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.67, no.2, pp.82, 2016 (Released:2018-01-01)

著者

大道 周作

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.83, 2016 (Released:2018-01-01)

著者

岡野 宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.84, 2016 (Released:2018-01-01)

著者

岡本 源太

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.85, 2016 (Released:2018-01-01)

著者

小野寺 奈津

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.86, 2016 (Released:2018-01-01)

著者

小田部 胤久

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.1-12, 2016 (Released:2018-01-01)

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In section 2 of the third Critique (1790) Kant refers to the Iroquois sachem who said the cook-shops (not the palace) in Paris pleased him. The sachem seems to be a barbarian ensnared by appetite and incapable of disinterested pleasure. My paper, however, argues first that Kant, extracting this episode from “The History of New France” (1744) written by a French Jesuit missionary, Charlevoix, tacitly advocates the idea of the noble savage, thereby giving the Iroquois sachem the function of criticizing a luxurious civilization. Second, I show that in the “General Remark on the exposition of aesthetic reflective judgments,” Kant positively evaluates a castaway Crusoe (who is put together in one context with the Iroquois sachem in section 2) as a person who withdraws from civilized society with the consciousness that society is far from the moral ideal. The Iroquois sachem and the castaway Crusoe are examples that anticipate section 83 in the second part of the third Critique, which focuses on the role of the faculty of taste in the process of civilization, thereby incorporating Kant’s theory of taste in the first part of the third Critique into his whole system.

著者

木水 千里

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.37-48, 2016 (Released:2018-01-01)

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Des années trente, des galeries, des musées américains ont commencé à organiser des expositions surréalistes, dont le mouvement artistique né à Paris en 1924. C’est en ce moment-là qu’Alfred Barr Jr., premier directeur du MoMA (Museum of Modern Art) a présenté la composition opposée de l’art moderne européen: abstraction contre dada, surréalisme, en organisant une série d’expositions en 1936 intitulées «Cubism Abstract Art» et «Fantastic Art, Dada, Surréalisme». Nous porterons notre attention sur l’exposition Giorgio de Chirico, se tenant dans la galerie de Julien Levy à N.Y. et comptant parmi les deux expositions. Apparemment, on peut considérer que cette exposition a eu lieu dans le dessein de présenter le surréalisme aux Américains. Cependant, il est bien connu qu’Albert C. Barnes, écrit la préface insérée dans le catalogue, ne s’intéresse pas au surréalisme. Donc, se réservant à traiter de Chirico en tant que surréaliste, on essaye de trouver dans cet artiste une tendance du retour au classicisme des artistes d’avant-garde, connu au nom du «retour de l’ordre». Ce travail nous donnerons un point de vue à partir duquel nous réfléchirons à nouveau sur les mouvements artistiques européens modernes.

著者

江本 紫織

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.61-72, 2016 (Released:2018-01-01)

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Photographs have always been considered as showing the past due to their indexicality. However, this understanding fails to capture how and why viewers perceive time in viewing photographs. This paper presents a more nuanced model, focusing on two key points: annotations which extend photographic contents, such as explanations of photographs, related photographs, knowledge and memories which viewers have, and a triad of semantic organizations – depiction, representation, and reference – which affect viewers’ perceptions. First, this paper will look at the effect these annotations have on perceptions of time in photographs across various viewing situations. Further, we will analyze the connection between these annotations and the triad to help us understand the various and complex relationships photographs have with time, and how these relationships translate to the viewing experience. We will use these insights to explore how perceptions of time can vary based on photographic viewing conditions. By considering all of this as a whole, we can build a greater understanding of perceptions of time in viewing photographs, with much more depth than the current “past” model.

著者

真野 宏子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.152, 2016 (Released:2017-07-18)

著者

福田 弥

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.153, 2016 (Released:2017-07-18)

著者

大崎 智史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.154, 2016 (Released:2017-07-18)

著者

岡林 洋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.155, 2016 (Released:2017-07-18)

著者

瀧本 有香

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.156, 2016 (Released:2017-07-18)

著者

小林 直子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.157, 2016 (Released:2017-07-18)

著者

エンリコ フォンガロ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.158, 2016 (Released:2017-07-18)

著者

村上 敬

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.73, 2016 (Released:2017-07-18)

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Kiyo-o Kawamura (1852-1934) is one of the earliest Japanese painters who studied western style painting in Europe. Although the painter's main field was history painting, his style has been said to be a decorative one. But the meaning of the word is left vague. How can a painter make history paintings in a decorative style? To resolve this problem we apply the method of Rusu Moyo (“Absent Pattern”) to the painter’s masterpiece Kenkoku (“The Opening of the New Era”). Rusu Moyo is a composing method used mainly on Japanese traditional crafts. In the method, the main characters of the depicted story are absent from the scene. Instead, only the some attributes of the characters appear on the picture surface. Only good appreciators can enjoy the meaning and story of the works. In this paper, we insist that we can understand Kawamura’s Kenkoku more deeply by adopting this method. The picture turns out to be a mythological painting without gods.

著者

匂坂 智昭

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.85, 2016 (Released:2017-07-18)

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The archive has increased its functions in its relation to the technology surrounding it. The aesthetic archive as I have named it has the function of activating our sensitivity. The aim of this paper is to make clear why such an activation occurs. We can’t, as Spieker has pointed out, avoid seeking connections between materials in an archive, because we suppose they share the same principle of provenance. According to Wittgenstein, what we do in an aesthetic investigation is to place things side by side, thereby “to exhibit these features”, and “to draw one’s attention to certain features”. We can also show an internal relation among them by placing things side by side, thus we can help others notice an aspect. It follows from these thoughts of Wittgenstein’s that to place things side by side is to show an internal relation of these, and to draw attention to these features. In the aesthetic archive, our attention is drawn to the features of the materials because they are placed side by side. Thus we grasp them aesthetically.

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.67, no.1, pp.97, 2016 (Released:2017-07-18)

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Jean-George Noverre, a godfather of action ballet, describes his earlier pieces with the discussion of ballet poetics in his book. Though action ballet is sometimes called “dramatic ballet,” his pieces don’t seem necessarily dramatic, judging from their synopses. This article puts Noverre’s theory and practice of ballet in perspective of those of ballet genres before the time of action ballet, namely, ballet de cour, opera- ballet and etc., and discusses in what meaning his pieces were “dramatic”. The seventeenth-century ballet theorists, Ménéstrier among others, remark that the ballet should be a mute comedy; it should be composed of diverse elements. To associate all the elements with the subject of work, Ménéstrier, who emphasized the diversity of ballet, advocated the rule of unité de dessein for his ballet poetics, abandoning the dramatic rule of unité de action -- these two unités are by their natures incompatible with each other. This article shows that the significance of the diversity in ballet poetics had been virtually diminished by the time of Cahusac, who emphasized rather dramatic aspects of ballet and suggested the idea of grande action, and that Noverre tried to realize this idea by adapting plots of opera-ballet with poor intrigue.

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.67, no.1, pp.109, 2016 (Released:2017-07-18)

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Ptolemy’s system of tonoi as Girolamo Mei in his chief treatise De modis (1567-73) interprets it is an amalgamation of both octave-species and pitch-keys. While they affect the listener in either terms, it is by different pitches that Mei most often talks of as the way they work. The correspondence of the pitch at which a melody lies with the emotion it excites was, according to him, arranged by “nature” itself, but has been developed by human usage. This speculative hypothesis is supported by Aristides Quintilianus’ and Plato’s evidence which Mei cites for ancient practice. The result is a grand theory, however sketchy it may be, of ancient music’s strong emotive power. Aristotle’s Poetics functioned as catalysis for this theory. For Mei assumed a crucial role of music in the overwhelming passions (pity, fear and catharsis) of ancient tragedy, which he interpreted from the Poetics as sung from beginning to end. Viewed from a historical perspective, Mei joined the two formerly unrelated traditions, of the mathematical theory of harmonics and of literary criticism prompted by the Aristotelian Poetics, for the first time in the history of Western music and philosophy. With him, music theory became aesthetics of music.

著者

浅井 佑太

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.121, 2016 (Released:2017-07-18)

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Nicht zuletzt seit dem 20. Jahrhundert bewahrten manche Komponisten in stärkerem Maße als bisher ihre Autographe für die Nachwelt. Zu den ersten solcher Komponisten zählen etwa Igor Strawinsky, Béla Bartók und Arnold Schönberg. Auch dessen Eleve Anton Webern bewahrte seine Skizzen auf, schrieb ihnen gleichzeitig eine gewisse dokumentarische Bedeutung zu. Auffallend ist hierbei, dass sich der dokumentarische Charakter seiner Skizzen im Laufe seines Lebens immer stärker ausprägte. Die vorliegende Abhandlung versucht, musikgeschichtliche Voraussetzungen dafür wie das damit verbundene historische Bewusstsein Weberns herauszuarbeiten. Hierbei wird sich zunächst zeigen, dass das Studium der Musikwissenschaft Webern in die Lage versetzt haben dürfte, die historische Relevanz der Skizzen für die Nachwelt zu begreifen. Zudem ist zu konstatieren, dass die immer deutlicher werdenden Züge des dokumentarischen Charakters seiner Skizzen mit seinem wachsenden Selbstbewusstsein eines Komponisten einhergingen. Daraus lässt sich schließen, dass Weberns historisches Bewusstsein zu dem dokumentarischen Charakter seiner Skizzen führte.