著者

加藤 素明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.4, pp.12-22, 1995

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In Plato's Hippias Major 292e6-7, we can find a self-predication sentence ; "The fine is always fine." (We have similar expressions in Protagoras 330c4-6, 330d8-e1, Lysis 220b6-7.) How should we interpret this sentence? We cannot give it any metaphysical meaning drawn from Plato's own theory of Form, which is explicit in his middle dialogues. "The fine" here should be the logical cause, not the one of the metaphysical essentials (cf. Paul Woodruff's Plato Hippias Major, p.150). So taking a sentence like "parthenos kale kalon" (287e4), we can safely paraphrase it in Woodruff's manner : "a fine girl is a fine thing." This can avoid reading the metaphysical meaning into the text. And I would like to make a new proposal for reading of 292e6-7 : "the fine thing is what is to be called fine." This is to emphasize the unique character of the self-predication sentences in the early dialogues. In the Socratic way of discourse, Socrates and his partner get involved into "trial and error" during their pursuit of the knowledge. What they can do then is to give their opinions which seem to them true (so-called "alethes doxa", cf. Meno 85c), and to get close examinations of them. And in this way they are getting closer to the knowledge. My interpretation well describes these activities.

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.56, no.3, 2005

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

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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.

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.53, no.4, pp.15-27, 2003

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In the seventh and eighth chapters of Poetics, Aristotle tries to derive several general requirements for the tragic μυθοζ. Μυθοζ should have the unity and the wholeness. In this paper, the contributor will re-evaluate the concept of the μυθοζ and try to show that it is not the "combination of the Incidents" performed before the audience, but that imitated through a work. To use Russian Formalists' terms, Aristotle's μυθοζ is fabular in that it contains actions outside the drama. This interpretation of the tragic μυθοζ sheds new light on the meanings and dramatic functions of two important but cumbersome terms discussed in Chapter 17, namely, λογοζ καθολου and επεισοδιον. Λογοζ καθολου is neither a kind of Ur-μυθοζ nor it cannot be identified with the μυθοζ itself. Rather, it is a chronological structure of the essential events abstracted from the somewhat concrete μυθοζ for the sake of the determination of the scenes performed before the audience. 'Επεισοδιουν, then, means the sjuzhetization of the fabula regardless of whether each επεισοδιον belongs to the μυθοζ or is taken from the other elements of tragedy that concern the 'object of imitation', namely, ηθοζ and διανοια.

著者

木幡 瑞枝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.15, no.4, pp.21-34, 1965-03-31 (Released:2017-05-22)

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"Die Geburt der Tragodie" enthalt die Eigenart des lebenlangen Gedanken Nietzsches. N. ist als Denker intuitiv, bildlich, von einer eigentumlichen Versinnlichungskraft, und er selbst ist auch tragisch in gewissem Sinne : seine Lebenslauf und seine Gedanken! Besonders entwickelt sich sein Gedanke dramatisch. Und zwar spielen Apollo und Dionysus die Hauptrollen in einem Drama : "Die Geburt der Tragodie". Erstens spielen A. und D. ihre Rollen in der Geschichte der griechischen Kunst. Zweitens spielelen sie sie in dem Gattungswandel. Und schliesslich erreichen sie die Klimax der dramatischen Entwicklung, d. h. die griechischen Tragodien. N. hatte Dionysus durch sein ganzes Leben zum Thema. Nur in seinen fruheren Schriften wohnt Dionysus mit den Hinterweltlern.

著者

福田 淑子

出版者

美学会 ; 1950-

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.97-108, 2020

著者

里中 俊介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, 2018

著者

岡田 三郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.24, no.3, pp.40-41, 1973

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Si on applique un art a l'interpretation des poetes, on finit par diviser le poeme en deux : sa pensee et ses vers, et on finit par admettre aussi les expressions multiples sur un sujet. Est-ce efficace, n'est-ce pas impossible? Selon Socrate, le don de bien parler sur Homere est chez Ion une force divine, une inspiration poetique. C'est un μυθο〓, non pas une discussion, et chez Ion on y obtient une position intermediaire, et en meme temps, ce dialogue y est tenu dans la conclusion positive. Mais cette position est trop ironique, parce qu'il n'en est pas maitre. L'auteur du dialogue nous represente une sorte de methode de l'examen des poetes, c'est-a-dire, il nous propose un μυθο〓 qui est indispensable a la discussion.

著者

宮崎 匠

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.113-126, 2008-06-30

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Les natures mortes de Jean-Simeon Chardin (1699-1779) etaient tres admirees au Salon, a la fois pour la facilite de leur execution et pour le refus des details. Et ce alors meme que, jusqu'a cette epoque, presque tous les peintres de natures mortes representaient tous les details de motifs avec le plus grand soin. Le but du present essai est d'eclairer l'influence de l'esquisse, de la premiere pensee du tableau, sur l'execution si particuliere des natures mortes de Chardin. Au XVIIIe siecle un nombre croissant d'amateurs et de connaisseurs entourant Chardin, comme Denis Diderot, admiraient les peintures de genres classees au bas de la hierarchie des genres, et parmi elles les natures mortes de Chardin. En outre, ils les estimaient davantage pour l'execution que pour la valeur des motifs peints. L'analyse d'exemples precis permet de degager des ressemblances entre l'execution des natures mortes par Chardin et celle des esquisses que de plus en plus de contemporains admiraient. Jusqu'a l'epoque ou il commenca a presenter ses natures mortes au Salon, Chardin put prendre conscience de l'importance de l'esquisse, parce qu'il en executai beaucoup, en collectionnait et en parlait meme au Salon.

著者

矢向 正人

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.43, no.3, pp.12-23, 1992-12-31 (Released:2017-05-22)

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Music is a systematizing of time, and various characteristics of time are reflected in music. A singular point of time passes is the present, but the present time which we understand practically, has range. The present range is different, and it is dependent on the line of connection. Also in music the present has range. For example, it can either be a tone or a first motif. Interpretation of music is changed according to which range is selected as the musical present. The various range of time according to how to take the present, is inseparable from the hierarchy of music. In concrete terms, the variety of the present range is closely related with the difference between the hierarchical units, the lower stage (short unit) and the higher stage (long unit). That is to say, the diversity in the choice of the present range proves musical hierarchy. This paper considers, by way of a schematic model, how hierarchical characters which musical present has are related with meter which is another factor that composes musical time.

著者

井上 優

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.1, pp.69-82, 2003-06-30 (Released:2017-05-22)

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After the Restoration, productions of Shakespearean plays have changed dramatically due to the shift of theatrical convention. Owing greatly to the newly introduced stage mechanics and devices, the dramas came to be presented on stage as visual performance and there appeared the necessity of visualization of Shakespearean plays, which had been of little concern in Elizabethan age. But throughout the 18th and the 19th centuries, priorities were given to the demands of the production sides, not to the Shakespearean texts themselves. Texts were cut and reduced so that the spectacular device would look beautiful. And also they were adapted arbitrarily so that the leading actor-managers could show off their talent. Until the 20th century, exploration and realization of Shakespearean performance as a visual representation of texts did not occur, except for few. Under such conditions, the production of Hamlet by Moscow Art Theatre (1912) was remarkable, because it was one of the earliest attempt to visualize the Shakespearean text itself. Co-director and designer Gordon Craig thought that, in simplifying the design, the collision of the visual images with the verbal images of Shakespearean text, which was common in the previous period, could be avoided. The production itself is said to be a failure from the artistic point of view because of the limitation of the stage technologies of the age. But credit should be given to this production as the earliest innovative experiment of modernizing the Shakespearean productions.

著者

行徳 真一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.43, no.3, 1992

著者

岩城 見一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, 1994

著者

岩城 見一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.32, no.3, pp.14-25, 1981

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Nach Hegel ist die Kunst in der modernen Welt 'tabula rasa' geworden, weil sie nicht mehr auf die bestimmte Weltanschauung und deren Gehalt und Darstellungsweise beschrankt worden ist. Ob dieser Satz von der 'tabula rasa' eine positive Bedingung fur die moderne Kunst bezeichnet oder umgekehrt, das scheint mir eine diskutierbare Frage bei der Interpretation der Asthetik Hegels zu sein. Aber wenn wir von der Kunst unserer eigenen Zeit sprechen wollen, mussen wir die positiven Bedeutungen dieses Satzes klarmachen. Auch Fr. Th. Vischer versucht die Kunst nach Hegelszeit zu begrunden, trotzdem er seine Asthetik auf Grund des Hegelschen Systems konstruiert hat. So findet man in seiner Asthetik zwei einander widersprechende Richtungen, namlich die hegelsche und die nachhegelsche. Deshalb durfen wir seine Asthetik nicht fur eine der blossen Hegel-Epigonen ansprechen. In seiner Asthetik spiegelt sich vielmehr die Schlacht zwischen den zwei Zeiten. Ubrigens konnen wir aus seiner Asthetik grosse Schwierigkeiten herauslesen, auf die die Gehaltasthetik nach Hegel gestossen haben muss und, die wesentlich aus der 'Grundlosigkeit' (Oelmuller) der modernen Welt entspringen. Nun konnen wir die Wesenszuge seiner Asthetik von den folgenden drei Gesichts-punkten aus beleuchten ; 1) seinem negativen Verhaltnis zur Religion, 2) seiner Auffassung der neueren Idee als 'Personlichkeit' und 3) seinem Versuch, das moderne Ideal auf Grund dieser Idee zu begrunden.

著者

伊藤 亜紀

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.1-13, 2004-12-31 (Released:2017-05-22)

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Cesare Ripa, in his Iconologia (first edition: 1593), defines Gelosia (Jealousy) as 'Donna con una veste di torchino a onde' (a woman dressed in the turquoise blue of waves). The 16th century Treatises on color symbolism of Fulvio Pellegrino Morato, Lodovico Dolce and so on, positively describe the relation of turchino to Jealousy. However, Le Blason des Couleurs (1435-58) of Sicille, had already stated: 'Le bleu signifie jalousie' (Blue signifies Jealousy), and consequently it is obvious that this symbolism existed in an earlier period in France. In 14th century France it was known that bleu signifies both the good and bad sides of love: Fidelity and Infidelity. And we can believe that also Jealousy, like Infidelity, which is considered to be an enemy of love, or a negative by-product of love, combined easily with bleu. Accordingly the idea of ambiguity of bleu came to Italy through French Literature and so on, and was introduced in the 16th century Treatises on color symbolism, and was finally applied to Gelosia of Ripa.

著者

圀府寺 司

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.39, no.3, 1988

著者

宮本 美紀

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.3, pp.63, 2000-12-31 (Released:2017-05-22)

著者

金田 千秋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.4, pp.1-11, 1995-03-31 (Released:2017-05-22)

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The aim of this paper is to answer the following question about the first part of Immanuel Kant's "Critique of Judgement". Is it possible to understand the three successive paragraphs, the 16th, 17th and the 18th, as working as a unit? In other words, is it possible for us to discover a right viewpoint, from which these three paragraphs are regarded as controlled by a common theoretical motivation? I do answer in the affirmative. The Ideal of Beauty (§ 17), in my opinion, is no more and no less than an a-priori condition, on which the truth or falsity of an aesthetical judgement is (ideally) determined. This a-priori condition has two aspects, just as determination in general does. On the one hand this condition makes it possible for us to negate (ideally) the opponent judgement (§ 16). On the other it affords us a right to make a statement of taste in the mode of postulation, that is, in the mode of necessity (§ 18). In this way those three paragraphs are coordinated.

著者

穴沢 一夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.4, no.3, pp.50-58, 1954-01

著者

加藤 浩

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.42, no.1, pp.12-23, 1991-06-30 (Released:2017-05-22)

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Plato censures the imitative poetry and at the same time makes many mythoi in his dialogues. The purpose of this paper is, therefore, to analyse the usages of mythos and its related terms in the context in which they occur and to consider the relation between mythos and poiesis. In the Protagoras the compound of mythos and logos produced by rhetorike is contrasted with logos gained by dialektike, while in the Gorgias and the Phaedo two escatological mythoi anticipate the horizont which logos will be able to reach. When the Idea of Good and dialektite are introduced in the Republic, the inconclusiveness of the dialogue and the conclusiveness of dialektike become obvious. Mythos of Er is allowed to be told as far as it points to the conclusive horizont which dialektike will ultimately reach and makes the dialogue conclusive. Likewise, mythos in the Phaedrus represents the comprehensive vision of dialektike. Mythos as poiesis is characterized by falsehood. But in the Republic mythos is judged according to two norms which regulate what the poets should tell of gods and men. Thence I infer that mythos of Er indicates the ideal mythos which should be told of men. The poetics of Plato, if possible, will be called philosophical as compared with the technical poetics of Aristotle.