著者

北村 ひろ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.20, no.1, pp.16-34, 1969

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E. Zola sagt, in dem Vorwort der zweiten Auflage seines Romans : "Therese Raquin, " dass man in der Fiktion das Wahre suche. Was heisst denn das? Um uns daruber klar zu werden, mussen wir zuerst das Wesen des Sprechens und die Struktur des Erzahlens verstehen. Dann wird es sich klar werden, dass das Erzahlen das vermittelte Wirklichkeitserlebnis ist. Daraus werden wir weiterhin verstehen, dass die naturalistische Methode des modernen Romans auch eng mit der Struktur des Erzahlens verwandt ist. Daraus kann sich eine Antwort auf das Problem der Realitat im modernen Roman entwickeln.

著者

北村 ひろ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.4, pp.44-54, 1968

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E. Auerbach sagt in seinem Werke "Mimesis", dass dieser Stil die Perspektive hat, so charakterisiert das Wort Perspektive einen Stil. Der Begriff der Perspektive aber scheint mir der Grundbegriff des Stiles zu sein, denn alle Stile haben jede Perspektive. Zudem, meiner Ansicht nach ist die Perspektive das Wesen der Vorstellung, das Subjekt im besonderen Sinne und das Sprechen als solches in der Epik.

著者

中村 俊春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.37, no.4, pp.50-62, 1987-03-31 (Released:2017-05-22)

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Das um 1611 von Rubens geschaffene Gemalde "der Tod von Seneca" ist ein interessantes Beispiel von der Antikenrezeption bei Rubens. Er bediente sich als Vorlage seines Senecas einer antiken Statue, die damals als Darstellung des sterbenden Seneca misinterpretiert wurde. (Heute wird sie als afrikanischer Fischer gedeutet.) Aber wie Muller Hofstede darlegte, stellte die negroide Physiognomie der Statue dem Maler ein Problem, denn sie passte nicht gut einem romischen Philosophen wie Seneca. Spater wahlte Rubens als Seneca-Bildnis eine andere antike Buste mit einem nobleren und vergeistigteren Antlitz, namlich den sogenannten Pseudo-Seneca. Auch diese Buste galt damals falschlich als authentischer Bildniskopf von Seneca. Bekanntlich ist der heroische Tod von Seneca von Tacitus in seinen Annalen berichtet. Schwierig festzustellen ist jedoch, ob unser Gemalde, das ikonographisch als Rubens' Neuerfindung anzusehen ist, mehr als ein Historienbild ist. Offensichtlich wurde das Gemalde von niederlandischen Neustoizismus angeregt und Rubens deutete damit sein Verhaltnis zur stoischen Philosophie an. Dazu noch mitzudenken ist, wie G. Hess meint, die rezeptionsgeschichtliche Tradition von "Seneca Christianus". Ich will jedoch in Rubens' Seneca keine direkte Beziehung damit sehen, sondern eher, wie etwa im ekstatischen und inspirierten Aufblick Senecas, das Hineinschlupfen des Formenvokabulars von den Martyrerbildern des Barock feststellen.

著者

安西 信一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.40, no.1, 1989

著者

定金 計次

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.40, no.4, pp.47-59, 1990-03-31 (Released:2017-05-22)

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Indian painting is believed to have started developing in the post-Vedic period. On the basis of early Buddhist literature, it is certain that Buddhist monasteries began to be decorated with mural paintings in the late post-Vedic or the early Mauryan period. This is the first definite connexion between the Buddhist community and painting. We cannot, however, regard this as the true beginning of Indian Buddhist painting. For mural paintings in early Buddhist monasteries almost certainly consisted of decorative motifs which were not peculiar to Buddhism. Though we have no positive data, it seems that cloth paintings used in narrative recitation were popular in the same period. It may well be that Indian Buddhist painting came into existence in the form of such painting, which depicted Jatakas (stories of the Buddha's former births) and stories from the Buddha's life. Early Buddhist relief sculptures on railings and gateways of stupas probably presupposed these cloth paintings. Buddhist shrines had been developing since the Mauryan period. In the post-Mauryan period, Buddhist mural painting, influenced by Buddhist cloth paintings used in narrative recitation and by mural paintings of royal palaces, appeared in Buddhist stupa shrines.

著者

福田 安佐子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, 2016

著者

片山 学

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.48, no.4, pp.13-24, 1998

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Dans La correspondance des arts, Etienne Souriau a presente le schema circulaire dont le but etait considere comme la classification des arts. Mais je pense que Souriau ne l'ait pas eu pour premier but. Souriau, qui avait attache de l'importance a la methode du recherche comparative, a propose son theorie l'esthetique comparee. Comformement a lui, Souriau a fait correspondre deux especes d'arts mutuellement par leurs comparaison sous le point de vue de leurs structures. Au centre de schema, Souriau a pose "qualia sensible" qui fait une essence pure et une qualite absolue. Ce "qualia" est devise en sept regions (lignes, volumes, couleurs, luminosites, mouvements, sons articules, sons musicaux) quant a l'experience du cote du phenomene artistique et produit des arts. En plus Souriau a fait etat de "forme" et a institue deux degres, non-representatif ou representatif, sur des arts. Ainsi Souriau a constitue ce schema triplement et a fait diversifier l'art. Dans ce schema, Souriau a essaye de situer les arts ordonnement, en les disposant de facon a faire les correspondre mutullement.

著者

甲斐 義明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.85-96, 2011

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Alfred Stieglitz's series of photographs of clouds entitled Equivalents has been understood from two contrasting perspectives: "straight photography" and symbolism. This essay discusses an aspect of the Equivalents which has been neglected in these two dominant frames of reference. When Stieglitz began to make the Equivalents in the mid-1920s, the painters around him, such as Georgia O'Keeffe and Stanton Macdonald-Wright, were primarily concerned with how to represent the American landscape. This concern urged them to abandon pure abstraction and to depict landscapes that were considered to be characteristically American. Although the Equivalents capture only clouds in the sky, each photograph was shot at Lake George in upstate New York. When he exhibited them, Stieglitz carefully arranged the captions and installations so that a viewer could realize this fact. As Lake George was another place regarded to embody the beauty and spirit of America, the Equivalents were not unrelated to the shared interest of the painters of the Stieglitz circle. In pursuing this concern, Stieglitz utilized an intrinsic characteristic of the photographic medium, namely its inseparable connection to a specific place and viewpoint.

著者

杉山 卓史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.1, pp.1-14, 2006

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This paper reflects on Herder's concept of "common sense", understood in terms of sense common to all the senses. His saying "we are a thinking sensorium commune" from his Treatise on the Origin of Language (1772) has received increasing attention in recent years as it is thought to be at the origin of the concept of synesthesia. But why so? According to contemporary medical-psychological research, synesthesia is the concrete experience of fusion of the senses located in the limbic system. This means that synesthesia is the opposite of the Aristotelian conception of common sense, because the latter is the faculty to grasp abstract qualities. Herder's "sensorium commune" has a different connotation. By using this expression he meant that all the senses are originally one and the same (=feeling); they become differentiated from this and work together. This level is prior to both the birth of language and the judgment of beauty. Herder is the one who formulated such a conception of common sense, (which is not the faculty to grasp abstract qualities), for the first time in the history of ideas. This is why his "sensorium commune" is at the origin of the idea of synesthesia.

著者

松原 薫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.161-172, 2015

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This paper considers the role of the theory of melody (die Melodielehre) in Johann Mattheson's Der vollkommene Capellmeister. In the first half of the eighteenth century, the mathematical view of music and the strict artificial contrapuntal theory were often criticized. As this paper will exemplify, Mattheson criticized the former in "Die canonische Anatomie" (in a dispute with Heinrich Bokemeyer) and the latter in Das neu-eroffnete Orchestre. These two criticisms, however, seem to be inconsistent with his description of the contrapuntal theory in the third part of Der vollkommene Capellmeister, which encompasses the northern German Baroque theory. I then turn my attention to the role of Mattheson's theory of melody, wherein he regards the melody as 'noble simplicity' or 'naturalness'. He also introduced the words 'Symphoniurgie', instead of 'counterpoint' at the bridge of the explanation of a single melody, and 'Vollstimmigkeit', or full-voicedness, which means an artistic combining of different melodies sounding together simultaneously. This re-definition of the counterpoint indicates that he considered it the mass of the plural melodies. Mattheson's theory of melody leads to the integration, without inconsistency, of the contrapuntal theory and the criticism of the mathematical view or rational, artificial treatment of music.

著者

伊藤 るみ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.37, no.3, pp.24-34, 1986

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Kurt regarded the energy in music as psychic phenomenon. He thought it important that we had the impression of space only when we listened to the music but not when we heard sounds. Because in music we use terms of "Raumvorstellung", for example "high or low". Kurt distinguished "klanglicher Raum" from "musicalischer Raum". The former is the space formed by the positions of instruments and the latter, by the energy in music. He thought that the musical space was more important than the acoustic space, because this is physical while that is psychic. From his point of view, the true dissonance of tones or chords is not acoustic but musical-the musically dissonant tones have the energetic tension (Spannung, Erregung), the value of which the psyche can determine. The motion in music is not actual motion of tones but the motion of "Kraftzug"-the change of tense energy (Spannungsenergie). We grasp this motion by "Hinuberhoren"-"Nebenhoren", "Voraushoren" and "Zuruckhoren". And we understand the above psychologically. In this sense the musical aesthetics of Kurt is basically psychological.

著者

田中 均

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.1-14, 2007

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In this paper, I investigate the relationship between love and art in the novel Lucinde. First, I analyse two cases of disappointments in love experienced by the young painter-and protagonist-Julius, which are symbolised by certain aesthetic defects:Lisette could not respond to Julius' love because of her life as a prostitute, which corresponds to her sensualistic tastes. Likewise, Julius' fruitless love for a married woman gave rise to a strained style to his painting. Second, I focus on his relationship with Lucinde, in which they completely affirmed each other's individuality. The reconciliation with his own life through love brought grace and maturity to his art. This should be interpreted as the realisation of 'the romantic', which is defined in Schlegel's essay 'Dialogue on Poetry' as a combination of 'the sentimental' and 'the fantastic'. Third, I turn my attention to the distinction by Julius between male and female love. He believes that, in contrast to female love which is concentrated only towards one object, a man can develop friendships between multiplicities of mature spirits and thus complement his own individuality. From this, I draw the conclusion that, in this novel, a female artist is excluded from the artistic cooperation.

著者

松田 聡

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.2, pp.70-83, 2003

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In February, 1786, the Emperor Joseph II gave a feast at Schonbrunn Palace. On this occasion, Der Schauspieldirektor, a comedy with music by Mozart, was given its first performance, together with Salieri's opera buffa Prima la musica e poi le parole. So it has long been widely accepted that the two composers' music competed with each other in the feast. But, in fact. Der Schauspieldirektor is a unique stage work, of which the first half is formed as a German Play and the latter as a Singspiel. This fact necessitates reconsideration of the "competition". From October, 1785, three genres of stage work, German Play, Singspiel and Italian Opera, were performed at Viennese court theatres, so the feast can be regarded as an epitome of this system of performance in operation. This system marks an epoch in the Viennese performance history of opera, because, till then, it had never occurred that both the Italian Opera and the Singspiel were performed at court theatres in the same period. The two works performed in the feast share the same subject, that is the rivalry and the harmony between the different genres, and through it, the Emperor demonstrated his new idea to treat both German and Italian theatrical genres equally.

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, 2008

著者

庄野 進

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.41, no.3, 1990

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.34, no.1, pp.74-73, 1983

著者

神林 恒道

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.41, no.4, pp.68-73, 1991

著者

熊田 真幸

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.31, no.3, pp.59, 1980-12-31 (Released:2017-05-22)

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Nach der Polemik uber das Wesen des Asthetischen in Sowjetrepublik hat die materialistische Asthetik diejenige Tendenz gehabt, dass sie das Asthetische als asthetischen Wert begreift. Diese Tendenz bedeutet die Uberwindung des alten Materialismus und die Versuchung, aus dem Gesichtspunkt vom praktischen Materialismus das Asthetische als Subjekt-Objekt-Relation besonderer Art zu erfassen. Solcher Tendenz gehoren die bemerkenswurdigen Forschungen M. Kagans und L. Stolowitsch's. Dennoch konnen ihre Theorien einige Schwachen nicht vermeiden, denn sie verstehen die grundlegende Subjekt-Objekt-Relation nur unrichtig, oder auflosen die asthetischen Beziehungen in allgemeinen Grundwiderspruch. Nun ist es die Asthetik heute (1978) von E. Pracht und anderen, die diese Forschungsergebnisse kritisch ubernommen und weiter entwickelt hat. Sie finden den Grundwiderspruch der asthetischen Beziehungen in der Relation zwischen Gebrauchs-und Gestaltwert, und begreifen den Gestaltwert als widerspruchliche Einheit von Ausdrucks-und Eigenwert. Nach ihrer Meinung existiert das Asthetische nur in der asthetischen Wertrelation, und es kommt in der Zweckverschiebung in Richtung auf den menschlichen Selbstzweck zustande. Sogar erwahnen sie sowohl die Objektivitat der asthetischen Wertung als auch die asthetische Norm und das asthetische Ideal.

著者

上倉 庸敬

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.33, no.3, pp.16-26, 1982-12-31 (Released:2017-05-22)

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The actor produces a work of theater. The artist's own awareness of the final product develops simultaneously to this process of production. This awareness does not belong to the speculative oder, but to the wholly different order of factivity. The actor has to consider the work outside himself i.e. in the spectator. The actor makes his own the awareness of the spectator. How can the spectator's awareness become the actor's? Maybe through the time which they live in common, but man's real time cannot be other than "my present". "My present" means the time of my activity. "I" must be responsible for "my act". When I have the responsibility, I have a personality. Both the actor and the spectator make a decision to live in the theatrical "milieu" and this is their activity. When they act and join their common theatrical "my present", there is established the communion between the actor and the spectator, between these two personal subjects, where we find the significance of the theater. In this communion, the knowing (and the making) of a work of theater will be intersubjective, and the work will start to exist, not as a form in suspension, but as a definite and clear form. The spectator's "present" guarantees his privileged state by which he can not only understand, but also create, an essentially spatial being, a work of theater. The participation of the spectator in the theatrical work is conceivable only along these lines.

著者

青田 麻未

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.72, no.1, pp.25-36, 2021 (Released:2023-03-20)

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This paper discusses the artistic value of “community-engaged art project” from the perspective of environmental aesthetics. Community-engaged art project refers to art projects that take place in a specific region for revitalization and other similar purposes. I evaluate the artistic value of it in terms of creating a chain of discovery of the aesthetic value of a place by various subjects. Section 1 examines Vid Simoniti’s “pragmatic view” of the artistic value of socially engaged art (SEA). Section 2 points out two problems that arise when applying the practical view of local art. The first is the ambiguity of community revitalization as a social purpose, and the second is that the view overlooks that art is an act of making something. Section 3 interprets previous research on creative placemaking and site-specificity from the perspective of environmental aesthetics and argues that local art creates a chain of discovery of the aesthetic value of a place at the initial stage of revitalization. Section 4 explains what exactly a chain of discovery of the aesthetic value of a place means, referring to the case of the Oku-noto triennale.