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1 0 0 0 OA ピエール・ピュヴィ・ド・シャヴァンヌ作《眠る街を見守る聖ジュヌヴィエーヴ》再考 : パンテオン壁画の連関を通して

著者: 江澤菜櫻子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.85-96, 2014-06-30 (Released:2017-05-22)

Saint Genevieve Keeping Watch over Sleeping Paris by Pierre Puvis de Chavannes (1824-98), one of the mural paintings of the Pantheon in 1898, is known to be his masterpiece. This oeuvre has been interpreted in various ways, but the relationship between this and his other paintings in the Pantheon is often ignored. So, it is necessary to analyze it in relation to other murals, especially his triptych, Saint Genevieve Provisioning Paris, which is to its left. This thesis focuses on the point that Puvis constructed not only the connection but also the contrast between the triptych and Saint Genevieve Keeping Watch over Sleeping Paris. In the former, he aimed to express the movement of a crowd and explicitly presented the story of the saint, who saved Paris, which was under siege by the Franks, from starvation. By comparison with it, in the latter, he made a calm, tranquil composition, deleting the motives for explaining the war or the famine. This paper reveals the source and the process of making this contrast, and shows that in it he can represent the saint's two different aspects.

2021-01-27 20:24:00
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1 0 0 0 OA 黒人アフリカ絵画の誕生 : 一九二九年パリにおけるカリファラ・シディベの展覧会を中心に

著者: 柳沢史明
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.97-108, 2014-06-30 (Released:2017-05-22)

Cet article a pour but d'etudier la reception en Occident d'un peintre inconnu originaire du Soudan francais, actuel Mali, qui s'appelle Kalifala Sidibe(1900?-1930). Cette etude se base principalement sur les comptes-rendus de son exposition a Paris en 1929 et sur l'examen du discours sur la <<peinture negre>> du point de vue de l'emergence d'un nouveau type d'artiste noir. D'abord, nous etudions les idees generates de l'epoque sur l'absence du tableau en Afrique noire, notamment sur le plan historique. Et on analyse entre autres son image d'un noir <<authentique>>, a travers ses caracteristiques communes avec le peintre du Congo belge, Albert Lubaki. D'autre part, nous etudions la difference entre l'interet pour les sculptures africaines et l'interet pour la <<peinture negre>>. En fait, les tableaux de Sidibe furent apprecies par ses contemporains en Occident contrairement a l'<<art negre>> considere a l'epoque comme un art disparu. II s'agit aussi de l'emergence d'un nouveau genre artistique qui influenca revolution des relations entre l'Occident et l'Afrique noire. Les divers avis concernant Sidibe disent que ses peintures furent recues a la fois comme un prolongement de l'engouement pour le primitivisme de l'<<art negre>> et comme un vecteur sur le plan politique et culturel dans un contexte d'evolution des idees sur le colonialisme, le mouvement des noirs et l'emergence d'une nouvelle generation d'ethnologue.

2021-01-27 20:24:00
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1 0 0 0 OA メネストリエのバレエ理論からみたノヴェール : 『舞踏とバレエについての手紙』(一七六〇)における借用を巡って

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.65, no.1, pp.121-132, 2014-06-30 (Released:2017-05-22)

Des ballets anciens et modernes selon les regies du theatre (1682) by Claude-Francois Menestrier is known as one of the most important theoretical books on ballet. Being referred to by Cahusac who wrote the articles "Ballet" and "Danse" in Diderot's Encyclopedie, the book on ballet du cour seems to have had significant influence also on the 18th-century ballet reforms. This paper compares this book with Lettres sur la danse, et sur les ballets (1760) by Jean-George Noverre, showing that Noverre also wrote his Lettres on the basis of this book on ballet du cour. In the chapter 7 in Lettres, in which the rules of ballet are discussed, Noverre cites some lines from classical literature by Saint Augustine, Plutarch and Aristotle, from which Menestrier also quoted the same passages, (and actually Noverre seems to have borrowed these from Menestrier), but their arguments developed from these same classic quotes are completely different. By focusing the traits in common and difference in their arguments, this paper tries to reinterpret Noverre's statements in Lettres, revealing that this book relies on Menestrier's theory of ballet poetics.

2021-01-27 20:24:00
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1 0 0 0 OA アンソニー・ヴァン・ダイク《ティツィアーノとその情婦》(版画、一六三〇年頃)について(東部会平成二五年度第四回例会,例会・研究発表会要旨)

著者: 柏智久
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.145, 2014-06-30 (Released:2017-05-22)

2021-01-27 20:24:00
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1 0 0 0 OA 解釈学と論理学 : ダンハウアーからシュライアマハーまで

著者: 桑原俊介
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.1-12, 2014-06-30 (Released:2017-05-22)

In seiner "Hermeneutik und Kritik" (1818/19) setzt sich Schleiermacher mit der bisherigen Interpretation des Begriffs Hermeneutik auseinander. Er kritisiert das historische Verstandnis des Begriffs Hermeneutik als "Anhang der Logik". Was bedeutet seine Kritik? In dieser Abhandlung wird das chronologische Verhaltnis zwischen der Logik und der Hermeneutik von Dannhauer bis Schleiermacher dargestellt, um diese Frage zu beantworten. Die erste moderne Hermeneutik (hermeneutica) hat Dannhauer auf der Logik gegrundet ('pars logicae'). Diese logische Hermeneutik wird vor allem von den Philosophen der deutschen Aufklarung (Christian Thomasius, Friedrich Meier usw.) ubernommen. Schleiermacher hat seine eigene Hermeneutik aber als Methode gebildet, die von der Logik unabhangig ist. Dennoch behauptet er, dass Hermeneutik und Logik zwangslaufig voneinander abhangig gemacht werden mussten. Dabei sollte man nicht ausser Acht lassen, dass sich Schleiermachers Logik nicht mit dem bisherigen Verstandnis der Logik identifiziert. Er hat seine Logik zur Dialektik umgebildet und sie durch seine Hermeneutik erganzt und umgekehrt. Seine Hermeneutik bezieht sich auch auf den Begriff der Wahrscheinlichkeit (probabilitas, verisimilitude). In der zweiten Halfte des 17. Jahrhunderts erweitert sich der Bereich des wissenschaftlichen Wissens (scientia) von der Wahrheit (veritas) zur Wahrscheinlichkeit. Durch diese Erweiterung der Wissenschaft konnte die Hermeneutik als die moderne wissenschaftliche Disziplin verstanden werden, die sich nicht auf die logische Wahrheit bezieht, sondern allein auf der wahrscheinlichen Meinung begrundet werden kann.

2021-01-27 20:23:00
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1 0 0 0 OA 人間の自由と物語 : 『意志的なものと非意志的なもの』と『時間と物語』の交叉的読解を通じたリクール哲学の研究

著者: 櫻井一成
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.13-24, 2014-06-30 (Released:2017-05-22)

In Temp et recit (1983-5), Ricoeur posed the concept of "narrative identity," saying "subjects recognize themselves in the stories they tell about themselves." Subjects narrate their lives, and thereby understand why I am what I am. We can regard this mode of self-understanding as past-oriented. However, we should note that in the texts written during the same period, Ricoeur also emphasized the importance of future-oriented self-understanding and claimed that both modes of self-understanding interact with each other. That is, subjects can project their futures only starting from the narrative reconstruction of their pasts, and what they project as the future has a retroactive effect on their understanding of the past. Yet, how precisely does the narrative reconstruction of the past allow subjects to make new future? Ricoeur didn't clarify this course. The only way to concretize it is reinterpreting his theory of will in terms of time and narrative. It was in Le volontaire et l'involontaire (1950) in which Ricoeur told "I cannot will the new without finding the old and finding myself already given," that he discussed will and freedom. Therefore, by investigating the argument of Le volontaire et l'involontaire, this paper will elucidate and embody Ricoeur's conception.

2021-01-27 20:23:00
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1 0 0 0 OA ジョルジュ・バタイユ『マネ』における「沈黙」の様相

著者: 井岡詩子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.25-36, 2014-06-30 (Released:2017-05-22)

L'objectif de cet article est de proposer une nouvelle interpretation du <<silence>> dans Manet de Georges Bataille. Dans Manet, Bataille trouve les deux types de <<silence>> aux peintures de Manet et Goya. D'une part, selon Bataille, le <<silence>> chez Goya est le cri ou le balbutiement : il peut etre interprets comme exces du langage de la peinture. D'autre part, le <<silence>> chez Manet est apporte par une operation de destruction du sujet represente : l'operation est l'utilite et la fonction de la conscience, dans la Theorie de la religion. Cependant, selon Bataille, la fin de l'art n'est pas l'utilite. Pour cela, l'operation de Manet serait de detourner cette fonction de l'utilite, c'est-a-dire d'user cette fonction en tant que jeu. C'est ce que Bataille considere comme art moderne. On peut considerer les deux <<silences>> comme instant ou se presentent les deraisonnables (le cri, le balbutiement et le jeu) dans les raisonnables (le langage de la peinture et la conscience). Bataille respecte l'art comme occasion pour reconnaitre la revolte a l'interieur de la raison.

2021-01-27 20:23:00
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1 0 0 0 OA 「ローマ文化」の建設 : トラヤヌス記念柱の犠牲式図像に関する一考察

著者: 坂田道生
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.37-48, 2014-06-30 (Released:2017-05-22)

The column of Trajan was completed in 113 A.D. to commemorate the victory in the Dacian War. This paper reexamines the meaning of two sacrificial scenes (86, 98-99), which have been interpreted as the pledge for victory. In scene 86, the emperor performs sacrifice in front of a theatre in a harbor, while he pours libation in front of the huge bridge over the Donau allegedly constructed by Apollodorus of Damascus in scene 98-99. Before the reign of Trajan, sacrificial iconographies for the pledge of victory usually have temple architectures in the background, which implies gods the sacrifices are dedicated to. However, in the two scenes, typical roman architectures are represented in the background. I would argue that the two scenes represent not the pledge for victory, but commemorating the completion of typical Roman architectures. Two scenes may also have a meaning of praising Trajan, who completed the great construction in Roman colonies. This characteristics can also be seen not only in other scenes on the column of Trajan such as constructing roads, military camps and bridges, but also in the inscription on the base of the column.

2021-01-27 20:23:00
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1 0 0 0 OA 追悼の建築としての伝記集 : ヴァザーリ『芸術家列伝』再考

著者: 古川萌
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.65, no.1, pp.49-60, 2014-06-30 (Released:2017-05-22)

The lives of the artists, or Vite, written by an Italian painter and architect Giorgio Vasari (1511-1574), has been considered as one of the most important works in art historiography. However, since Vasari has shown the development of artistic styles and the triumph of maniera moderna in this work, a simple fact seems to have been overlooked for quite a long time, that this book is substantially a collection of artists' biographies, rather than an extensive treatise on the history of art. This essay returns to the fact, and attempts to reconsider the structure and purpose of this book. Epitaphs and woodcut portraits of artists contained in Vite are examined to demonstrate how Vasari views these biographies as funerary monuments to assure their eternal fame, making the whole book a temple to house them. Through the analysis, Vite will also reveal itself as a tool to promote Cosimo I de' Medici's artistic patronage. This is achieved by echoing the act of mourning their artists, which was practiced by such people as Cosimo il Vecchio de' Medici and Lorenzo de' Medici, consequently emphasizing the continuity from the Florentine Republic era.