著者

村瀬 博春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.94-96, 2005

著者

橋本 梓

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.4, pp.69-82, 2004

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The purpose in this study is to reconsider the relationship between Alberto Giacometti and Georges Bataille. This relationship was first noticed by Rosalind Krauss. In her study, she claimed that Giacometti's work has horizontality, and this responds to Bataille's "Bas Materialisme" which is an idea established in Documents. However, I think her argument is not complete because she undervalued another important character of Giacometti's work. That is violence, which means exactly death. Violence is also an important moment for "Bas Matreialisme" which is intended to collapse the philosophical hierarchy. According to Bataille's later works, this violence is banned ("interdit") in our daily life, but since we are attracted by it, it must be transgressed. Bataille claims the importance of death by showing "sacrifice" in which executor kills living thing or destroys non-living thing. In Giacometti's surrealist work, we can find some motives of murder or destruction. Those works represent the moment before the execution of murder or destruction. This Giacometti's work's special structure causes an impulse to destroy. In other words, it demands that the spectator should play the role of executor of "sacrifice". For example, in Fleur en danger, the spectator may want to cut the string which is pulling the wood bar, and that will cause the white thing ( it may symbolizes flower) to be destructed. The work provokes the spectator to confront the idea of death, both killing and being killed. Viewing Giacometti's work as "sacrifice" can be a false-experience of death.

著者

堀内 彩虹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.13, 2018 (Released:2020-03-23)

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This paper examines the phenomenon in which a listener perceives other’s singing voice through his/ her own physical presence originated from the listener’s singing body. This analysis focuses on the features similar to auscultation, one of the medical practices, in the listening process, and considers the auditory spacing and its relation with the listener’s body. Auditory perception, in contrast to visual perception, has been described as a passive sense because it is impossible to close our ears the way we close our eyes. However, this study seeks to demonstrate that listening to singing voice is means of active inquiry and there are subjective behaviors in the listening process.

著者

紙屋 牧子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.109-120, 2012-06-30 (Released:2017-05-22)

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Hanakosan (1943, TOHO, MAKINO Masahiro) was made into a film from comic serials by SUGIURA Yukio published in a magazine, that is, Jugo no Hanakosan (Hanako-san at the Home Front, 1938-1939), Hanayome Hanakosan (Hanako-san, the Bride, 1939-1940), Hanakosan Ikka (Hanako-san and Her Family, 1940-1945). As for the past evaluations of Hanakosan, many critics and researchers have pointed out that it was a thoroughly light and joyful musical comedy, influenced by Busby Berkeley films, against the national policy under the wartime. I would like to send back Hanakosan into the historical context of the politics during the period, and clarify elements of a "superb" war propaganda that were forgotten in a process in which the film became a myth. And I would like to elucidate that this war propaganda is formed in a dimension even beyond a director himself and the state power.

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.64, no.1, pp.183, 2013-06-30 (Released:2017-05-22)

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.66, no.1, pp.89-100, 2015

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In this paper I will present one interpretation of Allen Carlson's theory for aesthetic appreciation of nature. Carlson claims that we must know commonsense/scientific categories of nature for appropriate aesthetic appreciation of it. There are two intentions behind his statement: one is to make an objective theory for the judgment of nature and the other is to advocate for the assertions of environmentalists on pristine nature. According to these intentions I think Carlson assigns two different roles to those categories, and consequently he assigns two different kinds of aesthetic properties for the same nature through those categories. First, those categories can function to determine the focus of aesthetic appreciation of nature. Here Carlson depends on Kendall Walton's theory of categories of art and applies it to aesthetic appreciation of nature. In this case categories reveal some aesthetic properties that depend on non- aesthetic (physical) properties of nature. Second, categories can function to show the positions of objects in natural order. Through this function categories reveal aesthetic properties that objects can have in relation to natural order. Finally I will point out the difference and similarity of those two aesthetic properties and show the limit of Carlson's view.

著者

林 卓行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.4, pp.56-66, 1995

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No one could deny that "Minimal art" is one of the most significant movements of contemporary art in 1960s. Donald Judd, sometimes called one of the "Big Five" of Minimalists, strongly hated the name. His hate is natural for the originality of his works is often beyond the concept of Minimal Art. Judd, as "empiricist, " insists on the clarity and reality of his works, and the originality of his spatial (though not in traditional sense) works is in them. His refusal of 'composition' and 'illusion (of pictorial space)' is derived from this, because of indefinability of the former and falsity of the latter. But his works could be 'real' as long as they are visually identified and their 'clarity' means such visual identifiability. As if "What you see" were inevitably "what you see" (Frank Stella), for Judd, visual objects never loses their identities and also vision itself never do their subjective and intersubjective ones. In other words his works are created to be visually identified. The true innovation of Judd's works must be this radical identifiability because all past visual works consequently have been intended not to be visually identified, to leave behind some virtual elements of them.

著者

皆川 達夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.20, no.2, pp.54-74, 1969-09-30 (Released:2017-05-22)

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In this article formation and chronology of the Cyclic Mass are discussed : according to the present writer's terminology of a Cyclic Mass, the five sections of Ordinarium Missae are unified by the use of same Cantus Firmus and the Motto (Kopfmotiv). The writer tries to conclude that the Cyclic Mass-form can be one of the criteria of the Renaissance music, that the groping of the Cyclic Mass-form on the 14th century can be regarded as the "proto-Renaissance, " the end of the Medieval music, the formation of the form on the middle of the 15th century as the commencent of the Renaissance music, and the decline of the form on the middle of the 16th century as the fall of the Renaissance music and that the Masses after that period, including the works of Lassus, Palestrina and Victoria should be rather classified as the works of Manierism.

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.64, no.2, pp.61-72, 2013-12-31 (Released:2017-05-22)

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This essay deals with texts from 1928 until 1940 by Takiguchi Shuzo, a poet, art critic, and theoretical advocate of Japanese Surrealism. Through these texts, I would like to clarify how Takiguchi interpreted French Surrealism, and the extent to which these ideas were transplanted in Japan in the 1930s. His Surrealism was not a temporary form or style of art, but a system of thought with universal, eternal, and ultimate value. It was also an experiment to realize the liberation of the human spirit. In as much as it was ultimate, it could and must be perfectly applicable to any country. On the other hand, when Takiguchi faced this imperfect application and superficial understanding in Japanese Surrealism, he became aware of himself as Japanese, and developed his theory so as to connect Japanese originality in the absorption of Surrealism with the Japanese tradition of reverie. It has been often said that his nationalistic ideas, which connected avant-garde art to Japanese originality, were a reluctant "tactical retreat" intended to ensure the survival of the avant-garde. In this essay, I would like to propose a different viewpoint: that such his attempts reflected his internal requirements for the absorption of French Surrealism.

著者

李 裁仁

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.79, 2016 (Released:2018-01-01)

著者

松谷 容作

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.135, 2015-12-31 (Released:2017-05-22)

著者

近藤 亮介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.73-84, 2014-06-30 (Released:2017-05-22)

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Shortly after the establishment of the Picturesque as the third aesthetic category, following the Beautiful and the Sublime, several pieces of English literature dealing with the Picturesque were published. One of the most popular pieces was William Combe's satirical poem, The Tour of Doctor Syntax, in Search of the Picturesque (1812). Dr.Syntax's character is based on Rev. William Gilpin, an advocator of the Picturesque. The poem indicates Combe's upper-class bias and middle-class focus: is not criticizing Gilpin himself, but rather the public fervor his theories kindled. In particular, Combe criticizes the popular picturesque tour. I suggest this is due to Combe's moral stance, and class affiliations. He sympathized with Quakerism, a middle-class Separatist group, for their pacifist tendencies. Although born into a merchant family, Combe tended towards upper-class conservatism, feeling that, unlike lower classes, they less often introduced urban vices to the countryside. His esteem for Quaker ideals of peace and simplicity, and for upper-class refinement as opposed to bourgeois populism, shapes this poem. While much scholarly attention has been paid literature criticizing upper-class notions of the Picturesque, this article focuses on Combe's criticism of the middle-class, and his reasons for it.

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.62, no.2, pp.110, 2011-12-31 (Released:2017-05-22)

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.52, no.3, pp.65, 2001-12-31 (Released:2017-05-22)

著者

花澤 志

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.14-27, 2004

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Marcel Duchamp (1887-1968) was in contact with the Salon Cubists in his cubist period (1911-1912). Unlike Picasso and Braque, they formulated some theories based on the new concepts of philosophy, literature, and physics in the early 20th century: Time, Simultaneity, and the Fourth Dimension. These concepts are related to their Platonistic quest for truth, and Time and Simultaneity functioned as the ways to represent the invisible truth, the Fourth Dimension. Thus it is conceivable that Duchamp also sympathized with their quest for truth. In the Cubists' paintings the fragmentation of an object caused by Simultaneity results in the destruction of a narrative sequence in the traditional paintings; on the contrary, Duchamp's paintings like Nude Descending a Staircase, No.2 carry it because he depicts an autonomous movement of an object, and a painter sees it from a static viewpoint. Furthermore, he depends on the relationship between words and painting to imply the Fourth Dimension. Consequently, I concluded that the uniqueness of Duchamp is that he never excluded the external elements such as words from painting; In other words, he still carried the viewpoint of a traditional painter.

著者

橋本 周子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.13-24, 2011

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Dans cet article, nous souhaitons eclairer le concept de gourmandise selon Brillat-Savarin par la lecture de son texte. Dans les recherches precedentes sur l'histoire de l'alimentation a Paris d'apres la Revolution Francaise, it est de coutume de decrire la vie a Paris comme une scene de carnaval. Dans ce contexte, le texte de Brillat-Savarin, qui est considers comme une sorte de symbole de la culture de la gastronomie francaise grace au succes de la Physiologie du gout (1826), n'a pas ete suffisamment analyse jusqu'a aujourd'hui. Bien que le titre nous false imaginer qu'il admire completement le <<gout>>, la chose la plus importante pour l'auteur fut en effet le plaisir modeste donne par la <<convivialite>>, qui est a l'ecart du plaisir sensuel du <<gout>> physique. Nous considerons d'abord son approche de justifier l'acte de gourmandise, non comme un vice mais comme un acte recommandable pour l'entretien du corps. Ensuite, apres avoir vu comment it transpose cet argument au niveau de la morale de la societe, nous considerons la tendance de son concept de gourmandise qui tend a rapprocher le plaisir de la sociabilite, quitte a mepriser le plaisir sensuel qu'il avait pourtant precedemment justifie.

著者

村瀬 博春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.15-28, 2003

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Japanese Accomplishments such as Noh performance and Tea-ceremony are considered to be located on the final phase of development of Mahayana Buddhism in Japan based on principal scripture Lotus Sutra especially chapter on Expedient means that preaches even if infant draw image of Buddha by the wood tip on the ground capriciously, the act is regarded as meritorious deed toward enlightenment. That cultural environment cultivated artistry of Tawaraya Sotatsu's painting style which aims at stimulating transcendental wisdom by full use of fictitiousness. From this point of view Sotatsu's Wind God and Thunder God is interpreted as Vairocana and two attendants, namely Vairocana, Manjusri and Samantabhadra. According to the "Words of Lin-chi", Buddha with concrete image is a tempter who should be killed by a discipliner. Sotatsu incarnated Lin-chi's principle Zen idea perfectly by putting severed gold void in the center of the composition. Sotatsu made this work as the confession of his mind of final enlightenment. Ogata Korin issued a challenge to this work by making a copy and drawing Red and White Flowring Plum Trees which is the incarnation of the Leitmotiv of Noh drama "Eguchi" as abandonment of persistence. Through these works, Korin stated that he understood Sotatsu's profound artistic idea. This way of statement is originated in Zen Buddhism that is also the ideative Band between Tawaraya Sotatsu and Ogata Korin.

著者

高瀬 博文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.44, no.1, pp.24-35, 1993

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C'est vers la fin des annees 1950 que Lacan a change de direction de sa theorie sur les termes fondamentaux qu'il emploiyait : l'imaginaire, le symbolique, le reel. Depuis lors, le reel se trouve au centre de sa theorie. Lacan approfondit le concept du reel, en elaborant la logique de l'object a. Dans le symbolique se condense le sujet comme un signifiant. Mais cette condensation met en dehors du probleme l'etre de sujet qui n'est pas recupere dans le symbolique. A la fois s'y produit l'objet a comme le champs de la pulsion. C'est la logique lacanienne de l'objet a. En utilisant cette logique de l'objet a, Lacan presente sa theorie de peinture. II decouvre l'objet a dans la peinture. Dans la rupture du symbolique se montre l'objet a comme le regard qui a le caractere de 'donner-a-voir'. Parcequ'on ne trouve pas le champs qui se subordonne a l'articulation langagiere dans la peinture.

著者

辰巳 晃伸

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.1, pp.56-69, 2001

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Postminimalism, in the narrow sense, means the art by the generation next to minimalist artists, such as Eva Hesse and Richard Serra, who were representative artists at that time, and in the broad sense, it means "a series of art movements in the decade from 1965 to 1975, " which indicates the coinstantaneous developments of the time, including process art, earthworks, conceptual art, performance, and installations. Postminimalism, as well as minimalism, seems to correspond to the turning point from modernism to postmodernism, and therefore, seems to be one of the important clues, when we consider the argument about art and sites, such as current installations and public art. Arthur Danto, in his essay "Postminimalist Sculpture, " found the end of modern art in these works. The object made of daily and ephemeral materials, or the "dematerialized" work as an idea or a plan itself, for instance, as the object approaches zero, the environment or space where it stands is emphasized all the more, and in the end, art replaces the reality itself. However, I wonder if it is not until viewers participation in the empty space that postminimalist art takes shape, and we could find the potentialities of art in the setting and presentation of such devices.

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.49-60, 2011

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It is a familiar fact that the printed books wiped out the manuscripts in the late 15th century European intellectual world. However, the significance of it in the historical context is too complex to interpret as a mere technical invention. In the present paper I shall try to explain, though only in philological way, what sort of directions were given in the Renaissance humanism by printing and the printed books as the problem of the history of ideas. I shall not discuss the mode or artistic format of any incunabula and early printed books, mine is rather abstract task of trying to understand, through some documents of Italian humanists, the historical impact of printing on the Renaissance era. My aim will accordingly indicate the essential correlation of printing with the Modern form of knowledge. In my idea, printing has three aspects: (i) the institutional package which produced the public value of books by means of mass circulation, (ii) the product of a certain technologism which changed knowing as personal study into knowing as impersonal manipulation, (iii) the breaker of the traditional close relationship between the authors and the readers. One may find these aspects support our form of knowledge.