel ni accessible. La mort en est un exemple. Par l'evocation, qui est un procede indirect mais done assure la vie, l'art permet aux hommes l'acces inacheve a la mort. activement et volontairement.

著者

田中 均

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.1-14, 2007-09-30 (Released:2017-05-22)

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In this paper, I investigate the relationship between love and art in the novel Lucinde. First, I analyse two cases of disappointments in love experienced by the young painter-and protagonist-Julius, which are symbolised by certain aesthetic defects:Lisette could not respond to Julius' love because of her life as a prostitute, which corresponds to her sensualistic tastes. Likewise, Julius' fruitless love for a married woman gave rise to a strained style to his painting. Second, I focus on his relationship with Lucinde, in which they completely affirmed each other's individuality. The reconciliation with his own life through love brought grace and maturity to his art. This should be interpreted as the realisation of 'the romantic', which is defined in Schlegel's essay 'Dialogue on Poetry' as a combination of 'the sentimental' and 'the fantastic'. Third, I turn my attention to the distinction by Julius between male and female love. He believes that, in contrast to female love which is concentrated only towards one object, a man can develop friendships between multiplicities of mature spirits and thus complement his own individuality. From this, I draw the conclusion that, in this novel, a female artist is excluded from the artistic cooperation.

著者

玉村 恭

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.15-28, 2007-09-30 (Released:2017-05-22)

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Kamo no Chomei is well known as a Japanese medieval recluse. This paper is aimed at reading his essays "Hojoki" and "Hosshinshu", and tries to rethink the relation between his reclusive life and poetry. The concept of reclusion for him was not necessarily related to how far he was removed from the capital nor what he did in his hermitage. Rather, the question was his state of mind, the extent to which his mind was detached from the usual worldly context and interest (kyokai or kyogai) such as social, political, and economical, of which people's circumstances consist and by which their daily cognitions are led. On the other hand, according to his notion of transience (mujo), nothing is certain other than the fact that people sense and feel various things and move their hearts variously. Thus, what was crucial in his reclusive life was how he could deal with his mind and heart. In those respects, poetry was for him one of the most important elements on which to base his reclusive life, because poetry, it has been admitted, does not have any worldly purpose nor interest at all; it is barely to express how people's hearts are moved.

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.43-56, 2007-09-30 (Released:2017-05-22)

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Balthus' admirers often maintain that the artistic quality of his works originates not only from his association with the iconographies of Western classical paintings but also from his depiction of human figures in the old masters' style. This paper, however, tries somewhat conversely to put forward as a hypothesis that their uniqueness lies rather in their lack of naturalism. Through the stylistic analysis of La Montague (L'Ete), one of his actual works as a material, it will be shown here that his anatomically inaccurate treatment of human figures and his trick of making up for this have actually made his artistic characteristics. As it can be easily seen from this large-sized work, many formal problems arise when Balthus composes human figures: improbable centre line of the body of the half sitting man, unnatural connection at the invisible neck of the standing woman, the wrong position, on the ground, of the legs of the sleeping woman, and totally, the unnaturalness of all standing figures. Characteristically, these deficiencies are concealed by various techniques such as the strict formation of the picture plane, the accurate arrangement of colours, and the magnificent depiction of a landscape as well as the topographical revisions and the handling of the light source. La Montague (L'Ete) can be accordingly considered as a suitable guide to study how his figures relate to landscape, and what influence the painter's technical poverty brings to his works.

著者

呉 永三

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.57-69, 2007-09-30 (Released:2017-05-22)

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The purpose of this study is to contribute to the research on the development of the Eight Views of Hsiao-Hsiang in terms of the sequence appeared in Korea and Japan since it had been introduced from China each around 12^<th> and 13^<th> century. The sequence of the Eight Views in these two countries had changed in order of four seasons, due to various reasons. Within this study touching subjects here, suggested reasons are two, which are derived from the change of form and content of the painting. First, the change of form is that hand scrolls on which the Eight Views were represented in china become to be painted on folding screen as the Eight Views spreads over Korea and Japan, which means they need the model of more sophisticated composition for this new theme. Through from 14^<th> to 15^<th> century, models for the composition of the Eight Views in folding screen seem borrowed from four season landscape painting. As a natural result, the sequence of folding screen was arranged in order of four seasons. Second, there was also a change of the content of the Eight Views. On the one hand, criticism against government and personal sadness originated in Hsiao-Hsiang literature having long demotion history was replaced by applause for good government and ideal nature particularly in Korean and Japanese Eight Views in relation to the development of folding screen, which is more official form to the public and person of power. On the other hand, seasonal color of Mountain Market in poetry had been fixed into spring, which gave the Eight Views of Hsiao-Hsiang more seasonal characteristics with Evening Snow and Autumn Moon.

著者

長谷 規子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.70-83, 2007-09-30 (Released:2017-05-22)

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Les dix-huit quatuors a cordes de Darius Milhaud (1892-1974) tiennent une place particuliere non seulement dans toutes ses ceuvres mais aussi dans toute la musique de chambre du XX^e siecle. Du fait que Milhaud s'explique sur le quatuor a cordes comme un genre musical representant le mieux ses intentions profondes et que lui et ce genre allaient cote a cote pendant quarante ans, nous pouvons considerer que le quatuor a corde est un genre intime pour le compositeur. Dans cet article, nous allons examiner ses quatuors a cordes des annees 1930 et 1940 de point de vue technique et stylistique pour mettre en evidence leur importance. L'etude d'un ensemble de quatuors a cordes de Milhaud nous a permis de montrer une evolution considerable : il emploie assez souvent des passages empechant la continuite de la piece au niveau melodique, rythmique et harmonique. Ce serait une des techniques musicales de Milhaud propres a cette epoque. D'ailleurs, la technique ellememe evoluera peu a peu la forme musicale et deviendra un element imposant dans sa musique. Elle s'appliquera plus tard a des autres pieces de sa musique de chambre.

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.58, no.2, pp.84-86, 2007-09-30 (Released:2017-05-22)

著者

加藤 哲弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.87, 2007-09-30 (Released:2017-05-22)

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.58, no.1, pp.15-28, 2007-06-30 (Released:2017-05-22)

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Walter Benjamin made many comments on contemporary arts. In those comments, he consistently criticized Albert Renger=Patzsch, especially his collection of photographs, The World is Beautiful. This paper considers why Benjamin criticized Renger=Patzsch from the viewpoint of the concept of aura and what elements of his photographs Benjamin thought dangerous in relation to the political aestheticism of fascism. Benjamin distinguished between the aura of work of art and that of commodity, and gave negative evaluation to the latter. Thus in previous studies, the former has been taken as authentic while the latter as fake. And it has been argued that there remains no authentic aura after the "decay of aura". In contrast, I interpret aura as having broader implications, i.e., as a "reactivation of mythic power of objects by empathy". So I think that the aura was interrupted by the shock of the invention of reproductive technology and, through this shock, was transformed from that of work of art to that of commodity while maintaining its mythic power. The aura of Renger=Patzsch's photographes depends precisely on this mythic power transmitted to the world of commodity.

著者

春木 有亮

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.29-42, 2007-06-30 (Released:2017-05-22)

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L'objet de cet article est d'eclairer la notion de la raison chez Etienne Souriau afm de valoriser des pensees qui depassent le simple rationalisme. Souriau dit que l'on ne peut realiser ≪la vie vivante≫ que par la raison, celle-ci permettant au sujet du raisonnement d'utiliser des formes parfaites au moyen de l'ideation. La forme parfaite est un ≪objet-chose≫ qui est a la fois la contrepartie du sujet et egalement transcende le sujet-objet. C'est la forme parfaite qui permet au sujet de realiser la vie vivante a travers l'unification des deux elements incompatibles : ≪la Ferveur≫ du sujet constituant sa propre vie et ≪la Lucidite≫ de la realite que le sujet sent comme autrui. L'art ainsi que le raisonnement tendent vers l'objet-chose. L'art designant, pour Souriau, un paradigme de la vie. On peut considerer la fonction de la raison comme une sorte de perception puisque le sujet raisonnant touche une chose exterieure a lui par la forme. La raison a done ≪une sensibilite≫. Souriau va meme plus loin en affirmant que la sensibilite est l'origine de la raison. Finalement, il conclut d'une maniere paradoxale que ≪les aspects esthetiques de la Raison≫ en font les fondations. La raison chez Souriau est done, pour ainsi dire, la raison esthetique.

著者

川瀬 智之

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.43-56, 2007-06-30 (Released:2017-05-22)

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Merleau-Ponty, dans la Phenomenologie de la perception (1945), dit que, dans 1'experience de la profondeur, deux vues incompatibles de la meme chose, par exem-ple la vue frontale et la vue laterale, coexistent simultanement. Et il identifie la dis-tance entre le percevant et la chose percue avec la profondeur. Et dans ≪L'Oeil et 1'e-sprit≫(1961), il dit que, dans la peinture par Rembrandt, par la coexistence simultanee des vues incompossibles, le spectateur reconnait la profondeur de l'espace. Mais, en meme temps, il dit que la distance est, ainsi que la hauteur et la largeur, l'abstraction sur la profondeur. Que signifie cette difference des deux propositions sur le rapportde la distance et de la profondeur? Dans Le visible et l'invisible, ecrit de 1959 a 1961,il s'agit de la profondeur de la chair a laquelle appartient communement et le voyant etle visible. Ici, la profondeur n'est pas la distance entre le voyant et la chose percue, mais elle inclut le voyant meme. Cette transformation de la notion de la profondeurdesigne le detachement de la pensee de Merleau-Ponty de la philosophic de la conscience sur laquelle celle-ci s'etait fondee dans sa premiere periode.

著者

山本 純子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.57-70, 2007-06-30 (Released:2017-05-22)

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UTAGAWA Yoshitaki(1841-99) was an Ukiyoe artist who worked mainly around Osaka from the late Edo to early Meiji period. The previous studies of Yoshitaki have been mainly about his print works. This paper, however, also looks into some of his rare paintings. Chapter 1 overviews changes observed in Yoshitaki's actor prints in more than 30 years of his career. Chapter 2 examines three paintings of beauties by Yoshitaki from 1880 to 1885, in which many similarities can be pointed out with his prints that were produced immediately before he shifted to paintings. Chapter 3 looks at two very important paintings of beauties painted in the late Edo era, one belonging to MFA Boston and the other to The British Museum respectively. Similarities with Yoshitaki's print style are also found in these works. Chapter 4, based on Chapter 2 and 3, discusses how, while using some print work elements, Yoshitaki's paintings style became sophisticated over time in comparison with his earlier paintings in which influences of his print works had been much more obvious.

著者

森谷 宇一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.85-87, 2007-06-30 (Released:2017-05-22)