著者

小河原 あや

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.108, 2011-12-31 (Released:2017-05-22)

著者

加藤 有希子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.109, 2011-12-31 (Released:2017-05-22)

著者

細田 明宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.37-48, 2011-12-31 (Released:2017-05-22)

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In Bunraku, a single puppet is manipulated by three puppeteers. In this paper, we will consider the method of operating Bunraku puppets by referring to the theory of the Joruri narrative because Bunraku is formed by uniting Joruri and puppets. In the 17th century, special puppeteers, Tezuma ningyotsukai, appeared and showed off their clever techniques. Bunraku puppeteers, under the influence of them, wanted to manipulate finer movements and needed two assistants as co-operators. Thus, the manipulation method of Bunraku puppets was established in 1734. Furthermore, the mechanism inside of the Bunraku puppet head was made for richer expression of emotion; these mechanisms were used to show the puppeteer's technique in Tezuma puppets. Actually at that time, there was a significant change in the artistic theory of Joruri. From that point, the importance of expressing the feelings of the characters has been established. There is a similar claim written later in the theoretical book about how to operate the Bunraku puppets. In brief, the operation method of Bunraku puppets was established for expressing the character's feelings, in accordance with the artistic theory of Joruri.

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, 2011-12-31 (Released:2017-05-22)

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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.

著者

田口 かおり

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.61-72, 2011-12-31 (Released:2017-05-22)

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Cesare Brandi (1906-1988) wrote The Theory of Restoration in 1966 as an integral part of his general conception of art and there he identified the purpose and duty of restoration, which had not been fully developed in previous centuries. This research focuses on his specific theory of the reintegration of the lacunae. Brandi did not agree to a traditional method, restoring the original appearance of art by using the almost identical technique to an artist, which could end up producing a counterfeit. As an alternative, Brandi proposed the reintegration with neutral colour, in which the lacunae would be filled up with moderate colours somewhere between grey and ocher. Although quite a few restorers adopted his unique method, it gradually came to be considered inappropriate for its peculiar appearance so that it almost disappeared by the end of seventies. Slighted as a short-lived proposal, neither a true significance of an intervention with neutral colour nor Brandi's intention on this has been deeply argued. This paper treats the reintegration with neutral colour as an embodiment of Brandi's idea on respecting "time in relation to the art", and it will verify how Brandi's theory and that of his contemporaries correspond to the method of neutral colour.

著者

秋吉 康晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.102, 2011-12-31 (Released:2017-05-22)

著者

天貝 義教

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.103, 2011-12-31 (Released:2017-05-22)

著者

石黒 義昭

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.173, 2011-06-30 (Released:2017-05-22)

著者

今井 晋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.174, 2011-06-30 (Released:2017-05-22)

著者

一色 裕

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.175, 2011-06-30 (Released:2017-05-22)

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.62, no.2, pp.1-12, 2011-12-31 (Released:2017-05-22)

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From the early period of his career, Paul Ricoeur (1913-2005) focused on project and action as a form of self-understanding. In the 1970s, he associated the concept of self-understanding with the question of interpretation of poetic language such as metaphor and narrative fiction, arguing that the act of interpreting poetic works enabled the reader to project a new existence. However, Ricoeur's own account on this association is fragmentary, even containing internal contradictions. Especially, his idea of "the world of the text," despite its centrality in his argument, seems to conflict with his earlier thoughts. Yet, we should note that in Temp et recit (1983-5), Ricoeur reconsidered and modified that concept. Though virtually no attempt has been made to elucidate the significance of this modification, it is crucial to reinterpret his texts written in the 70's in light of the revision made in the 80's for understanding the design of Ricoeur's hermeneutics integrally. By investigating the process of the shift from interpretation to project in terms of the reader's act, this paper will reconstruct Ricoeur's apparently fragmented hermeneutics as a whole, thereby demonstrating that he regarded interpretation as an act of dialogue and a creative activity supported by imagination.

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, 2011-12-31 (Released:2017-05-22)

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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

新田 孝行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.25-36, 2011-12-31 (Released:2017-05-22)

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Jean Gremillon (1901-59) etait musicien avant de devenir cineaste et it a meme compose de la musique de certains de ses films. En effet, on a toujours parle de la musicalite de son cinema. Le plus remarquable, c'est que Remorques (1939-41), mis en musique par Alexis Roland-Manuel, a ete fait allusion a l'opera bien qu'il ne soit pas son adaptation cinematographique, ni un film-opera qui contient des scenes de sa representation. Si Remorques est une sorte d'opera, c'est parce que ce film est meticuleusement elabore au niveau des acoustiques comme par exemple dans la sequence finale evoquant l'agonie de la femme isolee (Madeleine Renaud) par l'oratorio qui commence tout apres sa mort. De plus, la direction d'acteurs et la figuration cinematographique chez Gremillon font apparaitre des secrets caches des comediens, en creant des personnages allegoriques comme celles de l'opera, dans le but qu'on soit invite a porter des hypotheses sur leur identite ou, selon les mots du cineaste, "trouver et rejoindre leur secret". Catherine (Michele Morgan) est plus et autre que ce qu'elle est comme Wotan ou Salome. Remorques, film qu'il existe des personnages operatiques sans voix chantee, peut etre lui-meme defini comme un double de l'opera.

著者

太田 峰夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.121-132, 2011-06-30 (Released:2017-05-22)

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In the first half of the 20^<th> century many musicologists tried to notate folk songs precisely by the help of recording media. In the case of Bela Bartok we can see that his notation of folk songs became more and more detailed as his career progressed. It is certain that the phonograph played an important role in this change in notation, even though several other factors such as the spread of "audile technique" for concentrative listening also could have been important as well. While Bartok believed that the track of record was the most authentic record of songs, he continued to use the traditional way of notation with additional signs. Consequently, aided by a phonograph with a headset, he could "discover" such unknown stylistic features as "Bulgarian rhythm" that might enlarge the vocabulary of traditional European art music. Considering his notion of "Bulgarian rhythm" as "common character of south eastern European folk music" on one hand, and the frequent appearance of "Bulgarian rhythm" with Hungarian stylistic features in his works on the other, perhaps we may say that phonograph contributed not only to his scholarly activity but also-if indirectly-to his modernist creative activity.

著者

千 宗員

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.133-144, 2011-06-30 (Released:2017-05-22)

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"Wabi" and "sabi" are the words that best express the idea of chanoyu. In this essay, I will consider how these concepts were interpreted and formed chanoyu philosophy by the successors of the founder of the way of tea Sen no Rikyu, through the words of the third generation Genpaku Sotan and the fourth generation Koshin Sosa. From Sotan's letter, it is clear that he was inclined towards "sabi" rather than "wabi". As an example, in the tea gathering, Sotan only used the minimum number of utensils in the smallest tea room. Sotan placed no value on special items or social position and led a life of poverty. He found value in simple and "roughness" things and called this idea "sabi". Koshin intended to continue in the spirit of "sabi", as can be seen in his tea writings. By "sabi" he means finding value in things as they naturally are, and the aesthetics and actions of chanoyu should be harmonized with nature. As a way of realizing this, Koshin took importance on training and through the accumulation of practice one could reach the state of "sabi" or achieve a state of mind that was at one with nature. Thus, Sotan and Koshin developed the philosophy of "sabi", which was not merely an aesthetic one, but one that sought to develop the spirit of a tea practitioner.

著者

河野 道房

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.145, 2011-06-30 (Released:2017-05-22)

著者

鄭 賢娥

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.168, 2011-06-30 (Released:2017-05-22)

著者

秦 明子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.169, 2011-06-30 (Released:2017-05-22)

著者

金子 智太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.170, 2011-06-30 (Released:2017-05-22)

著者

北野 雅弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.171, 2011-06-30 (Released:2017-05-22)