著者

津上 英輔

雑誌

成城美学美術史

巻号頁・発行日

no.16, pp.1-15, 2010-03

著者

木村 建哉

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.20, pp.1-18, 2014-03

---

The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.

著者

木村 建哉

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.20, pp.1-18, 2014-03

---

The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.

著者

木村 建哉

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.20, pp.1-18, 2014-03

---

The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.

著者

小倉 健太郎

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.21, pp.37-59, 2015-03

著者

小倉 健太郎

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.19, pp.63-81, 2013-03

---

American philosopher Charles Sanders Peirce (1839-1914) categorized the various classes of signs, one of which is the index. Peirce insists that photographs "belong to the second class of signs, those by physical connection." In other words, photographs belong to the index. In the 1970s, American art critic Rosalind Krauss (b. 1941) introduced Peirce's idea about photographs in an article. Since then, this idea has resulted in many arguments among photography critics. Until now, these arguments have fallen into a blind alley. It appears as though the term "index" is useless in describing the twenty-first century notions about photography. However, is Peirce's idea true? In this article, I contend that the index is still relevant in the digital age. According to Peirce, the fact that a photograph "is known to be the effect of the radiations from the object renders it an index." Therefore, the important factor necessary for a photograph to function as an index is that, as Jean-Marie Schaeffer (b. 1953) said, "We know that it is a photograph and know what this fact entails." According to this knowledge, a photograph functions as an index. In the digital age, the function of a photograph as an index is fading. There are two reasons for this. First, in the digital age, the flood of images prevents our efforts to reach the origin of the images. Second, CGI (Computer Generated Image) is indistinguishable from the photographic image, and we know that these CGIs are widely used. Thus, in the digital age, we may not be able to distinguish that it is a photograph.American philosopher Charles Sanders Peirce (1839-1914) categorized the various classes of signs, one of which is the index. Peirce insists that photographs "belong to the second class of signs, those by physical connection." In other words, photographs belong to the index. In the 1970s, American art critic Rosalind Krauss (b. 1941) introduced Peirce's idea about photographs in an article. Since then, this idea has resulted in many arguments among photography critics. Until now, these arguments have fallen into a blind alley. It appears as though the term "index" is useless in describing the twenty-first century notions about photography. However, is Peirce's idea true? In this article, I contend that the index is still relevant in the digital age. According to Peirce, the fact that a photograph "is known to be the effect of the radiations from the object renders it an index." Therefore, the important factor necessary for a photograph to function as an index is that, as Jean-Marie Schaeffer (b. 1953) said, "We know that it is a photograph and know what this fact entails." According to this knowledge, a photograph functions as an index. In the digital age, the function of a photograph as an index is fading. There are two reasons for this. First, in the digital age, the flood of images prevents our efforts to reach the origin of the images. Second, CGI (Computer Generated Image) is indistinguishable from the photographic image, and we know that these CGIs are widely used. Thus, in the digital age, we may not be able to distinguish that it is a photograph.

著者

喜多崎 親

出版者

成城大学大学院文学研究科美学・美術史研究室

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.22, pp.59-79, 2016-03

---

Redon's lithographic album la Maison hantée, inspired by the English ghost story, Haunted and the Haunters: or, The House and the Brain (1859) by Edward George Bulwer-Lytton, has been critisised for being too illustrational and lacking originality. Yet, when the images are compared with the captions and the French translation of the original text of the novel by René Philipon, who orderd the album to Rodin, it becomes evident that the painter selected the objects that the narrator actually saw in the haunted house—the parts that do not describe story elements. To achieve an effect of ambiguity, Redon avoided narrative depictions of the scenes and in fact rejected illustrating the story.

著者

大澤 慶子

雑誌

成城美学美術史

巻号頁・発行日

no.16, pp.118-96, 2010-03

著者

中村 周子

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.16, pp.49-67, 2010-03

著者

赤塚 健太郎

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.21, pp.1-14, 2015-03

著者

岡村 嘉子

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.21, pp.61-84, 2015-03

著者

塚田 萌菜美

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.21, pp.137-162, 2015-03

著者

津上 英輔

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.16, pp.1-15, 2010-03

著者

津上 英輔

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.17, pp.1-15, 2012-03

---

R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.

著者

河合 大介

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.15, pp.75-96, 2009-03

著者

瀧川 美生

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.17/18, pp.103-119, 2012-03

---

オスマン帝国期に建設された大モスク群は、19世紀から20世紀にかけての西欧の研究者らによって、ハギア・ソフィアの模倣とみなされてきた。実際に、オスマン帝国を代表する16世紀の建築家シナンの手がけたイスタンブルのスレイマニェ・ジャーミィにおいても、ハギア・ソフィアの平面形式は意図的に採用されている。しかしながら、形式的な類似が認められるからこそ、両者を比較することにより、シナンのモスクにおける独自の空間性は明確になる。本論では、シナンの手がけた二つのモスクを取り扱い、彼がハギア・ソフィアの空間をいかにオスマン帝国化したかを明らかにしたい。 スレイマニェ・ジャーミィにおいては、ハギア・ソフィアの平面形式による広大なドーム空間を踏襲した上で、ビザンティン建築やイスラーム建築の建築語彙や装飾などから採用した建築的諸要素を結びつけることにより、キリスト教聖堂が持つアプシスへの方向性を解消し、集中と拡散と呼び得る視覚作用を堂内に出現させ、オスマン帝国モスクにおける理想空間の実現に寄与したと考えられる。 構造と装飾、双方の働きによって生じたこれらの視覚効果は、スレイマニェ・ジャーミィの約20年後に建設されたエディルネのセリミエ・ジャーミィにおいて、より洗練を増し、強調されている。八本に増やされたピアの配置や多数の開口部、ムカルナスなどの装飾により、訪問者が堂内で体験するであろう集中と拡散という相反する視覚への作用は、構造と装飾による美的空間の達成という同一目的への寄与のために、ハギア・ソフィアとはまったく異なるオスマン帝国モスクの独自表現における重要な一要素となったのである。 ハギア・ソフィア、あるいはビザンティン建築の諸要素がオスマン帝国建築に多大な影響を与えたことは事実である。しかし、それは単なる模倣にはとどまらない。シナンのモスクの独自性とは、異文化の影響を排除することで現れるものではなく、そこから取り入れた様々な要素をオスマン帝国化(トルコ化)し、再解釈することによって生み出された独自表現であり、それはまた、オスマン帝国の性質そのものを表しているのである。

著者

清水 友美

出版者

成城大学大学院文学研究科美学・美術史研究室

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.22, pp.1-41, 2016-03

---

From the Meiji to the Taisho period, a nudity controversy surfaced several times. Hakuba-kai, which was led by Seiki Kuroda, considered the nude the basis of Western art, but the Japanese did not have sufficient knowledge of western art to understand. This lack of knowledge caused the dispute. Subsequently, authorities regulated nudity in exhibitions and publications for a long period of time. Regulation of nudity has already beenstudied, but we need to investigate the kind of nudity regulated and the regulations that influenced painters and their activities. This paper investigates the Hakuba-kai Exhibition, Ministry of Education Art Exhibition (Bunten Exhibition), and Nika Art Exhibition from the viewpoint of regulation, focusing on the transition of the depiction of the nude woman from the Meiji to the Taisho period. Before the Meiji period, women and men wore clothing that allowed them to accomplish their work. Their ideas about covering the body were not hindered by western morality-based conventions. However, by imitating western culture to enforce “Ishiki kaii jyourei, the ordinance designed to emulate foreigners’propriety,” the thought planted in the Japanese mind was that nudity was obscene. Thereafter, authorities regulated publications with nude images. Kuroda’s Le Lever, which was exhibited at the 4th Domestic Industrial Exposition, served as a challenge to authority and generated the nudity controversy in newspapers. Afterward, police required that Kuroda’s “Nude,” which was exhibited at the 6th Hakuba-kai Exhibition in 1901, be covered with a cloth below the waist. That is, this is the “koshimaki (waistcloth) incident.” The incident was the outcome of the Security Police law implemented in 1900 and led the painters of Hakuba-kai to draw nude women with waist coverings. Police and the Ministry of Education continued to regulate nudes in art after the Bunten Exhibition. The Ministry of Education told painters that they must eliminate nude images from their works, and this caused a situation in which many nude drawings were disqualified from winning awards. The Minister of Education ultimately declared that police must not invade the winning work of the Bunten Exhibition in 1917. Partially clothed woman continued to be exhibited in the art at the Bunten Exhibition, and for a short time painters drew an idealized nude. They gradually began to draw frontal nudes and increasingly created work that made the nudes in their art unrealistic. This phenomenon was common at the Nika Exhibition. Following Cubism and Fauvism, the Nika Exhibition included drawings of nude women. The characteristics of the nude images of art in the Nika Exhibition were women reclining on a bed, posing with their arms or legs held up to exaggerate their physical features, and showing nude women indoors. The authorities initially regulated art with nude woman lying in bed drawn by Sotaro Yasui. After the 5th Nika Exhibition, they stopped controlling nudity. Painters no longer presented the female form realistically. They exaggerated. The nude images drawn from the Meiji to the Taisho periods were influenced by both the regulations and because of the regulations, the numbers of works exhibited were almost influenced. Then regulation standards gradually changed from the viewpoint of bodily exposure to the viewpoint of depicting the body in realistic situations such as a nude woman reclining in bed. Considering this history, painters had to be conscious of regulations restricting the depiction of nude women, which was historically part of the depiction of women. The important issue is that these artists tried to express their ideas even though they were conscious of the regulations.

著者

喜多崎 親

出版者

成城大学大学院文学研究科美学・美術史専攻

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.24, pp.33-53, 2018-03

著者

佐藤 仁

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.23, pp.71-78, 2017-03

著者

小倉 健太郎

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.21, pp.37-59, 2015-03