著者

沢田 允茂

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.34, pp.B53-B82, 1958-01

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小林澄兄先生古稀記念論文集There are, among others, four expressions which bear some resemblance to each other though they are not identical. They are: 'There is.....', '.....exist', '.....is a reality' and '.....is a fact'. The expression '.....exist' to which the term "existence" is a corresponding noun has some ambiguities: sometimes it is used to mean 'There is.....', another time to mean '.....is a reality'. The expression 'There is.....' is quite popular and sound. Existence in this sense is neutral, that is to say, it has no particular ontological commitment; it is rather a matter of linguistic decision. From a linguistic point of view (and from a view-point of formal logic also) we can talk about anything - about physical objects as well as about numbers and imaginary things). Problems of "ontological commitment" or "abstract entities" which have recently been widely discussed by logicians like Quine, Carnap etc. have, in fact, nothing to do with the so interpreted use of (Ex) of the contemporary formal logic. What is then the linguistic decision of the expression 'There is.....'? The expression is used either 1) to make ourselves assured that the thing we are going to state is worth while (minimum evaluative presupposition or pragmatic motive of our linguistic activities) or 2) to make others pay attention to and to "assure them" of the fact that the thing they are going to be told is worth while (appeal to others). The use of 'There is.....' is not purely cognitive one; it is rather performatory. What is said to be existing is what is refered to by "x" in 'There is x.': physical objects, theoretical constructs, numbers or imaginary things as well - not the existence of these things is said to be existing. Existence itself, though it has a fact-stating aspect in each particular instance of its use (like "good" in "good apple" and "good automobile" has its descriptive aspects, in each case in a different sense), can not be concieved as meaning something like an independent object of our cognition; only objects of our cognition are the things said to be existing. Nor can we talk of "existence in general" as an object of ontological arguments because what we can generalize is nothing but a universality of that assuring activity itself. The concept "Reality" will be interpreted as meaning "true existence" and thus not as referring to any cognitive object but rather as an appraisal of a certain kind of things as well as the assurance of its being worth while. The adjective "true" as appraisal has a role of selecting, according one's own preference, a certain kind of things as more valuable to talk about than any others. The question of what is reality, therefore, depends upon one's own preference rather than upon anything cognitive. The expression '.....is a reality' is, then, a stronger way of ascertsining whatever that is said to be existing than that of merely saying that there is such a thing. While expressions like 'There is.....' or '.....exist' are used to give assurance of the thing we are going to state, the expression '.....is a fact' is used to mean something about what is stated already. Hence it bears something cognitive comparable with truth and falsity of statements. The fact has its structure which is expressed in the common expression like 'the fact that....'. What is, then, the nature of this structure? The situation is very much similar to the problem Kant had once pointed out when he talked of our experiences being constructed by some a priori principles. The difference is that we regard these principles not as of an a priori nature but merely of a linguistic one. The structure of fact is determined by a collaboration both of the structure of the objects and of that of the language we talk about these objects.

著者

菅沼 貞三

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.53, pp.223-238, 1968-09

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守屋謙二先生古稀記念論文集Chikuden Tanomura (1777-1835), der Verfasser des kleinen Bilderalbums : "Matamataichirakujo", wurde in Chikuden in Mittel-Kyushu, Japan geboren, war am dortigen Hof des Fursten von Oka als konfuzianistischer Gelehrter tatig, schrieb und dichtete, war aber vor allem als Meister des Bunjinga, d. h. als Maler-poet, beruhmt. Oft ging er nach Kyoto und befreundete sich dort mit dem bekannten Konfuzianisten, Sanyo Rai (1780-1832). Das Bilderalbum hat eine eigenartige Entstehungsgeschichte : es war namlich eigentlich fur seinen bekannten Arzt, Suiko Matsumoto gedacht Als Sanyo aber gebeten wurde, ein Nachwort dazu zu schreiben, betrachtete er das Album und es beeindruckte ihn so, dass er es nicht mehr zuruckgeben wollte. Chikuden hielt es fur eine Ehre, dass sein Werk diesem hohen Meister gefiel, malte noch drei Bilder hinzu (eines davon, Botan-Blute, ist abgedruckt) und schenkte es neuerdings mit einem langen Vorwort versehen Sanyo Rai. In meinem Beitrag gehe ich unter anderen auf die stilkritische Beurteilung dieses Werkes sowie die Erorterung seines Entstehungsdatums ein.

著者

中山 一義

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.57, pp.187-217, 1971-03

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秘事矛盾史書哀歓観阿庭訓世阿伝書元雅悲運禅竹拾玉役々習道元能聞書悲傷未練鳥跡不朽秘伝書奥書識語抜書秘伝書年表This thesis is the history of the latter half of Zeami's life, and the tragic story of his secret papers, with which he initiated his successors into the secret. The tragical events, in succession, have come from the conflicts among three elements as follows, (1) the personal patronage of three persons of the Ashikaga Shognate, Yoshimitsu, Yoshimochi and Yoshinori, (2) Zeami's individual authority on the No-drama, (3) the tradition of initiating sons and pupils into the secret. In his last years, his second son entered the priesthood, the eldest son died early death in his thirties, his grand son was left as a child, his company nearly collapsed, and he himself, at the age of seventy-two, was exiled on the northern solitary island, Sado-gashima. In the latter half of his life, however, Zeami had left secret papers, about twenty volumes in number, which were what you would call his will. These secret papers have kept alive to this day during six hundred years since his death.

著者

河野 真佐子

出版者

三田哲學會

雑誌

哲学 (ISSN:05632099)

巻号頁・発行日

no.79, pp.p167-187, 1984-12

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問題の所在I. 内的法則に従う生体としての人間II. 人間と環境との相互性III. 図表とワークシートに関する基本的枠組結語

著者

谷部 真吾

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.119, pp.203-231, 2008-03

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特集文化人類学の現代的課題II第1部 空間の表象投稿論文1. はじめに2. 森町の合併協議の経緯 2-1. 合併成立までの道程 2-2. 森町の合併協議3. 合併に反対する森町住民の動向と「つくる会」の活動4. 提灯行列の実施5. 「森町らしさ」への強い思い6. まとめにかえてThe municipal merger which produced new local autonomous bodies with unfamiliar name in recent years in Japan -what is called "the great merger in the Heisei era"- has come to the end of the first stage in 31 March 2006. According to the newspaper, Mainichi-Shinbun, on that day, a number of local governments were reduced from 3,232 in 31 March 1991 to 1,821 in 31 March 2006. In this great merger, one merger was easily carried out, but the other was not. In Mori-machi, Shizuoka, the negotiation of merger with neighbor municipalities ended in failure. Mori-machi decided on not merging. This decision was reached on result of referendum which was held on 29 August 2004 in this town. In that process, it is noteworthy that the demonstration insisting on anti municipal merger was held on 27 August. Moreover, the participants of this demonstration included those who have taken part in the festival held in every November in the center of Mori-machi, and those people took a Japanese lantern having been used in the festival. In short, this demonstration was held as the lantern parade in which the participants of the local festival joined. Why did they join in this demonstration? Why was this demonstration held as a lantern parade? In this article, these questions will be resolved. And through it, I will show the political atmosphere which surrounded Mori-machi in those days.

著者

八代 修次

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.46, pp.307-317, 1965-02

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橋本孝先生古希記念論文集The characteristics of Italian Mannerism as represented by Vasari and Bronzino were these ; the flattening of figures, their action in two dimensions, the isolation of principal figures and groups of figures. It was illustrated by Vasari in the explanation of the word " maniera " of his " The Lives of the Painters, Sculptors and Architects" that these characteristics were used for the purpose of creating the graceful figures. The same characteristics mentioned above can been seen in the painting of Pieter Bruegel the Elder, such as " The Battle between Carnival and Lent ", " Children's Games ", " The Peasant's Wedding " and " The Dance of the Peasants ", which he worked out after his journey in Italy. We must, however, emphasize that he did not make use of any graceful figures as his subjects, for he suggested the universal human being in the form of peasants in the same manner as he arranged all sorts of things in nature according to the universal order shown in his landscape painting. Here we can recognize the original quality of Mannerism that Bruegel established in his Flanders.

著者

渡辺 弘

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.105, pp.109-135, 2000-12

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投稿論文1. はじめに2. 陽明学派の学習思想 : 「宇宙(世界)観」・「人間観」に基づいて (1) 佐藤一斎の場合 : 『言志四録』 (a) 宇宙(世界)観・人間観 (1) 宇宙(世界)観 (2) 人間観 (b) 学習思想 (2) 大塩中斎の場合 : 『洗心洞箚記』 (a) 宇宙(世界)観・人間観 (1) 宇宙(世界)観 (2) 人間観について (b) 学習思想 (3) 横井小楠の場合 : 『学校問答書』『沼山対話』「沼山閑話」 (a) 宇宙(世界)観・人間観 (1) 宇宙(世界)観 (2) 人間観 (b) 学習思想3. 共通した宇宙(世界)観・人間観 (1) 宇宙(世界)観において (2) 人間観において4. 学習思想の特徴5. 結びIn this paper, I will investigate the thought of learning in the Edo period in which it is thought, from the educational view point, that people learned through activity and independence. Education in this case means supporting people intellectually and emotionally in order to allow them to live a good life. In Analyzing the thought of learnig in the Edo perod, firstly, I will take some people as example who were receptive to the thought of "the Yomei-Gaku School", which was one of the Cofucian schools founded in the Edo period. Secondly I will inquire into both their views of the world (universe) and views of human beings, in order to determine the basis of how their thoughts of learning were formed. In accordace with my previous research, and in conclusion, I would like to explain some of the more common characteristics of their thoughts of learning. This time I will place half of content in Part 2.

著者

渡辺 英男

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.111, pp.145-170, 2004-03

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投稿論文1. 本研究の課題2. 先行研究3. 理論的背景4. 調査方法5. その他 (1) カラオケの流れ (2) カラオケの会の性格 (3) 伝統的な歌謡とカラオケの比較6. 分析7. まとめCurrently many Japanese housewives and retired people enjoy learning karaoke (karaoke naraigoto) at community centers and karaoke bars. The phenomenon of choosing karaoke as learning reflects adults' increasing appreciation of individualized and egalitarian types of social affiliation in the Japanese society. Postwar education's emphasis on individualism and egalitarianism has increased their interest in the individual, and respect for individual idiosyncrasies is pervasive among the Japanese. This newer multi-purpose learning allows students many individual benefits and perfectly matches the present Japanese inclination. The individualized activity is based on students' interests and is self-directed, and so studying karaoke is not "education" but "learning." Different from traditional forms of learning, this dynamic activity allows students to experience other worlds and to establish a new sense of identity, which is the essence of "learning."

著者

水野 由多加

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.110, pp.1-35, 2003-03

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特集コミュニケーション課程の諸相論文はじめに1. 本稿の論点 : 創造,新しさへの論理探索2. 見出される「隠された広告効果」 : 新しい知識の結びつき3. 受け手の「能動性」 : 情報消費社会の基本認識4. 脱構築の記号論 : ズレが生成する新たな解釈コード5. フレームとメッセージの交錯 : 演出要素それ自体の役割6. ズレが引き込もうとするもの : 異人性・外部性としての広告7. 広告は誰のものか : 広告における公共性と倫理8. 脱構築の広告研究の深化に向けて : 広告研究展望への姿勢謝辞The author tried to make a bridge between research on advertising in marketing aspects and sociological (in its wide meanings) aspects in this paper, in order to make a deeper understanding beyond modern frameworks. He told that effective advertising would 'be shaped where new meaning cleaping into a gap from shared code of interpretation,' 'make new values unite,' as a consequence, and 'be also shaped favorable advertising by the society.' Shaped favorable advertising by the society might be a way of designing to advertising, affording a framework to the real world, and taking into considerations of public, ethics, and bounded resources.

著者

李 津娥

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.110, pp.37-57, 2003-03

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特集コミュニケーション課程の諸相論文目的方法 分析対象 コーディング項目と信頼性結果 主人公に占める男女の割合 ターゲットと主人公の性別 広告商品と主人公の性別 主人公の役柄と性別 広告商品と主人公の役柄 主人公の登場場面 主人公と一緒に登場する人物考察This study presents a content analysis of sex role portrayals in Japanese and Korean TV commercials. The results show that, in general, men and women are presented differently in advertising and that each sex is still shown in traditional roles. The major findings were as follows: (1) Women are overrepresented in ads for such items female cosmetics and household products while men are more portrayed in insurance and banks ads. (2) Women are most often portrayed in the role of wife/mother while men are more frequently portrayed in business settings. (3) In Korean TV commercials, women are more portrayed in traditional gender stereotypes and are overrepresented physical attraction.

著者

木幡 順三

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.65, pp.71-95, 1977-01

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1) Obwohl die Wortbedeutung der "Rhetorik" vielfach ist, kann die Sache der Rhetorik heute noch ein gewisser Forschungsgegenstand der wissenschaftlichen Asthetik sein. 2) Bei Platon und Aristoteles haben sich die Urteile uber die Rhetorik ganz anders gebildet : wahrend Platon sie nicht fur techne hielt, erkannte doch Aristoteles ihren technischen Charakter an. Dass die schonen Kunste sich auf sogenannte "kunstlerische Wahrheit" grunden, wusste Aristoteles genug, und die Besonderheit ihrer modifizierten Kategorien hat nun wohl einen mit der Rhetorik gemeinsamen Horizont : pistis. Die Rhetorik enthalt diejenigen Momente, die andernfalls asthetische Werte tragen konnten, 3) Welche Position zeigt denn die Rhetorik innerhalb vieler Kunsten (artes) an? -Im Wesentlichen gehort sie zur "praktischen" Kunst und ausserdem zur "poie-tischen" und "theoretischen" (nach H. Lausberg). Sowohl nach den generibus als auch den partibus artis zeigt deutlich die Rhetorik eine technische Kompliziertheit. Geschweige denn in Bezug auf die schonen Kunste. 4) Uberzeugtsein ist gewiss die gemeinsame Erfahrung der Rhetorik und des asthetischen Erlebnisses. Enthymema als rhetorische Schlussfolgerung, Paradeigma als rhetorische Induktion - beide fuhren uns zum subjektiven gefuhlsevidenten Uberzeugtsein. Dieser Zustand konstituiert sich auf dem glaubhaften Horizont (Pistis-horizont), Pathos und Ethos verschlingen sich dabei miteinander. Die Rhetorik hat uberdies noch hypokritische Momente, die seit Aristoteles schon strukturell nicht genug erklart worden sind. 5) Die Rhetorik loste sich bisher in der literarischen Technik auf, aber sie drang nicht weiter in alle Zweige der schonen Kunste ein. Und doch bleibt sie impliciter auf dem Gebiet heutiger Massenkomunikation. Die philosophischen Meditationen daruber warnen uns jetzt vor kultureller Gefahrlichkeit. Deshalb mussten wir ernstlich fragen - Wohin die Rhetorik?

著者

井上 坦

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.48, pp.117-137, 1966-03

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[I] 平等の根拠をめぐる二つの立場[II] ルソーについての法実証主義的解釈[III] ルソーの自然権論[IV] 自然権と自然法の区別[V] 自然権の根拠 : より高次の根拠の探求[VI] 社会的平等の目的[VII] 社会的平等の保障Selon les auteurs recents, l'idee de droit naturel ne joue pas de role important dans la theorie sur les droits de l'homme de J.-J. Rousseau, si meme elle y occupait une place quelconque. L'egalite de droits naturels des hommes donc n'est pas reel non plus chez lui. Je voudrais montrer, au contraire, ce qui est suivant. (1) Rousseau a pose le droit naturel pour fondement du droit civil qui concerne sur l'egalite parmi les hommes. Il affirme que le contrat social garantit les droits de l'egalite et de la liberte, mais ne les fonde pas. (2) A l'en croire, toutes les regles du droit naturel decoulent de deux princepes anterieur a la raison, c'est-a-dire, l'amour de soi-meme et la pitie naturelle. Donc Rousseau a refute la notion de la loi naturelle tant qu'elle signifie la loi de la raison. (3) Suivant lui, les hommes sont egaux parce qu'ils se ressemblent. Leur egalite consiste aussi dans une identite de situation et de destinee ; elle " exprime leur commune misere, leur commune faiblesse. Les hommes ne sont naturellement ni rois, ni grands, ni riches ; tous sont nes nus et pauvres, tous sujets aux mfseres de la vie, aux dou-leurs de toute espece. Enfin, tous sont condamnes a la mort. Voila ce qui est vraiment de l'homme. (Emile, Liv. IV) Voila le veritable fondement de l'egalite naturelle des droits humains.

著者

小林 澄兄

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.35, pp.309-331, 1958-11

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文部省の「教育課程審議会」は、昨年(昭和三十二年)十月道徳教育の時間特設をきめ、また同省の「教材等調査研究会」は、今年三月小・中学校の道徳教育の実施要綱をきめて、それぞれが文部大臣に答申され、いよいよ今年四月の新学年からこの実施要綱にもとづく道徳教育が、特設される時間その他の時間に、各学校で行われることとなった。この既定の事実の前後を通じて、道徳教育に関する世間の論議は、まことにうるさいほどさかんであった。まさにあめいぜんそうの観を呈した。現にそうである。このようなことは、日本の教育史上未曾有の現象だといってよい。マス・コミュニケエションの流行のせいでもあろうが、道徳教育をとくに必要とする事情が日本の社会に現存するからにほかならぬと判断される。それにしても、このようなことは、私の知る限りでは、今日どこの国にも類例はなく、日本にだけある現象であって、欧米の教育界・教育学界などでも、道徳教育に関する多少の論議がないではないが、あまりさわぎ立ててはいない。もっと落ちつきはらっている。どうしてこのようなちがいが出てきたかということも、不思議といえば不思議である。道徳教育の時間特設の必要はないとか、各教科とくに社会科が道徳教育を引受けてやりさえすればよいとか、特設時間において実施要綱にもとづく徳目教授をすることになるであろうから、それはよくないとか、むかしの修身教授にもどって国家主義の道徳教育を復活させる意図であろうとか、現在の政府や与党の「ためにする」道徳教育であるから、教育の中立性を犯すことになるとか、その他いろいろの臆測的論議が全盛をきわめてきている。そのなかで、文部省の考え方ややり方を批難する声の方が一方的に高いようである。私は、以下、これらの問題をめぐって所感を述べるほか、道徳教育のあるべき筋道を明らかにすることを、この論文のねらいとしようと思う。しかし与えられた紙幅に限りがあるから、十分に意をつくすことはできないであろう。

著者

望月 典子

出版者

三田哲學會

雑誌

哲学 (ISSN:05632099)

巻号頁・発行日

vol.132, pp.255-280, 2014-03

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特集 : 論集 美学・芸術学 : 美・芸術・感性をめぐる知のスパイラル(旋回)Nicolas Poussin, a French painter, was highly influential in the formation of French classicism in the arts. He spent most of his life in Rome, Italy, and from the 1640s, he produced works mainly aimed at amateurs in Paris. He left about 18 paintings focusing on the life of Moses as depicted in the Old Testament. Among these include The Finding of Moses, which he painted for the Parisian silk merchant Jean Pointel, and The Exposition of Moses, which he created for Jacques Stella, a French painter and old acquaintance. These works depict two episodes related to the birth of Moses as well as feature a sphinx as an attribute of the River God of the Nile. In these works, Poussin rendered two noticeably different types of sphinxes for each recipient. For Pointel, he concealed typological meanings in the Egyptian sphinx to embody prophesies from the Old Testament, whereas for Stella, he depicted the statue of a lion along with the statue of Moses in the fountain of the Acqua Felice( one of the aqueducts of Rome), in which he included syncretistic connotations while drawing on the works of Kircher. The relationship between providence of nature and fortune indicated in this particular work is a theme that Poussin dealt with through his so-called ideal landscape. Therefore, he sent this work to Stella, who understood his paintings more than anyone else, in order to receive critical appraisal.

著者

中山 一義

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.43, pp.227-254, 1963-01

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はしがきI. 生涯稽古における空間の理論 (1) 二曲・三体 (2) 無主風 (3) 皮・肉・骨 (4) 体・用II. 生涯稽古における時間の理論 (1) 苗・秀・実(附 序・破・急) (2) 流離の子 (3) 初心不可忘 むすび"Man is mortal and art is eternal." We find this fine expression in 'Kwakyo' (花鏡), one of Zeami's writings. In this short sentence, the important problems of his lifelong-training-theory are included in a suggestive style. From two points of view, the space and the time, these problems are made inquiries as follows:- A) From the view-point of space, the theory of the 'Utsuwa' (器) is the starting point of his inquiries. 1) The theory of the Two Mediums and the Three Roles (二曲三体), explaining the contents of learning in the Noh drama. 2) The theory of the Master yand the lack of Mastery (有主・無主). 3) The theory of the Skin, Flesh, and Bones (皮肉骨), inquiring the problem of three dimensions or aspects of display. 4) The theory of the Essence and Performance (体用). The essence is a flower, and performance is fragrance. In training of Noh-drama, to resemble the essence is desirable and to imitate the performance is forbidden. B) From the view-point of time, the logic of the 'Nine Stages in Order' (九位) is the basis of the following theories. 1) The theory of the Owlet (流離の子=梟の雛), inquiring the problems of suitable tearing in each stages in order. 2) The theory of the Seedling, Ear, and Corns (苗秀実), being the analogy of growth of the rice plant. 3) The theory of Never-forget-original-intention (初心不可忘), studying the problem of succession of art from generation to generation.

著者

仲 康

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.39, pp.9-28, 1961

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一. 道徳それ自体に対する考え二. 道徳性(la moralité)の分析E. Durkheim's "L'Education Morale" is the lecture in the primary course on the Science of Education which he had delivered in the Sorbonne, in 1902-1903. The lecture consists of Introduction and two parts. Intending to establish the moral education on the basis of secular morality in the introduction, he proposes, "When we attempt to secularize the moral education, we must discover moral forces, release them from religious symbols, and explain them in terms of rationality. In rationalizing morality, we must not loose some of its component elements, but we must enrich it with new elements." In the first part of the lecture, he analyzes the secular morality and points out its three elements: "l'esprit de discipline", "l'attachement aux groupes sociaux" and "l'autonomie de la volonte". Symmetrically to the first part, the second part comprises three sections: "sur l'esprit de discipline", "sur l'esprit d'abnegation" and "sur l'autonomic de la volonte", studied primarily from the pedagogic viewpoint. We may be able to look into the basic problems in his sociology through the study of his sociological approach to the moral education.

著者

仲 康

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.77, pp.55-82, 1983

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1) 問題の所在2) ルソーにおける自然と社会3) デュルケームにおける教育と社会4) 結語最近におけるルソー関係の主なる解説・批判書あとがきD'abord, mon sejour de deux ans du 1^er avril 1981 au 24 mars 1983, a Geneve, Suisse, a Bordeaux et a Epinal, France, s'est bien passe grace a l'amabilite des gens qui habitent ces trois villes. Mes remerciements vont en particulier a M. le Maitre Ch. OCHSNER et a ses proches, a M. et M^me H. BRAND, a M. et M^me M. L. DUFAUX, a M. et M^me Ch. HEIDSIECK, a M^me C. HONDA, a M^me N. PERRET, aux professeurs a l'Universite de Geneve : MM. Ch. LALIVE d'EPINAY, P. FURTER, R. GIROD et J. KELLERHALS, aux professeurs a Universite de Bordeaux II : M M. J. WITTWER, H. BOIRAUD, M. BROSSARD et F. CHAZEL, a M. le Professeur R. JAVELET a l'Universite de Strasbourg, a M. le professeur M. MAFFESOLI a l'Universite de Paris V, et enfin a M. T. TODOROVIC au Japon, pour leur aide et leurs conseils. On sait que Rousseau a ete un des grands penseurs sociaux du XVIII^e siecle et que Durkheim a ete lui aussi un celebre sociologue au debut du XX^e siecle. Puisque leur situations historiques et sociales ont ete tres differentes, on ne peut pas simplement comparer la pensee de Rousseau avec celle de Durkheim. Neanmoins, quand on considere en profondeur la pensee fondamentale des deux grands penseurs, on y trouve un point commun : c'est leur conscience de crise de leurs epoques respectives. Il y a un petit lac sauvage appele Bienne au nord de la ville de Geneve. On y trouve une ile tres fine et longue a l'instar d'une peninsule. C'est l'ile de St.-Pierre. Dans cette ile se trouve un hotel ancien. Une fois je m'y suis rendu en compagnie de mes amis genevois. Nous avons trouve au premier etage les deux chambres oa Rousseau avait ecrit autrefois "Les Reveries du Promeneur Solitaire". C'est alors que nous nous sommes rappeles le visage et l'oeuvre de Rousseau et que nous avons eprouve le sentiment du respect pour les lieux. Par ailleurs, lors de mon sejour a Bordeaux et a Epinal, je pensais souvent a Durkheim en flanant tout seul dans les belles rues de ces vieilles villes francaises. Cet essai consiste en quatre chapitres suivants : 1) quel est le sujet de l'essai ? 2) les concepts de Nature et de Societe chez J.-J. Rousseau. 3) les conepts d' Education et de Societe chez E. Durkheim. 4) conclusion.

著者

沢谷 豊

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.78, pp.223-246, 1984

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序文I. 「合理的官僚制」への批判 i. 「合理的官僚制」と経験的事実 ii. 組織と社会 : 文化、政治システム iii. 「合理的官僚制」の「内的矛盾」 iv. 批判に関する問題提起II. 問題の検討と提案 i. 二つの「説明」の方法と組織理論 ii. 「官僚制」と規範的志向性 iii. 「内的矛盾」の解釈III. 「合理的官僚制」の「合理性」 i. 支配の正当性の妥当の「合理性」 ii. 「形式合理性」と「実質合理性」 iii. 「形式合理性」と組織の「能率」IV. 終章 : 組織の政治的アプローチへ'Rationality' of 'Weber's rational bureaucracy means that men apply criteria of rationality to their action, irrespective of its relation to organizational objectives. But many theorists of organizations take it as 'effectiveness' or 'efficiency'. Consequently, they have missed that rational bureaucracy is "a model of bureaucracy which permits conflict". Tte conflict would occur between two distinct types of authority : (a) authority which rests on "incumbency of a legally defined office" and (b) authority which is based on "technical competence". And Weber's rational bureaucracy is conceptualized on these two types of authority. Weber made two separate statements about the specific nature of the rationality of bureaucracy : " Bureaucratic administration signifies ,authority on the basis of knowledge. This is its specifidally rational character" ; and "Bureaucratic authority is specifically rational in the sense of being bound to discursively analysable rules"., Althouth it has been suggested that Weber assume the absense of any conflict or tension in rational bureaucracy, the problems which concerned Weber were the contradiction between formal and material rationality in modern society, which is a possible conflict between the growth of formal rules and the application of scientific knowledge in the current organizations. And the problems of the conflict would lead to political analyses of organizations.

著者

木田 邦治

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.90, pp.141-164, 1990

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「権力が暴力を用いるとき,権力はもっともつよいのではなくもっとも弱いのである.権力がもっとも強いのは,それが力に代わる魅力,すなわち,除外よりは魅惑と参加,絶滅よりは教育などの手段を採用しているときなのである」."抑圧する権力"観に準拠するかぎり,教育関係に権力が作用するのは体罰のような逸脱的事態かカリキュラム化された政治教育が為される場合に限られると考えられ続け,教師の狡智が円滑に実現しているかぎり,鏡視と生徒の関係の権力性は隠蔽され続けるであろう.しかし教師の狡智とここで呼んでいる機制は,ルソーが『エミール』ですでに提示していたものなのである.「若き教育者よ,わたしは一つのむずかしい技術をあなたに教えよう.それは訓戒を与えずに指導すること,そして,なに一つしないですべてをなしとげることだ.……生徒がいつも自分の主人だと思っていながら,いつもあなたが主人であるようにするがいい.見かけはあくまで自由に見える隷属状態ほど完全な隷属状態はない.こうすれば意志そのものさえとりこにすることができる.……もちろん,かれは自分が望むことしかしないだろう.しかし,あなたがさせたいと思っていることしか望まないだろう.……あながは思いのままにかれを研究し,かれは教訓をうけているなどとは夢にも考えていないのに,あなたがあたえたいと思っている教訓をかれの身のまわりにすっかりおぜん立てすることができるだろう」.このように生徒を包囲し,自発的で自由意志に導かれている服従を引き出す狡智的な〈教師-生徒〉関係の機制を,イリイチは学校の内部だけでなく学校外の〈専門家-依頼者〉関係にも見出しており,学校における過程は学校を含み込むシステムの狡智的機制に内属するものとして捉えられるのである.以下で検討するのは,〈教育と権力〉との内在的関係を分析する際の視覚としてイリイチ的アプローチがもちうる意義と限界についてである.

著者

金山 弘昌

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.98, pp.45-69, 1995-01

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I. はじめにII. ルーブル建築史におけるベルニーニと諸計画案III. ルーブル第一計画案の研究史と問題点IV. ベルニーニにおけるデコールムの概念V. 第一計画案の諸特徴とデコールムVI. 第一計画案とパラッツォ・バルベリーニVII. 第一計画案におけるベルニーニの矛盾Bernini's first project for the Louvre of Louis XIV (1664) is one of the most extraordinary palace designs in the history of Roman Baroque architecture. The unusual features in the tradition of Roman palaces include: the convex-concave curve, 'the dome without a drum,' the arcade, and the U shaped plan. Many scholars have already clarified the] visual sources and iconographic programs of these features, however the problem of why Bernini abondoned the traditional Roman palace facade and adopted these unusual features has yet to be sufficiently explained. In this paper, I have addressed this problem, focusing on Bernini's concept of decorum (decor), a classical theory concerned with form and content. I hypothesize that the unusual facade design of the first project is a result of Bernini's theory that decorum is indispensable for the expression of the grandeur of the Sun King. In the first project the east facade design is characterized by an arcade and a U shaped plan which is more similar to a villa facade or a palace court yard than to a typical palace facade. According to the theory of decorum and Roman architectural tradition, villa facade or court yard decoration was applied more freely than the principal fagade of a palace. For Bernini, who wished to give the Louvre symbolic and theatrical features which had never exsisted before, the traditional decorum for a palace fagade was insufficient, therefore he adopted another decorum program.