著者

柿沼 美穂

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.71, 2018 (Released:2020-03-23)

著者

加藤 隆文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.72, 2018 (Released:2020-03-23)

著者

兼内 伸之介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.153, 2018 (Released:2019-06-01)

著者

青木 孝夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.154, 2018 (Released:2019-06-01)

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, pp.155, 2018 (Released:2019-06-01)

著者

長野 順子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.155-2, 2018 (Released:2019-06-01)

著者

岡林 洋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.155-3, 2018 (Released:2019-06-01)

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.121, 2018 (Released:2019-06-01)

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The arabesque, a figure symbolic of ballet, was first defined as body attitude by Italian ballet master Calro Blasis. Falcone discusses a strong influence on Blasis’ theory from artists who took inspiration from the frescoes of Herculaneum excavated in the middle of 18th century, when the concept ‘arabesque’ was introduced into dance. This essay revisits the prehistory of arabesque from a different perspective than Falcone’s, focusing the close relation of the decorative art to dance from the 17th century, especially its relation to mascarade and dance notation. With this view, I study texts, in which ‘arabesque’ is referred to, by leading 18-century choreographers Noverre, Dauberval and Pierre Gardel and examine their different interpretations of the term, taking into account the fact that ‘arabesque’ was a synonym of ‘grotesque’ at that time. I also delve into the functions of the constructional elements, lines and figures, of arabesque in the decorative art and how their counterparts of arabesque in ballet work. Finally, regarding arabesque in ballet as a kind of device for transforming the body from a present figure into another, I argue that Blasis’ arabesque could first emerge when the dancing body was to be made through technique, not through disguise.

著者

清水 康宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.133, 2018 (Released:2019-06-01)

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In the 19th century Beethoven’s Missa Solemnis was criticized for not being suitable for a church service because of its large-scale orchestration and difficulty in a vocal part. Ludwig Nohl, a music critic who was around “the new German school,” however, argued the significance of this Mass as the religious music and the religious manner of the composer, instead of discussing its usability in the worship of the church. He considered Missa Solemnis as “Scheinmesse (apparent Mass)” which was dissolved into a merely aesthetic appearance. It was because that the “transcendent” mindset of the composer never realized the beauty which was not “apparent” but concrete or “immanent” and was for the German people. This mindset was created from the personality of this composer as “Humorist.” In this Mass, Nohl found the expression of the complex mind which modern artists had. The precedent studies show that Nohl only evaluated this Mass negatively, but in this paper, I examine his document in more detail and explore how he actually thought about the significance of this Mass.

著者

佐々木 秀憲

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.148, 2018 (Released:2019-06-01)

著者

藤井 泉

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.149, 2018 (Released:2019-06-01)

著者

長尾 天

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.151, 2018 (Released:2019-06-01)

著者

安川 智子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.152, 2018 (Released:2019-06-01)

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.69, no.1, pp.13, 2018 (Released:2019-06-01)

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In his letter to Pier Vettori written in 1560, Girolamo Mei gives a classification of the arts in a pedigree-like diagram. It is a coherent system that contains, mutatis mutandis, painting, sculpture, poetry, music and dance, resembling, or surpassing, that of Charles Batteux. While this prima facie appears to be a mere graphic representation of Aristotle’s discussion of the three means of poetry and their combinations in the Poetics, Mei supplements it with modern theories and practices of art such as chiaroscuro and casting. He is not merely elucidating Aristotle’s thought in a purely scholarly manner, but presenting his reader(s) with a clear, complete picture of what the ancient theory is about, in a form easy to understand and ready to use. Such an orientation is also found in his description of ancient tragedy as an entirely musical drama, sung from beginning to end, and in his interpretation of the ancient theory of the modes, based on which he criticized his contemporaneous practice of polyphonic music. Yet, ancient theories are for him not so much raw material (pace Palisca) for a new product, as an old garment to be remade for a new use, utilizing as much part untouched as possible.

著者

山口 沙絵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.25, 2018 (Released:2019-06-01)

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Paradox is one of the central concepts in the early philosophy of Friedrich Schlegel (1772-1829) and underlies his unique theoretical endeavors. This study examines its meaning, function and significance, which have, despite its apparent importance, rarely been independently discussed. While paradox has often been identified with logical self-contradiction, a historical contextualization shows that in Schlegel’s time, it was primarily understood in its most etymologically fundamental meaning, namely as “contrary to expectation”. When Schlegel encouraged the quality of being paradoxical as desirable in philosophy, he was aiming for a confrontation with the reader’s preconceived assumptions (be it socially shared or more personal). It is, as Kant argued, often a hazardous enterprise to entertain a paradoxical opinion. However, according to Jacobi’s interpretation of Lessing’s paradoxes, the contradiction itself can operate educationally; it prompts readers to re-examine their own beliefs and the interrelations between them. Following Jacobi in this respect, Schlegel recognizes the importance of paradoxes in their capacity to stimulate the ability of people to think for themselves. Self-contradictions, which arise only when the act of contradiction is applied self-reflexively, form the basis of Schlegel’s dialectic philosophy.

著者

八幡 さくら

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.37, 2018 (Released:2019-06-01)

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Beim Betrachten einer Landschaft kann man innerlich ein harmonisches Gefühl mit der Natur haben. Das Gefühl wird durch die Vermischung von Subjekt und objektivem Gegenstand verursacht. Dazu betont Schelling die „Stimmung“ in der Landschaftstheorie in der Philosophie der Kunst. Der Begriff der Stimmung beinhaltet nicht nur das innere Gefühl, sondern auch die Atmosphäre der Umwelt. Schelling bewertet die Landschaftsmalerei ambivalent und bemerkt, dass Landschaftsmaler „die Einheit einer Stimmung“ ausdrücken sollen. Zudem betont er in Über das Verhältnis der Kunst zur Natur, dass der Künstler den „Naturgeist“, d. h. die Produktivität der Natur, darstellen soll. Schellings Urteil über die Kunstgattung steht unter Einfluss von der Kunstlehre bei A. W. Schlegel. Darin charakterisiert er, dass Landschaftsmaler „die musikalische Einheit“ in ihre Werke legen. Um Schellings Landschaftstheorie zu begreifen, vergleiche ich seine Theorie mit Schlegels. Danach analysiere ich die Anwendung seiner Theorie auf konkrete Landschaftsmalereien von J. A. Koch, den Schelling sehr schätzt. Anschließend interpretiere ich, dass die Stimmung eine Art des Gefühls im Subjekt nicht nur im Maler, sondern auch im Betrachter ist, das Objekt der unbewußten Seite mit dem Subjekt der bewußten Seite zu vereinigen.

著者

伊東 多佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.49, 2018 (Released:2019-06-01)

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Environmental Art has often been discussed in the context of recent Anglo-American Environmental Aesthetics. Even though environmental art has developed too many different varieties of forms of expression for a half century to summarize them as an art movement, it is generally known as Land Art and Earthwork, large scale “artwork used natural environment itself as its material”, which emerged in late 1960’s in the USA. Because the earliest examples of Earthwork, especially such as Double Negative by Michael Heizer in 1969-70, excavated by bulldozers and dynamites, they were often criticized for the lack of environmental sensibility. In this paper, I will examine the recent environmental aesthetics’ debates about ethical issues surrounding environmental art, especially on Allen Carlson’s “Is Environmental Art an Aesthetic Affront to Nature?” and the following debates. I clarify that the appreciation of environmental art blurs boundaries between appreciation of nature as nature and that of art as art, and that environmental art expresses the very complicated contemporary natural environment where the dichotomy between nature and art or the natural and the artificial has already been annihilated. I will try to evaluate environmental art both aesthetically and ethically from the viewpoints of artistic and ethical value.

著者

今井 澄子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.61, 2018 (Released:2019-06-01)

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In the fifteenth century, early Netherlandish paintings had a significant impact throughout Europe. Although its influence on each country has been an important topic of discussion so far, the impact on England has not been adequately examined. As only a few Netherlandish paintings of the fifteenth century exist in England, their importance can be revealed from the context of “self-admiration” of the collector. As one typical example, this article analyzes a triptych ordered to Hans Memling by an Englishman John Donne, now located in the National Gallery in London, along with the Flemish illuminated manuscripts collected by Donne. First, we examine the Donne Triptych in terms of “prayer portraits.” Although the significance of this motif has not been adequately recognized, Donne and his family emphasized their status through their clothing and position in the painting. Moreover, they modeled after the portrait of the Duke of Burgundy and his wife. Second, in terms of the social position of Donne and the taste of the English court, we can consider that Donne intended to use his collection of Netherlandish art as a means of selfadmiration in England. Accordingly, Donne and his collection played an important role in propagating Netherlandish arts in England.

著者

三井 麻央

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.73, 2018 (Released:2019-06-01)

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Die Entwürfe der Wandmalereien an der Fassade des Alten Museums Berlin hat der Architekt Karl Friedrich Schinkel nach denen des Museumsbaus 1828 begonnen. In diesem Aufsatz wird versucht, die Rolle der Wandmalereien, ihre Verbindung mit anderen Motiven des Museumsbaus sowie mit der Umwelt in der Stadt von einem anderen Standpunkt aus zu betrachten. Das Alte Museum Berlin wurde als erste Gebäude in Deutschland nur zur Benutzung des Museums erbaut und hat seither die anderen Museen in Europa stark beeinflusst. Außerdem befand sich die Stadt Berlin damals im Umbruch zur modernen Stadt, wobei auch die Entstehung des Alten Museums Berlin zu dieser Veränderung zu zählen ist. Besonders die Wandmalereien waren das wichtige Medium für das Publikum, um die Idee des Museums mithilfe der großen Bildfolgen mitzuteilen. Weiterhin aus der Überlegung mit den anderen Arbeiten Schinkels, die die Stadtplanung Berlins enthaltend, kann geschlußfolgert werden, dass die Wandmalereien, die Grenze zwischen außerhalb und innerhalb des Museumsbaus ausmachen, die Rolle hatten, das Museum als den Tempel der Schönheit in der modernen Stadt Berlin hervorzuheben.

著者

小寺 里枝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.97, 2018 (Released:2019-06-01)

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Dans l’immédiate après-guerre à Paris, Jean Dubuffet a expérimenté plusieurs matières picturales et ainsi réalisé des tableaux dont l’épaisseur de l’huile et des grattages rendent leur sujet peu transparent. Les oeuvres de la période la plus féconde de ce peintre sont marquées par la matérialité de la peinture. Quel rôle jouait la matière dans sa pratique artistique ? Alors qu’il est sûrement l’un des artistes les plus controversés du XXe siècle, ces premières années ne sont pas complètement dévoilées. Afin d’apporter un éclairage nouveau sur ses pensées sur l’art et ses oeuvres, l’objectif de cet article est d’examiner la matérialité chez Dubuffet en se référant aux circonstances artistiques, scientifiques et littéraires des années 1920 aux années 1940. En effet, durant ces années, plusieurs artistes et intellectuels se sont intéressé à la dimension matérielle de l’art, avec un focus particulier sur la notion de l’art. En outre des publications, des correspondances de l’époque permettront de montrer que pareil regard était au fond étroitement lié au souci de la société contemporaine, alors bouleversée. En mettant le pivot de l’analyse sur Dubuffet, cet article veut à la fois reconsidérer la matérialité de l’art et des discours artistiques du XXe siècle.