著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.1-12, 2012-12-31 (Released:2017-05-22)

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After "The Intentional Fallacy" (1946/54) by W. K. Wimsatt Jr. and M. Beardsley, the role of the artist's intention in the interpretation of artwork has been one of the central topics in analytical aesthetics. Recently, this issue has been mainly debated between moderate actual (MAI) and hypothetical intentionalism (HI). In this paper, I demonstrate some difficulties of MAI, comparing it with HI. First, I survey Carroll's version of MAI and point out its main arguments: accessibility to "actual intention" and the reliance on private documents. I examine them and show that the discrimination of MAI from HI is unclear. Additionally, I insist that, against Hans Maes' arguments, MAI has no advantages in interpreting contemporary art, because MAT overlooks the distinction between "semantic" and "categorial" intention, which Levinson draws. Since contemporary art employs diverse materials which have no code to mean something, semantic intention cannot play any role in making such artwork. Instead, categorial intention is the precondition for making it art and tells us how it is to be conceived or approached. Through this examination, I argue that there is no reason to maintain MAT, at least in Carroll's version.

著者

加藤 喜市

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.120, 2015-12-31 (Released:2017-05-22)

著者

太田 英伶奈

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.37-48, 2019 (Released:2021-05-08)

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Byzantine illuminated psalters with full-page illuminations for specific psalms (notably Ps. 1, 50, 77, 151) and for the Odes are called as ‘Aristocratic psalters’. The term derives from a mere impression that these psalters were commissioned by Byzantine aristocrats, though in reality 4 manuscripts out of 6 which we know the name of its patron were ordered by monks and nuns. The manuscript Dionysiou 65 housed by the monastery of the same name in Mount Athos is of special interest amongst these 6 manuscripts, with a illumination depicting its patron, Sabas, as the deceased. Including this image, the manuscript has at its beginning a unique iconographical programme which could be labeled as ‘Sabas’s Salvation Cycle’, consisting of 7 full-page illuminations. The 3 illuminations, ‘Sabas worshipping the Virgin (f. 12v)’, ‘Solomon (f. 13r)’ and ‘David (f. 13v)’ wrap up this cycle. The whole illuminations of the manuscript have not been fully studied, yet previous research on these 3 illuminations are particularly scarce probably due to their iconic nature, compared to the other illuminations with more narrative elements. This paper discusses the function of these 3 illuminations as prefigurating the Virgin and praying for the patron’s salvation.

著者

池田 まこと

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.37, 2016 (Released:2017-07-18)

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Language crisis occurred mainly in Germany and Austria of the early 20th century. It means the Situation that a language losts a function of the reality recognition. R. M. Rilke (1875-1926) is one of poets who experienced the language crisis. His crisis has been often compared with that of Hofmannsthal (1874-1929) conventionally. However, the comparisons were intended to rather give the common points of both. Therefore, this article tries to make their difference clear, and throw light on the originality of Rilke’s crisis. This report compares Rilke with Hofmannsthal with following three points: (1) the aspect of the crisis, (2) the factor of the crisis, (3) the way to solve the crisis. In conclusion, the aspect of Rilke’s crisis is more existential than that of Hofmannsthal’s crisis. The crisis of Rilke occurs on a road establishing the view of the world of own, and, for it, the crisis of Hofmannsthal produces it to defeat a view of the world that was already established. The former tries to solve his crisis through verbal expression, and, for it, the latter pursues nonverbal expression.

著者

新田 孝行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.133, 2016 (Released:2017-07-18)

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The staging of Norwegian opera director Stefan Herheim (1970-) is characterized by a critical musicology, such as musical hermeneutics of Lawrence Kramer. Like Kramer, Herheim takes advantage of the performative power of interpretation. His puzzle-like mise-en-scène, where a number of historical facts concerning the composer and the reception history are simultaneously visualized, is a summary of the information on the opera, which helps us to make up our stories. Equally important are the emotional and even religious aspects of Herheim’s staging. He often directs an opera to show that its tragedy was already done at the beginning. The unrealized possibilities are suggested by the coexistence of past and present which reproduces the ambiguity of reality. We feel regrets about the past of the characters, and about our own past. This experience has a cathartic effect of what I call operatic flashback, which functions as a therapy for us because we are not sure of the rightness of our choices about life in the era of postmodern loss of legitimacy. Opera has told incessantly the failed attempts to change the course of fate, most distinctively exemplified in the myth of Orpheus. Herheim’s opera is a postmodern version of the myth.

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, 2007

著者

松永 伸司

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.97-108, 2013-12-31 (Released:2017-05-22)

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When describing player's actions in videogame playing, we often use the sentences which seem to say that the player performs her actions within a fictional world. But it seems to be impossible for a real individual to act in a fictional location. Here is a puzzle. This paper attempts to analyze such sentences and solve this ontological puzzle. First, I examine some possible answers. Immersionism takes the sentences as expressing the player's experiences of immersion. Virtualism assumes that the sentences refer to players' actions within not fictional but virtual worlds. Realism says that the apparently fictional actions are really real. Fictionalism claims that the sentences are not true but fictionally true. I show that all of these are far from satisfactory. Then, I turn to two more sophisticated theories. Grant Tavinor's interactive fiction theory invokes Waltonian work-world/game-world distinction to account for the peculiarity of videogame fiction. John Sageng offers a realist theory according to which player's actions induce reference shifts from fictional happenings to on-screen happenings. But both have some fault as well. Finally, I claim that the apparently fictional actions are as real as actions in traditional games are, though specified by on-screen signs individuated by their fictional contents.

著者

中村 紀彦

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.49, 2018 (Released:2020-03-23)

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In this thesis, I discuss the projected-image practices of Thai filmmaker, Apichatpong Weerasethakul. Above all, his practices have been derived largely from his projectedimage practice, mainly by Ji-hoon Kim. Although these deal with Apichatpong’s projected-image practices in the framework of “cinematic” video installation, he only analyzes feature films so as to derive the characteristics of Apichatpong’s works from them. For this reason, previous research has overlooked his practices wherein the different elements of projected image/screen/viewer are intertwined. I examine the discussion of “cinematic” video installation, which is based on the preceding research, including the relationship between exhibition space and viewers by considering the installation work Phantoms of Nabua. This work attempts to contest the exhibition space and the local (Nabua village in Northeast Thailand). By intertwining multiple light sources/projected images/screens of this work, the viewer in the exhibition space is virtually placed in the local “site.” In this way, the viewer’s “decentralization” is promoted. Furthermore, by casting projection lights on the viewers, they appear as ghosts. Apichatpong’s practices are to reveal the presentation/ representation between cinema and installation. Finally, the overlapping of the “site” and ghosting of the viewer, allow for a reconsideration of the viewer him/herself in the installation art.

著者

新田 孝行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.44-55, 2009-12-31 (Released:2017-05-22)

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The development of Paul de Man's deconstruction as well as his theory of reading is closely related to the transformation of his discourse about music. In "The Rhetoric of Blindness (1971)", he states that melody is superior to harmony since the former deconstructs the mistaken illusion of imitation as his famous "deconstructive reading" does. Melody functions as a metaphor of the reading. What is at stake in "Shelley Disfigured (1979)", however, is neither melody nor harmony but measure. Measure is defined as articulated sound, present in both music and language. Reading merely according to the rules of measure or punctuation, called "syntactical or grammatical scansion", is another more important de Manian deconstruction, for the difference between the order of words (grammar) and their meanings (rhetoric), which de Man sees as most problematic, could be deconstructed by accident, as a result of failure to decide how to punctuate sentences in the process of the reading.

著者

平芳 幸浩

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.4, pp.37-48, 2001

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If it is true that Pop Art is the logical extension of Ready-Made, it is to the extent that Pop Art shows, symptomatically, the premise that creative act is no less the naming one as "this is art, " so that each speaker is virtually an artist. In the relation to this premise, how was vulgarity questioned in the critical discourse on Pop Art? The "cool" expression of Pop Art cannot free from the ambivalence of interpretation. Under such condition, three discursive circuits were set up around the vulgarity of Pop Art. First, the vulgarity was negatively interpreted as a peculiarity of degraded American society. Then, Pop Art was "naively" defined as the effective criticism of the society. And finally, the individual visions of Pop Artists were discovered behind their vulgarity. In either circuit, the criticisms avoided the problem that art was reduced to the only utterance, protecting the opposition of the artists against the society. By the same token, Ready-Made was interpreted as an pop icon of the contemporary society or its vicious symbol, and the "optical indifference" as the characteristic of Ready-Made was completely negated. Such distortion of the discourse is a symptomatic reaction to the reductive premise.

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.25-36, 2010-06-30 (Released:2017-05-22)

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Scholars in many disciplines have talked about the "hegemony of vision" in the modern Western culture and philosophy. We also know that the most critical issue of modern philosophy of perception had been the compatibility between vision and touch, as viewed in the prolonged discussion of Molyneux's Question. But, on the contrary, we know very little about the significance of audition and hearing in the tradition of modern philosophy. This paper is thus intended as a historical sketch of the status of hearing, examining the texts of three philosophers. For Herder, the ear is the most nearest sense to the soul, and the audition stands in the middle of our five senses, dominating the others. But, at the same time, he also attaches great importance to touch, inheriting the tradition of Molyneux's Question, and therefore presupposes a kinship between hearing and touch. Kant exiles the ear from his conception of the critique of judgment, preferring the eye as a normative sense for disinterested and formal judgment. But he emphasizes a moral function of the ear in his critique of practical reason, as an organ hearing the voice of reason, i.e. the divine voice. The ear, finally, gains a definitive advantage over the eye with Hegel. He describes the progress of Romantic art from painting to music as a process of the "negation of dimension." In his view, time is negation (or sublation) form of space, and equally the audition is that of vision. We can say therefore that the hypothetical "hegemony of vision" was never stable, and the status of seeing has always been challenged and undermined by the hearing in the course of modern philosophy.

著者

平野 千枝子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.97-108, 2010-12-31 (Released:2017-05-22)

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Gordon Matta-Clark (1943-1978) is best known for his 'building cuts', which involved the physical invasion of vacant urban buildings. Through these works, he criticized urban renewal and the standardization of space in order to achieve industrial efficiency. Though they received less attention than his architectural works, Matta-Clark was also heavily involved in 'culinary' projects from the outset of his artistic career. The most important of these was 'Food', a restaurant he opened in 1971 along with a group of collaborating artists. At the restaurant, Matta-Clark emphasized human activity and allowed for the purchase, preparation and serving of food to act as a metaphor for cultural transformation. Later, in 1975, he built on 'Food' by giving a performance called 'Cuisse de Bceuf' that involved his roasting 750 pounds of beef in front of the then under-construction Pompidou Center in Paris. Earlier in his career, Matta-Clark also used food as a motif in works such as 'Agar' and 'Museum', which highlight the natural ability of mold to transform the ingredients of food. These projects set out to demonstrate the variety and vitality of unrestricted nature. I divide Matta-Clark's culinary projects into representations of 'natural' and 'cultural' transformation (after Levi-Strauss' The Raw and the Cooked') in order to discuss how Matta-Clark's motif of 'food as symbol of transformation' compliments his architectural work by criticizing the scientific and functional basis of urban renewal.

著者

三浦 俊彦

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.90, 2018 (Released:2020-03-23)

著者

平井 倫行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.25, 2018 (Released:2020-03-23)

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This paper examines the Japanese term irezumi which signifies tattoo. From ancient times, irezumi has also been called horimono (something that has been carved) in Japan. However, neither does irezumi imply to carve the body, nor can it be equated to sculpture. It has often been referred to as ‘painting on skin’. However, irezumi is not the art of drawing or painting on the skin. It is distinct from that. The above examples are words which express irezumi, but none of them are, strictly speaking, appropriate terminology. Irezumi involves the piercing of skin with a needle, and a needle is used to sew cloth, not to ‘carve’ into or draw on something. How, then, did irezumi come to be called horimono (sculpture)? This study examines the ambiguity of the term irezumi by documenting it in manuscripts dating from the beginning of the modern times to the Meiji period. This study also explores the aspect of costume that the term appears to articulate.

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.1-12, 2012

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After "The Intentional Fallacy" (1946/54) by W. K. Wimsatt Jr. and M. Beardsley, the role of the artist's intention in the interpretation of artwork has been one of the central topics in analytical aesthetics. Recently, this issue has been mainly debated between moderate actual (MAI) and hypothetical intentionalism (HI). In this paper, I demonstrate some difficulties of MAI, comparing it with HI. First, I survey Carroll's version of MAI and point out its main arguments: accessibility to "actual intention" and the reliance on private documents. I examine them and show that the discrimination of MAI from HI is unclear. Additionally, I insist that, against Hans Maes' arguments, MAI has no advantages in interpreting contemporary art, because MAT overlooks the distinction between "semantic" and "categorial" intention, which Levinson draws. Since contemporary art employs diverse materials which have no code to mean something, semantic intention cannot play any role in making such artwork. Instead, categorial intention is the precondition for making it art and tells us how it is to be conceived or approached. Through this examination, I argue that there is no reason to maintain MAT, at least in Carroll's version.

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.60, no.1, pp.2-15, 2009

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Ruins are places in which memories have been accumulated. For understanding the aesthetic phenomenon of ruins, we must make it clear what places really are. M. de Certeau considers a place as a configuration of the elements distributed within the relations of coexistence and a space as a crossing of historical subjects and 'a practiced place'. This conception of place is close to Gibson's 'ground theory' of space perception. The environment we perceive is, first of all, not an empty space but a place as a surface of the earth on which we are standing. The perception of the environment as the persisting structure of surfaces accompanies the perception of an instantaneous self, including the head, body, arms, and hands. And the nonperceptual awareness such as memory or expectation is made possible by the fact that the concurrent perception of the persistence of place and that of the change of a moving self are concurrent. Memory and expectation open a space of history. Yet the space turns back to the persisting place of a ruin when the history has come to be forgotten. The poetics of ruins consists not in retelling a history but in the awareness of the persistent linkage between us and the past.

著者

筧 菜奈子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.109-120, 2014-06-30 (Released:2017-05-22)

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This paper considers the influence from Oriental Calligraphy in Jackson Pollock's (1912-1956) "black paintings". The Black paintings are the series of monochromes that Pollock produced from 1951 to 53. In these works, Pollock bled the ink on canvas. By these features, it has been considered that Pollock was influenced by Calligraphy. But Clement Greenberg, who is influential in the study of Pollock, eliminated the influence from Oriental art in Pollock's works. And his purpose is to present Pollock as a legitimate successor of European modernism. Therefore no one proved it clearly. However, in fact, there were many artists that were interested in Calligraphy around Pollock. Then, Pollock possessed some books about Oriental culture, and used tools of Calligraphy. Therefore Pollock was surely influenced by Calligraphy. Moreover, this Paper pointed out that Pollock often depicted letters. In the black paintings, Pollock also depicted the pictographic images that he had already painted before. The reason that Pollock was influenced by calligraphy may come from such concern about letters. Thus, adopting a style of Calligraphy, Pollock created a new way that could depict the past pictographic images in the black paintings.

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.158, 2012-12-31 (Released:2017-05-22)

著者

二宮 望

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.49-60, 2019 (Released:2021-05-08)

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Der vorliegende Aufsatz beschäftigt sich mit der Briefmarkenforschung Warburgs und setzt sich zum Ziel, seine politische Ikonographie darzustellen. 1927 hat Warburg mit dem derzeitigen Reichskunstwart Edwin Redslob eine Tagung über „die Briefmarke“ veranstaltet, um ihre Bedeutung als politisches Medium zu untersuchen. Es ist verständlich, dass die Briefmarke auf Grund ihrer örtlichen Beweglichkeit für Warburg ein interessanter Gegenstand war. Mit den Begriffen „Bilderfahrzeug“ sowie „Schlagbilder“ hat er seinen Blick auf die seit langem in der Kunstgeschichte unterschätzten Werke wie Tapisserien bzw. politische Plakate im Zeitalter der Reformation gerichtet. In der Briefmarkenforschung wurden der seefahrende Neptun und Benito Mussolini zu den Hauptmotiven. Dabei wird die komplexe Beziehung zwischen der Tradition der Repräsentation der politischen Theologie und die der heidnischen Antike entsprungene Bildtheorie analysiert. Die mimischen Körper von Herrschern, die nach dem historischen Muster in verschiedener Weise stilisiert und inszeniert werden, sind zur Grundlage der abendländischen Politik geworden. Die von Warburg entworfene politische Ikonographie erkennt die Bewegung und die Wirkung der Bilder im politischen Bereich und fordert uns stets zur historischen Reflexion auf.

著者

古賀 純子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.53, no.2, pp.53-65, 2002-09-30 (Released:2017-05-22)

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Olivier Messiaen (1908-1992) declarait que les rythmes observes dans le monde de la nature etaient des ideaux dans sa recherche du rythme musical. Il pensait que la structure du rythme classique, c'est-a-dire le rythme fonde sur la repetition de durees egales, est trop 'carree' pour exprimer la liberte et la souplesse du rythme naturel. C'est pourquoi il essayait de decomposer la structure traditionnelle. C'est par la technique serielle queil l'a detruite completement dans <<mode de valeurs et d'intensites>> (1949). Cependant, il a abandonne cette technique apres cette piece et s'est converti au 'style oiseau'. Il a note des chants d'oiseaux et faconne des oeuvres basees directement dessus. Que signifie sa convertion? Pour expliquer la pensee du rythme de Messiaen, le concept de <<duree>> de Bergson (1859-1941) est efficace. L'un et l'autre remarquaient que le rythme generique devie du temps homogene, et en plus ils avaient des idees tres positives et originales sur les ordres temporels inegaux et imprevisibles qui accompagnent la genese naturelle.