著者

佐々 風太

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.73, no.1, pp.104, 2022 (Released:2023-09-28)

著者

野島 直子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.72, 2003-12-31 (Released:2017-05-22)

著者

羽生 正気

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.22, no.4, pp.57-64, 1972-03-30 (Released:2017-05-22)

著者

富岡 進一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.70, 2003-12-31 (Released:2017-05-22)

著者

石田 正

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.4, pp.16-25, 1968-03-30 (Released:2017-05-22)

---

Der Begriff des Motivs im gewohnlichen Gebrauch des Wortes ist mehrdeutig. Es ist erstens notig, das Motiv von dem Stoff zu unterscheiden. Dann mussen wir klarmachen, wie es mit dem Darstellungsgegenstand in Beziehung sein. Auf einem attischen Mischkrug, z.B. sind die ins Meer springenden Knaben, die das Eintauchen der Sterne symbolisieren, dargestellt. Die Knaben sind Darstellungsgegenstande, die Sterne, das Motiv. So kann man sagen, der Darstellungsgegenstand ist sichtbar, das Motiv unsichtbar, trotzdem besteht es ihm voraus. Hierher ist das Motiv folgendermassen zu definieren : es ist unsichtbares Subjectum, das den Darstellungsgegenstand tragt und ihn ins Dasein bewegt. Diese Definition kann man auf die Landschftsmalerei, wo das Motiv und der Darstellungsgegenstand voneinander ununterschiedbar scheinen, anwenden. In beiden Fallen aber sind die Gehalte der Motive ganz verschieden. Die Wandlungen des Motivs entsprechen dem Ubergang von der Kunst, die nur dienen will, zu der, die asthetisch genossen sein will.

著者

新田 博衞

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.19, no.1, pp.1-14, 1968-06-30 (Released:2017-05-22)

---

Es ist das Ziel dieses Aufsatzes, die Ich-Erzahlung auf ihr fiktionales Vermogen zu prufen und sie als eine Grenzsituation der Erzahlkunst festzustellen. Die grundlegende Auffassung Kate Hamburgers von diesem Thema ist naturlich dem Verfasser vorbildhaft und aufschlussreich, aber er versucht hier doch noch einige Zuge klarzulegen, welche die Auffassung Hamburgers von der Ichform eventuell vertiefen soll. 1) In der Odyssee bietet die Ich-Erzahlung des Heroen ein Exempel, in dem die Veranderung der Erform in die Ichform einzig unzulanglich durchgefuhrt ist. Das Phanomen ergibt sich daraus, dass im Gedicht Homers die Perspektive des "Erzahlers" mit der der Gotter restlos ubereinkommt und somit sich der "Erzahler" bei seinem umformenden Aufnehmen der alten Sagen in das Werk leicht zu allwissend allgegenwartig verhalt. 2) Die Ich-Erzahlung des Werther erlaubt uns zweierlei Art vom Geniessen : als ein Dokument oder als eine Fiktion. Das Entweder-Oder muss man dem Leser uberlassen, denn sich der Heroe und der allwissende "Erzahler" vereinigen hier so vollstandig auf das Subjekt "Ich", dass auch die stilistische Analyse des Textes uns gar kein entscheidendes Merkmal fur die Wahl darbieten kann. 3) Weil die Kamera sich selbst nicht aufnehmen kann, ist die Erzeugung eines Ich-Films unmoglich. Der Verfasser versucht in dieser Beziehung die Sprache mit dem kinematographischen Bild zu vergleichen, indem er die Rolle des Ich-Heroen in einem franzosischen Roman Allain Robbe-Grillets erklart. Sehr belehrend ist die Untersuchung des Films fur die sprachphilosophischen Grundlegung der Erzahlkunst, welche die letzte Absicht des Verfassers bedeutet.

著者

新田 博衞

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.1, pp.1-21, 1967-06-30 (Released:2017-05-22)

---

Der Roman enthalt zwei gegensatzliche Pole : die Allwissenheit des Erzahlers und die begrenzten Sehfelder der Personen. Jene macht den Roman einheitlich, diese spalten dagegen ihn vielfach. Der Stil des Romans hangt davon ab, wie man diese Pole aussohnt. (1) Abwechslungen von dem Eindringen des allwissenden Erzahlers und der Begrenzungen der Sehfelder : z. B. Stendahls "La Chartreuse de Parme". (2) Ubereinanderlegung von den Perspektiven des Erzahlers und der Personen. Verkehrtheit des Ich-Romans : z. B. Flauberts "Madame Bovary". (3) Auflosung der Allwissenheit des Erzahlers in die begrenzten Sehfelder der Personen : z. B. Jacques Chardonnes "La Chant du bienheureux", Francois Mauriacs "La Fin de la Nuit", Francoise Sagans "Aimez-vous Brahms..." u. s. w. (4) Unendlicher Zuruckgang auf den Gesichtspunkt des Erzahlers : z. B. Andre Gides "Les Faux-Monnayeurs". (5) Nachweisung vom Alibi des allwissenden Erzahlers : z. B. Alain Robbe-Grillets "Dans le Labyrinthe". Durch die sorgfaltige Analyse der Texte hat der Verfasser die Stile und das Wesen des Romans erklart.

著者

太田 峰夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.53, no.2, pp.39-52, 2002-09-30 (Released:2017-05-22)

---

In his mature years Bela Bartok continuously argued that the influence of peasant music on art music should be realized by grasping its "spirit"-which penetrates the composer's creativity. We usually take this argument simply as a part of his program for modernist music, but the significance of this "spirit" remains hardly convincing. It is unclear why modern musicians should undertake such a demanding task as to make the "spirit" of peasant music their own. We can clarify the importance of this idea solely by considering the historical background of Hungary. The discourse of the "spirit" of peasant music can be related to the nationalistic movement from the first decade of the twentieth century ; especially to the innovatively minded movement led by young intellectuals such as Endre Ady. Under the influence of social radicalism, they began to seek the new cultural identity of Hungary. Precisely according to this new trend Bartok also formulated his strategy, approaching long-forgotten cultures of the peasant class and of other peoples. Because of this political-cultural context it became his ultimate goal to grasp the "spirit" of peasant music, which could justify his artistic endeavor both in the nationalistic context and in the modernist one.

著者

村田 誠一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.41, no.1, pp.54-59, 1990-06-30 (Released:2017-05-22)

著者

大澤 慶久

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.2, pp.109-120, 2020 (Released:2023-02-06)

---

From the late 1960s, photograph, video, magazine, and Xerox came to be used in the realm of contemporary art. Under the circumstances, traditional value of originality of artworks will be dissolved as long as the original is infinitely copied in theory. This paper provides a new interpretation of Jiro Takamatsu’s Japanese Letters and English Words, on the basis of the issue of original and copy of artworks in the era of duplicate media. In Japanese Letters “ko-no-nana-tsu-no-mo-ji” is written. In English Words “THESE THREE WORDS” is written. These two are print works by offset lithography. Each work has 100 editions and each of those original plates are manipulated by Xerox. First, I survey preceding interpretations of these works, on the basis of those formal features. Second, I analyze them. Finally, this paper concludes as follows: Japanese Letters and English Words urge the beholder to have an individual or unique relationship although every edition has almost same appearance by duplicate media of print. That Takamatsu uses artform of print and these works have such structures implies that he has the awareness of issue that the individual or unique relationship of human and things is inhibited in the era of duplicate media.

著者

西崎 専一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.28, no.4, pp.43-54, 1978-03-30 (Released:2017-05-22)

---

The peculiarity of Mugen-Noh (Noh of fantasy) improved by Zeami exists in abandonment of oneness of the world and self-identity of a person which are characteristics common to all dramas. For example, in the representation of Nochi-Shite (protagonist of a second half part) of "Izutsu" the heart of Izutsu-woman and the form of Narihira mingle in one figure, and in this very figure, reminiscent present merges with reminisced past. Thus a fantastic world is presented. This peculiarity of Mugen-Noh results from the idea that Noh has no stable ground to settle and has "formless figure" as an aesthetic core. A figure is considered not as such that implies self-identity but as an manifestation of changeable time movement. In this case a space of Noh has a role of a musical space which supports muscial movements played by dances and songs of Noh, but this musical space doesn't have any "function of space (=concretizing)". It keeps still as a ground supporting movements, but it does so not to concretize the movement but to destroy the concreteness in the movement. In a word, it is the still time on the horizon of which all occurrences in Mugen-Noh are freed from shackles of space.

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, 1986-12-31 (Released:2017-05-22)

---

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

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.27, no.1, pp.23-31, 1976-06-30 (Released:2017-05-22)

著者

上石 学

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.1, pp.48-59, 1998-06-30 (Released:2017-05-22)

---

Gabriel Marcel a accorde a ses drames plus d'importance qu'a ses oeuvres philosophiques. Il y en a deux raisons. L'une consiste dans la particularite de l'experience d'ecrire des pieces. La these la plus fondamentale de sa philosophie est ceci : "Je suis mon corps". Elle exprime le fait que l'ame et le corps font dans l'existence humaine une seule "unite indecomposable". Or, Marcel a connu que la creation d'un dramaturge se realisait grace a une "presence" de quelque chose, laquelle il devait soutenir avec "la fidelite creatrice". C'etait une experience exceptionnelle a travers laquelle il a pu vivre jusqu' a la limite "la logique propre de l'existence". La seconde raison consiste dans le fait qu'une piece peut exprimer "le mystere" et "l'intersubjectivite" comme sa forme de base, ce qu'une reflexion philosophique ne peut pas faire completement. Ainsi, a travers de son experience du dramaturge, Marcel est parvenu a la revelation que l'existence comme unite indecomposable s'etend, au-dela de la limite individuelle, jusqu'a l'intersubjectivite.

著者

廣田 孝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.1, pp.37-46, 2000-06-30 (Released:2017-05-22)

---

TAKEUCHI Seiho was born in 1864 and he started to study traditional Japanese painting under KONO Bairei. In 1886, he attended Ernest F. Fenollosa's lectures on Japanese painting, which made him consider the future of Japanese painting. While many of his contemporary artists tended to adopt Western style in modernizing Japanese painting without much success, Seiho was not particularly impressed by it. He made a careful comparison of Western with Japanese painting and came to the conclusion that what characterized Japanese painting was shai, "expressing the painter's inner lyrical inspiration using what he or she sees out there as a form of expressing it, " upon which he placed special emphasis in his attempt to innovate his painting. Convinced of his original idea after the visit to the 1900 Paris Exhibition, Seiho attempted to transcend the old style which was almost exclusively concerned with umpitu, "brushworking" and to combine shasei, "sketching to grasp the outer characteristics of objects, " with shai, "expressing his inner lyricism." At the same time, he made an effort to attain shohitu, "the utmost simplicity out of which no touch whatso-ever could be eliminated."

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.41, no.3, pp.69-74, 1990-12-31 (Released:2017-05-22)

著者

桑島 秀樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.169-174, 2020 (Released:2022-02-16)

著者

大城 茉里恵

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.175-180, 2020 (Released:2022-02-16)

著者

鈴木 亘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.61-72, 2020 (Released:2022-02-16)

---

Among many authors discussed by Jacques Rancière, Stéphane Mallarmé is one of the most important poets and has been intermittently revisited since the publication of Mallarmé (1996). This monograph is intensely focused on the relationship between Mallarmé’s works and politics (particularly dealing with a thought of “community”). The relationship between art and politics is consistently addressed in Rancière’s other writings but has become complicated since he reinterpreted the history of Western aesthetics around 2000. However, previous studies on Rancière’s interpretation of Mallarmé fail to acknowledge such complexity because they focus exclusively on Mallarmé and his contemporary writings. Therefore, this paper investigates The Future of the Image (2003) and Aisthesis (2011), as well as Mallarmé, to trace changes in Mallarmé’s status. Through this investigation, this paper reveals new politicization in Rancière’s writings on Mallarmé. This paper is organized as follows: firstly, confirming that Mallarmé is the poet that observes ordinary events of everyday life, and secondly, this paper clarifies a discrepancy between the figure of Mallarmé depicted in Mallarmé and Rancière’s concept of the “aesthetic regime of art.” Finally, this paper demonstrates that Rancière provides new insights on Mallarmé in his writings since the year 2000.

著者

根來 孝明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.73-84, 2020 (Released:2022-02-16)

---

The copy of Lan ting xu by Zhao Mengfu is included in Lan ting shi san ba. Lan ting xu is a masterpiece by Wan Xizhi, who is a calligrapher referred to as 書聖 (“a great calligrapher”). This calligraphy work was widely disseminated after the Tang dynasty. Most studies on Lan ting shi san ba have discussed the connections between Zhao Mengfu and Wan Xizhi from the contents of the text. In addition, the style of calligraphy has been emphasized. The purpose of this report is to examine the characteristics of molding in the calligraphy work of Zhao Mengfu. Furthermore, this study aims to reconsider Zhao Mengfu’s position in Chinese calligraphy history. Result of the molding analysis suggests that Zhao Mengfu understood the calligraphy work of Wan Xizhi as a mix between the calligraphy style of the Tang dynasty and that of the Song dynasty. Therefore, Zhao Mengfu can be seen as a calligrapher who generated a new image of Wan Xizhi’s calligraphy during the Yuan dynasty.