文献一覧: 05200962 (ISSN) - Ceek.jp Altmetrics

1 0 0 0 OA バシュラール詩学と時間論

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.58, no.1, pp.1-14, 2007-06-30 (Released:2017-05-22)

It has been said that Gaston Bachelard's theory of time leads him to a new reflection on poetry. However, the relationship between those two distinct theories has not yet been explained in detail. In this paper, I will aim to elucidate this relationship. In L'instuition de I'instant (1932) Bachelard, influenced by Bergson, mainly argued that poetry makes a chain of instants appear as if it were duree which is opposite to the conception of creativity. But under the influence of Roupnel, he also suggests that poetry gives us to experience what an instant is, and he teaches us that it consists in creativity. Thus in his theory of time, especially in terms of the experience of poetry, there seems to be an ambiguity. In 1939 he wrote his first book on poetics, La psych-analyse dufeu, and then L'eau et les reves (1943), in which he claimed a new concept of "material imagination", which is based on the Elements. He thought that the images of material imagination were constant and this constancy was nothing but duree. Further, he considered this constancy as a positive property, holding that it gave images creativity which was solely assigned to instances in his previous writings. Therefore, we find that poetics of Bachelard is surely based on the ambiguous reflections on poetry in the theory of time.

2021-01-27 15:53:00
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1 0 0 0 OA 分離派建築会結成の理論的背景 : 初期日本建築界における「芸術」と「表現」

著者: 天内大樹
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.69-82, 2007-03-31 (Released:2017-05-22)

The author examines architectural theories that lead to the founding of Bunriha Kenchiku Kai (Secessionist Architectural Group) in 1920, in line with four phases focusing on the understandings of "expression". First of all, the notion of architecture was divided into "art" and "science/utility" when it was introduced to Japan from the West. Secondly, the "art" was relegated to a lower importance through Sano Toshikata's nationalistic view of architecture. Sano's follower Noda Toshihiko subordinates architectural design only to the theory of structural mechanics. Their understandings of "expression" were unilinear. Thirdly, Goto Keiji, Noda's adversary in study, believed that principles of architectural design are to be rediscovered within architects' self: he became an predecessor of Bunriha. Moreover, a Bunriha architect Horiguchi Sutemi insisted on "life" and "faith" within one's instinct. But their discussions deemed architecture only as reflections of the "self/life". Finally, the integration of self and architecture took place when another Bunriha architect Morita Keiichi discovered "inner demand" in the "beauty of dynamics" of the building. However, his understanding of "expression" remained unargued by the surrounding architects due to the theoretical constraints. This has affected our view of Bunriha.

2021-01-27 15:20:00
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1 0 0 0 OA 尼ヶ崎彬, 『ダンス・クリティーク舞踊の現在/舞踊の身体』, 勁草書房, 二〇〇四年, 二六八頁

著者: 新田博衛
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.83-85, 2007-03-31 (Released:2017-05-22)

2021-01-27 15:20:00
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1 0 0 0 OA メルロ=ポンティの思想における「奥行き」と「同時性」(東部会平成十八年度第四回例会,例会・研究発表会要旨)

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.57, no.4, pp.86, 2007-03-31 (Released:2017-05-22)

2021-01-27 15:20:00
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1 0 0 0 OA 無媒介のイメージ : バルトの写真をめぐるテクストについての考察(東部会平成十八年度第四回例会,例会・研究発表会要旨)

著者: 井上康彦
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.86-87, 2007-03-31 (Released:2017-05-22)

2021-01-27 15:20:00
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1 0 0 0 OA 現代ハリウッドの時代劇 : 『ラストサムライ』におけるジャンル機能(西部会第二六一回研究発表会,例会・研究発表会要旨)

著者: 橋本淳
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.87-88, 2007-03-31 (Released:2017-05-22)

2021-01-27 15:20:00
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1 0 0 0 OA 芳瀧の明治期役者絵版画と肉筆画制作(西部会第二六一回研究発表会,例会・研究発表会要旨)

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.57, no.4, pp.88-89, 2007-03-31 (Released:2017-05-22)

2021-01-27 15:20:00
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1 0 0 0 OA ダリウス・ミヨーにおける弦楽四重奏曲の位置 : 一九三〇、四〇年代の作品を中心に(西部会第二六〇回研究発表会,例会・研究発表会要旨)

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.57, no.3, pp.93-94, 2006-12-31 (Released:2017-05-22)

2021-01-27 15:19:00
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1 0 0 0 OA エティエンヌ・スーリオのアイステーシス理性(西部会第二六〇回研究発表会,例会・研究発表会要旨)

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.57, no.3, pp.94-95, 2006-12-31 (Released:2017-05-22)

2021-01-27 15:19:00
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1 0 0 0 OA ヴァレリーにおける詩の「純粋性」と身体への生理学的関心

著者: 伊藤亜紗
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.15-28, 2007-03-31 (Released:2017-05-22)

What I try to indicate in this paper is that what Paul Valery called 'pure poetry' concerns the 'physiological' sensation of the body that cannot be conveyed by prose. Curiously Valery found the ideal type of art experience in the physiological phenomena due to the nature of retina-that is to say perception of complementary colors. Complementary colors produced by the eye as antidote against colors that stimulate itself are certainly subjective impressions and imply fear of disturbing objective recognitions. However, Valery regards this pure sensation which is set free from external objects to refer, as a perception of our own body whose functions are normally imperceptible to us. We directly find out about our body only when it doesn't function properly. By using means such as rhythm, rhyme, inversion and surprise, poetry captures and restrains the reader's body and interferes its smooth and automatic that is to say prosaic activity. This is the point where pure poetry and the physiology intersect. Both, guiding our attention to physical disorder, help us to gain the representation of our body, which, according to Valery's idea, is a system consisting of various functions.

2021-01-27 15:19:00
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1 0 0 0 OA フーゴ・フォン・チューディとフランス近代美術

著者: 斎藤郁夫
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.29-42, 2007-03-31 (Released:2017-05-22)

Als Direktor der Nationalgarelie in Berlin erwarb Hugo von Tschudi Werke des Impressionismus, auch des Neo- und Postimpressionismus, die bisher in keinem Museum vertreten waren. Seine Kunstanschauung uber die modernen Kunst wurde in seinem Festvortrag "Kunst und Publikum" am kaiserlichen Geburtstag 1899 in der Berliner Akademie der Kunste dargestellt. Seiner Meinung nach vollzieht sich der erhoffte kunstlerische Aufschwung in der Richtung der naturalistischen Entwicklung, und fur die Kunstler steht die Gestaltungskraft als die personliche schopferische Kraft an erster Stelle. Seine Ansicht ist von Abhandlungen Konrad Fidlers gepragt, worin die eigentliche Bedeutung der naturalistischen Bewegungn gegen die alten idealistischen Anschauungen dargestellt wird, und neue kunstlerische Begabungen erwartet werden, die die Natur und die Wirklichkeit nicht nachahmen, sondern produzieren konnen. Fiedler, der theoretische Vorlaufer der modernen Kunst, muB Tschudi mit seiner Theorie einen Ausblick auf die spateren Kunstrichtungen eroffnet haben. Dadurch hat er ungeachtet der Giebelinschrift "Der Deutschen Kunst MDCCCLXXI" des nationalen Tempels deutscher Kunst Hauputwerke moderner franzosischer Kunstrichtungen erworben und auch Kandinskys "Zukunftsmalerei" entdecken konnen.

2021-01-27 15:19:00
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1 0 0 0 OA ケプラーにおける協和音の問題

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.57, no.4, pp.55-68, 2007-03-31 (Released:2017-05-22)

Johannes Kepler, one of the most famous astronomers during the period of scientific revolution, illustrates a unique view on consonance in Harmonice mundi (1619). First, Kepler rejects the Pythagoreans' symbolism of numbers (discrete quantity) that defines their concept of harmony and consonance. Instead, he defines consonance using geometrical figures that consist of concrete lengths (continuous quantity), treating numbers only as the values of the lengths. For explaining the concept of consonance, Kepler underlines the function of human soul to recognize harmony. He classifies harmony into two types: "sensible" and "pure." Sensible harmony (i.e., consonance) is realized by the human soul while comparing things that are perceived by sense (i.e., sounds). Pure harmony, on the other hand, functions as the archetype of sensible harmonies. It is an abstract mathematical idea, inherent in the human soul, and it certifies sensible harmonies as such. Moreover, this archetypal harmony is associated with God himself. Thus, Kepler hypothesizes on consonance based on his own metaphysics, which differs from the Pythagoreans' reflections on the subject.