著者

眞鍋 千絵 松田 泰典

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

vol.10, pp.52-73, 2003-03

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Immediately after the Second World War, the Panreal Art Group (Panreal Bijutsu Kyokai) was launched in Kyoto by a group of young artists who had received their training in the traditional Nihonga painting style. This group is known for its avant-garde style and painting techniques. In our research project, the materials and techniques used in six pieces of the group's early works, from 1951 to 1963, in the Kariya City Museum collection were examined and documented. In order to verify and finalize the results of our investigation, we carried out interviews in Kyoto with members as well as families of deceased members of the Panreal Art Group. The distinguishing features of the early works are the use of plywood as support and the application of formalin on ground and paint layer. This research project sought to determine why these materials and techniques were used and what effects they had.

著者

小松 秀茂 コマツ ヒデシゲ Komatsu Hideshige

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

no.15, pp.100-103, 2008-03

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脳損傷患者の構成活動に関するA. R. LuriaやL. S.Tsvetkovaらの研究に示唆を受けた我々は、「コース立方体テスト」事態における知的障害児・者の構成活動を発達神経心理学的な観点から分析することを試みてきた。今回我々は、この構成活動の事態において特異な言語活動を呈した自閉症的傾向を持つ知的障害者に遭遇した。彼は、その自閉症的傾向の故に、検査導入時の教示の理解に困難を示し、検査実施が危ぶまれたほどであったが、実際に検査が始まると、案に相違して、用意されてある17課題すべてを解決し、田中・ビネー検査からの予測をはるかに上回るパフォーマンスを示した。そのこと自体驚くべきことであったが、検査の中でのみ示した彼の言語活動も、特筆に価する独特な特徴を持つものであった。彼の言語活動は、日常的生活でのコミュニケーション場面では、極めて不活発であったが、構成活動の場面では、一変して、非常に活発な発話(独語)を伴わせ、むしろ多弁であった。そしてそのほとんどは、構成見本の空間的な特性の分析や積木(構成要素)の方向操作に係わるような表現ではなく、行動の開始や終了の合図や確認のような表現、「自分の構成行動を実況中継(自分自身を三人称で表現)」する放送アナウンサーもどきの発話であった。彼のそうした言語活動の機能的性格は、構成活動に必要な空間的な分析・操作を担う成分に奉仕するものではなく、構成行動を企画・制御する成分に奉仕するものであることが示唆された。

著者

田島 正樹

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

vol.10, pp.144-178, 2003-03

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Two gentlemen discuss on the education of the free man. They talk about two ideals : the ideal of communism and that of liberalism. The ideal of the communism is the dream of the bourgeois society that could not be pursued thoroughly by the bourgeoisie itself. This ideal is clearly represented in the classical modern arts, especially by the classical music and romans. But it confronted with the limits of the world-wide free market, because it is identified with the ideal of the free market. It also declines as the classical modern arts do. On the other hand, the ideal of the liberalism contains in itself a fundamental dilemma : the means of the education (the authorities of teachers etc.) standing against the ends of it(the free spirit inde- pendent of any authority). Is there any solution which can break this dilemma?

著者

端山 貢明

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

no.7, pp.104-127, 2000-03

著者

久保田 力

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

no.15, pp.80-99, 2008-03

著者

北野 博司

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

no.8, pp.30-46, 2001-03

著者

久保田 力 クボタ チカラ Kubota Chikara

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

no.15, pp.80-99, 2008-03

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In this article, I tried to throw a new light on the logical development of E.B.Tylor's animism theory. There were still ambiguous phases to be revealed in his theory. From the fact that Tylor expanded his definition of the soul in his Primitive Culture of the second edition published in 1873, his original notion of the soul had a mainly dual-coded structure; <body/soul> and <life/ phantom> which were added to the first edition of his same book published two years before. The latter code, especially for him, comprised the genetical logic of the soul. In this case, however, the soul gained a new body or a pseudo body as soon as the life and the phantom were combined together. This is rather mysterious to us , but is the 'spiritual fact' for Tylor. Therefore, his famous definition of animism should be read as "the belief in the spiritual bodies" , as well as "the belief in the spiritual beings" . Such spiritual bodies can be realized as animated souls or virtual realities seen in the high-technological world of our times, so that they could be called 'primitive modern' in 'pseudo primitive culture'. As a matter of fact, we are, in this sense, living another revised Animism in terms of Tylor's definition. His opinion about the birth of the soul is to be compared with Nietzshe's nihilism claimed "Gott ist tot" . Tylor's animism is still alive and functions nowadays. It seemed to me that one of the main reasons why Tylor could not further develop and deepen his original idea of animism was due to the late appearance of rapid technological evolution of the cinematography or the motion picture invented in the end of the nineteenth century which made "ghost soul" and "apparitional soul" emerge in reality. Thus for Tylor and for us as well, soul is meant to be 'a thought pattern toward a body' as a psychological fact, while ritual is meant to be 'a behavioral pattern toward a soul' as a social fact.

著者

後々田 寿徳 ゴゴタ ヒサノリ GOGOTA Hisanori

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

no.16, pp.101-77, 2009-03

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Osaka Museums Park was established in 1875 and became in the middle of the Meiji era a museum complex to which the museum, the merchandise sample and commercial showroom, the botanical garden and the zoo, etc. were attached. The comprehensive function was gradually lost since the latter term of the Meiji era. The turning point might be an installation of the Osaka Commercial Museum in 1890. As a result, Osaka Museums Park developed its entertaining and educational characteristic. On the other hand, it was excluded from the part of the heavy industry and the international trade promotion at the latter term of the Meiji era. Although Osaka Museums Park gradually became the remains of former times, it was continued to be loved by many citizens in the end of the Meiji era as a traditional and conservative place of amusement since the early modern age. Osaka Museums Park sees its end in social functioning because of the establishment of the Osaka Municipal Museum and the Osaka Municipal Zoo in 1915 and of the opening of the new Osaka Commercial Museum in 1917. The existence of the Osaka Museums Park was gradually passed into oblivion. A part of the Osaka Museums Park was left as a place to relax by ardent fans, but it was eliminated in the early part of the Showa era. It seems that the collection kept in four storages, was almost reduced to dust by Great Osaka Air Raids in 1945. Osaka Museums Park left behind by the modernization, had nothing to do with national policy like encouragement of new industry or wealth and military strength and became paradise open to citizens, being different from capitalistic and commercial entertainment. The period of end to the Osaka Museums Park marks an age from national mobilization to militarism through the Showa Depression.

著者

松村 泰三

出版者

東北芸術工科大学

雑誌

東北芸術工科大学紀要

巻号頁・発行日

vol.10, pp.126-133, 2003-03

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The creating of a Phenakistiscope is a very valid means to know a animated principle. As one of the image education, it is frequently done at the museum and the school. In the creating of a Phenakistiscope, the angle and the distance of the position which draws a picture must be computed. The one of the more complicated movement it does, the more complicated computation becomes necessary. Therefore, in the handwriting, it is very difficult to create it and create takes time. Because it was, it created application software "Moving Image Maker" which can do a computation part easily. With this, the Phenakistiscope can be easily created.Also, the complicated Phenakistiscope which could not be made can be made with hand-writing.