著者

千葉 慶

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.1, pp.56-68, 2003-06-30 (Released:2017-05-22)

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A change in the evaluation of Nanga that is one of Chinese style painting symbolizes a transition of Japanese art thoughts that turned from nationalism to imperialism. In 1880's-90's, an establishment of the concept of national culture was an earnest problem. In those days, to separate Chinese element from Japanese culture was needed for an establishment of the "purity" of Japanese culture. Therefore, Nanga was attacked in art criticism. In 1910's, Nanga was re-evaluated, because Japan's national policy had turned to imperialism and desired to possess China (and Chinese culture) for obtaining the position as "a representative of the Orient." Toyozou Tanaka, an editor of "Kokka" magazine, wrote 'Nanga Shinron' to re-evaluate Nanga. He and his article had contributed to "Nanga boom" which came in 1910's. Many critics and artists commented that Nanga was the essence of the Oriental art that is more excellent than the Occidental art, in this boom. A creation of such a new image about Nanga might have been closely linked with creation of or support for Japan's new self-image in the "new era, " the era of imperialism.

著者

利光 功

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.42, no.2, pp.75, 1991-09-30 (Released:2017-05-22)

著者

川野 洋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.1, pp.22-32, 1967-06-30 (Released:2017-05-22)

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I intend to clarify how the artistic value, which is difficult to be dealt with even in a traditional aesthetics, is described from the viewpoint of information theory. M. Bense thinks simply of the value of work of art equivalent to the quantity of its information. L. Meyer thinks that a probabilistic uncertainty arised from the inhibition and resistance of tendency toward a goal implied in work of art, causes its value. And this Meyer's thought about artistic value seems on the whole familiar with Bense's one. Opposed to such explanations, A. Moles considers the artistic value as a decreasing function f (∣information-capacity∣) of the deviation ∣inf.-cap. of objective information of work of art offered by artist from subjective information capacity of receptor. If this Moles' instructive formulation about the analysis of artistic value which depends on information theory, could be applied not only to the syntactic form of work of art but also to its semantic content, the traditional problems of value in aesthetics must become more clear.

著者

春木 有亮

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

加藤 浩

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.42, no.1, pp.12-23, 1991

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Plato censures the imitative poetry and at the same time makes many mythoi in his dialogues. The purpose of this paper is, therefore, to analyse the usages of mythos and its related terms in the context in which they occur and to consider the relation between mythos and poiesis. In the Protagoras the compound of mythos and logos produced by rhetorike is contrasted with logos gained by dialektike, while in the Gorgias and the Phaedo two escatological mythoi anticipate the horizont which logos will be able to reach. When the Idea of Good and dialektite are introduced in the Republic, the inconclusiveness of the dialogue and the conclusiveness of dialektike become obvious. Mythos of Er is allowed to be told as far as it points to the conclusive horizont which dialektike will ultimately reach and makes the dialogue conclusive. Likewise, mythos in the Phaedrus represents the comprehensive vision of dialektike. Mythos as poiesis is characterized by falsehood. But in the Republic mythos is judged according to two norms which regulate what the poets should tell of gods and men. Thence I infer that mythos of Er indicates the ideal mythos which should be told of men. The poetics of Plato, if possible, will be called philosophical as compared with the technical poetics of Aristotle.

著者

當津 武彦

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.8, no.4, pp.37-45, 1958

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Of six elements into which Aristotle analyses a tragedy, mythos holds first place and ethos is next in order. But this view is doubtful for us, because the relative importance of character and plot varies with different dramatists and different national temperaments, and in the evolution of tragedy there has been far more room for the growth of character-drawing than the plot. Now in this report we will pursue after Aristotle's fundamental views, for example, the universal representation of poetry, the probable or necessary sequence in tragedy etc., and then try to find the true relation between mythos and ethos.

著者

近藤 秀樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.1, pp.13-24, 1998

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L'improvisation est, selon V. Jankelevitch, l'adaptation instantanee aux "conjonctures". C'est-a-dire aux situations imprevues et changeantes. A ces circonstances soudaines et mouvantes, on ne peut repondre que sur-le-champ et a l'improviste, parce qu'on n'a pas le temps de prevoir. Pour parer a des evenements perilleux et se servir des hasards les plus fragiles, l'improvisation doit etre extemporanee et approximative. A cet egard, l'improvisation se compare avec la "metis", qu'etudient Detienne et Vernant. En grec ancien, le mot metis signifie l'intelligence rusee, le pouvoir de se tirer de situations changeantes et dangereuses par des jugements rapides et une attitude flexible. Donc, l'approximation et l'extemporaneite sont aussi les caracteres fondamentaux de la metis. Et l'improvisation et la metis se rejoignent en ce qu'elles saisissent toutes les deux le kaιros. c'est-a-dire l'occasion. Ce moment opportun, la metis et l'improvisation le decouvrent dans les conjonctures et en profitent avec rapidite. Or, l'occasion, qui est imprevisible et instantanee, condense en elle-meme l'irreversibilite du temps. C'est ainsi que la metis et l'improvisation sont deux techne qui s'affrontent au temps irreversible.

著者

金田 晉

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.3, 1998

著者

K. Negishi

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.24, no.2, pp.72-73, 1973-09-30 (Released:2017-05-22)

著者

愛宕 出

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.1, pp.42-53, 1978

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Dans le XIV^e siecle en Boheme, on pourrait trouver un type d'architecture qui correspond le mieux aux caracteristiques donnees par V. Mencl. C'est celui dont les voutes se terminent par les consoles et dont les colonnes, ordinairement placees au milieu des nefs, sont penetrees par les ogives. Mencl y a vu une modernite qui preparait la Renaissance. Mais il represente plutot le dualisme typique a la fin du moyen age. Schematiquement parlant, les voutes et les colonnes representent le mysticisme sensoriel, tandis que le mur nu maifeste l'ascetisme qui refuse le systeme gothique. En principe ce mysticisme esthetique se realise par deux moyens ; la surface lisse et la voute qui semble flotter. Celle-la resulte de l'interpretation anti-gothique de la voute d'ogive : elle consiste a economiser des ogives. C'est les consoles, d'autre part, qui creent l'impression flottante des voutes, puisqu'il n'y a pas de colonnette qui corresponde a chaque ogive. Et le mur nu est indispensable pour cet effet mystique. On pourrait en trouver l'archetype dans l'architecture profane dont la construction primitive ne fait qu'augmenter le nombre de supports pour obtenir l'horizontalite de l'espace. Et la disposition spatiale presque sans ordre de la chapelle de Bethleem a Prague peut etre consideree comme une des formes finales de ce type d'architecture.

著者

吉村 典子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.50, no.3, 1999

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.70, no.2, pp.1-12, 2019

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I will show how we can frame temporal dimensions of our environments for our appreciation. In contrast to artworks, environments are changing all the time. There is no frame with which to define what is the specific object of appreciation in environments which surround us, and which extend without limit. We have to create our own frames by ourselves. The question is how we frame temporal changes of environments. First, I will classify the changes in two groups: macro- and micro- temporal change. We cannot directly perceive the former, but can with the latter. Although we can perceive micro changes, it is difficult to appreciate them because they are so ordinary for us that we usually do not pay any attention to them. Second, I will introduce Arnold Berleant's "aesthetics of engagement" to clarify the mechanism of framing these micro changes. Engagement is a kind of aesthetic attitude for appreciating perceptual environmental experiences which consisted of cumulative micro changes. Third, I will elaborate on the role of our activity in framing micro changes. I will distinguish our activities in environments into two levels, and show how aesthetic engagement is related to each level.

著者

野口 榮子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.39, no.4, pp.1-11, 1989-03-31 (Released:2017-05-22)

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Diderot, auteur de critique d'art dans "les Salons 1759-1781", a elabore diverses theories a propos de l'art. Nous allons nous pencher ici sur ses jujements sur le portrait. Diderot, l'un des rares critiques a mentionner le portrait de feu Madame Infante en habit de chasse de Natier au Salon de 1761, critique severement des hommes de la Cour. Pour lui, ce ne sont que des <faux> ; c'est la <verite> que l'on doit chercher dans le peinture. A propos du portrait de M. Thomas de Duplessis au Salon de 1781, Diderot dit que l'artiste doit tenter de saisir la physionomie de l'homme, de lui donner une expression, et ainsi de rechercher la <ressemblance>. Ce qui n'est pas ressemblant n'est pas <verite>.

著者

具 慧原

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, 2019

著者

益田 勇一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.46, no.3, pp.54, 1995-12-31 (Released:2017-05-22)

著者

平山 敬二

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.39, no.1, pp.9-21, 1988-06-30 (Released:2017-05-22)

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Schiller teilt das Erhabene in das Theoretischerhabene und das Praktischerhabene, und letzteres in das Kontemplativerhabene und das Pathetischerhabene ein. Das Grundgesetz dieser Einteilung liegt darin, wie die Freiheit im Gegenstand erscheint. Man kann verstehen, dass Schillers Bestimmung des Schonen "Freiheit in der Erscheinung" fur das Erhabene ebenso gultig ist. Die im Schonen erscheinende Freiheit ist die Freiheit in der Zusammenstimmung von der Vernunft und der Sinnlichkeit und die im Erhabenen erscheinende Freiheit ist die Freiheit in der Un-Zusammenstimmung von der Vernunft und der Sinnlichkeit. In beiden Fallen ist die dort erscheinende Freiheit eigentlich das Ubersinnliche in der Erscheinung. Aber im letzteren, nahmlich im Falle des Erhabenen insbesondere kann man sagen, dass das der Ausdruck der moralischen Freiheit ist, da das Ubersinnliche dort im Widerspruch zwischen der Sinnlichkeit und der Vernunft gezeigt wird. Schillers Theorie des Erhabenen begrundet eindeutig die tragische Kunst im Bereich der Asthetik, und zugleich ist sie hochst bedeutungsvoll fur das vollige Verstandnis seiner Gedanken zur asthetischen Erziehung des Menschen und auch zur Betrachtung seines eigenen asthetischen Standpunktes, besonders im Verhaltnis zur kantischen Asthetik.

著者

藤田 治彦

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.1, pp.14-26, 2003-06-30 (Released:2017-05-22)

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Yanagi Muneyoshi (1889-1961), leader of the Folk-Craft movement of Japan, felt sympathy for William Morris (1834-1896) as the central figure of the Arts and Crafts movement of England. Yanagi's sympathy was not for Morris' aesthetics of crafts but for his life and activities. Yanagi felt that Morris' work and idea of craft was too much art-oriented and suggested that it was Morris who divided the arts into fine arts and crafts, mainly based on his misunderstanding that the Arts and Crafts Exhibition Society was formed and named by Morris. Yanagi asserted that there was no precedent of the combination thus separation of these two words or ideas "arts and crafts" before 1888 when it was established. But, its prime movers were some of Morris' followers such as Walter Crane or W. A. S. Benson, and the term "arts and crafts" was coined by T. J. Cobden-Sanderson. "Arts" of the "arts and crafts" meant "design" rather than "fine art, " while "crafts" meant "handicraft, " judging from the catalogue of its first exhibition and some other related materials. Realizing new movements in rapidly industrializing Europe in the mid-1910's, a group of younger members of the society moved to form the Design and Industries Association. The Arts and Crafts Exhibition Society kept its name until 1959 when it was renamed the Society of Designer-Craftsmen. If it were Morris who divided the arts into fine arts and crafts in England, it was Yanagi who separated them into bijutsu (fine arts) and kogei (crafts) in Japan. The fact is that Morris was worried about the arts fallen apart from one another. Yanagi was also concerned about it. This seems to be a kind of "Oedipus effect, " a term introduced by Karl Popper to describe the influence of a theory or expectation or prediction upon the event which it predicts or describes. Lost in Europe, unity of the arts was also going to be lost in industrializing Japan. It was the time of Japan's occupation of the Korean Peninsula. As Morris had started his lectures on the decorative arts from his activities in the Eastern Question Association mainly dealing with the Balkan Peninsula issues and the Society for the Protection of Ancient Buildings, Yanagi started writing simultaneously on crafts and the protection of historic Korean buildings threatened by Japan's demolition scheme. Though different in their aesthetics, times and places they lived, Morris and Yanagi shared ethics or social ideals, rebellious and activist spirit, as well as the age of worldwide industrializaion and colonization.

著者

植村 耕三

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.8, no.3, pp.45-50, 1957

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Since the latter half of the 19th century, under the influence of evolutionism, the word "progress" or "development" has been used in the history of music, including various ranges of meaning. At the time when the shadow of still deepening mistrust is cast over the dogma of "progress", a further examination about this idea must be required also in the field of music. The present paper investigates the three meanings of the "progress" : that is, (1) complification : (2) increase of technical rationality : (3) increase of value. And it indicates the common fallacy which regards the technical complification in composing as an increase of the aesthetic value.

著者

源河 亨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, 2017

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Peter Kivy claims, from his early works, that music cannot arouse "garden-varietyemotion" such as joy, anger, fear, sadness. According to him, the emotion aroused bymusic is a special "musical emotion"; the object of this emotion is always music. Thisclaim seems to be counterintuitive and thus elicits many objections from philosophers,musicologists, psychologists, neuroscientists, and artists. However, I will argue thatKivy's position is most plausible given the philosophy of emotion. Especially, I will showthat there is no emotion deserving to be called "sadness" that is aroused by music. Byappealing to philosophical considerations on emotion, I will support the following twopoints that Kivy emphasizes. The first is the lack of an object. There are no sad things(no loss) while we listen to music. If sadness does not occur, the lack of an objectmakes no matter. The second point is the paradox of negative emotion. Sadness has anegative value and we prefer to avoid it. If we can accept this, why then, are we willingto listen to music that make us sad? Again, if sadness does not occur, there arises noparadox.

著者

本田 代志子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, 2018