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1 0 0 0 OA 十八世紀パリにおける楽器の拡大とクラヴサン奏法発展に関する一考察 : クラヴサン製作家とクラヴシニスト間における相互作用とその影響(西部会第二八二回研究発表会,例会・研究発表会要旨)

著者: 高野裕子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.62, no.1, pp.172, 2011-06-30 (Released:2017-05-22)

2021-01-27 16:34:00
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1 0 0 0 OA 芸術の力Kraft : ピュグマリオンによるヘルダーの造形芸術経験の分析

著者: 吉田直子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.62, no.1, pp.25-36, 2011-06-30 (Released:2017-05-22)

Seinen Plastik von 1778 untertitelt J. G. Herder, Einige Wahrnehmungen fiber Form und Gestalt aus Pygmalions bildendem Traume. Das Pygmalion-Motiv hat Herder von Rousseaus musikalischem Drama (1770) ubernommen. Nach Rousseau bringt Pygmalion Plastik zum Leben, und da lebt er. Dazu schreibt Herder "Wir werden mit der Natur [der Korper der Plastik] gleichsam verkorpert oder diese mit uns beseelet", wenn wir "Ausdruck der Kraft im Gefasse der Menschheit" in dem Korper fuhlen. In der vorliegenden Arbeit wird diese kunstlerische Erfahrung als pygmalionische Verkorperung bestimmt wie folgt: (1) Dabei ist man in anfanglichem Zustand, das den gebildeten Vermogen des Subjekts vorhergeht, wenn er nicht durch den Gesicht, das "der kunstlichste, philosophischste Sinn" ist, sondern durch das Gefuhl, das das Grund legendste erfassen kann, erfahrt. (2) In diesem Zustand kann er durch "Mitempfindung" fur die Seelenkraft in der Korper anfangliches-Ich werden. (3) Nach Herders Vom Erkennen und Empfinden (1778), bedeutet dieser anfangliches-Ich "unser reizbares Ich", das Herder auf Albrecht von Haller gefuhrt wird. Ich mochte diese kunstlerische Erfahrung nach dem Pygmalion-Motiv uberlegen, um Herders Plastik nicht nur auf die Umwandelung der modernen Hierarchie der Sinne, sondern auf Herders weitere anthropologische Philosophie zu beziehen.

2021-01-27 16:33:00
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1 0 0 0 OA 聖史劇の演出と上演 : 『聖霊降臨祭』を中心に

著者: 杉山博昭
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.62, no.1, pp.37-48, 2011-06-30 (Released:2017-05-22)

This Paper provides detail of Pentecoste, a kind of sacred plays called Sacre Rappresentazioni, which were presented in Florence in fifteenth century. Little is known so far about direction and presentation of Sacre rappresentazioni except for Annunciazione and Ascensione because of lack of document by the audience. However, checking the text by Giuseppe Richa of the eighteenth century and the documents of congregation makes us realize the detail of Pentecoste. This verification suggests two distinctions of the direction: overwhelming illumination with calorific value and replacement of wooden dolls with live performers. The former distinction naturally leads us to speculate interesting stimulus to the audience: on their sense of sight, hearing, smell and touch. In addition, the latter character suggests us a possibilitiy that the audience would receive the representation as a kind of heretic image of imparting life. Therefore, direction and presentation of Pentecoste coincidence with the fact that Sacre Rappresentazioni had cross-fields character.

2021-01-27 16:33:00
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1 0 0 0 OA フラ・フィリッポ・リッピ作《バルバドーリ祭壇画》中央プレデッラ聖母伝パネル : 主題選択をめぐる一試論

著者: 桑原夏子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.62, no.1, pp.49-60, 2011-06-30 (Released:2017-05-22)

This paper examines the reason for why Fra Filippo Lippi chose Annunciation of the Death of the Virgin and Arrival of the Apostles as subjects for the central predella of his Barbadori Altarpiece. In addition to being very rare, these two subjects are painted as though the events represented by them are occurring simultaneously. This altarpiece was placed in the Barbadori Chapel, which the Confraternity of Orsanmichele had the responsibility of constructing. I demonstrate that the confraternity's charity was reflected in the choice of these subjects. The rules of the confraternity show that they promised the confession, extreme unction, and courteous burial to their members, allowing them to accept death peacefully. Annunciation of the Death of the Virgin shows the calm acceptance of death and Arrival of the Apostles suggests the attendance of one's deathbed and burial. To further demonstrate that Lippi constructed his work to suggest the charity of the confraternity, I perform a comparison of the central predella to source detailing its subjects, a comparison to preceding works, and an analysis of the composition. Most likely, my interpretation is congruent with the intentions of Gherardo Barbadori, a captain of the confraternity who ordered the construction of the chapel.

2021-01-27 16:33:00
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1 0 0 0 OA 十五世紀後半のロレンツォ周辺におけるグロテスクへの志向 : SEの画家による一枚の銅版画をめぐって

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.61-72, 2011-06-30 (Released:2017-05-22)

The Medici family, particularly Laurentian Florence of the 1470's had a predilection for Flemish art. This paper focuses on this artistic exchange between Florence and Flanders in the late 15th century. As previous studies have emphasized, Flemish paintings were usually esteemed for their realistic characteristics. But the majority of Flemish paintings in Florence was actually painted on cloth. These cloth paintings, or panni dipinti, offered a wide range of images of secular subjects to the Florentine upper-classes. I would particularly like to examine the "danza moresca", which is listed twice in the Medici inventory of 1492. The "danza moresca" is an exotic, bizarre competitive dance for the sexual favours of a woman. It is significant that this bacchanalian kind of painting was placed in both an urban palazzo and a suburban villa. The actual painting is now lost, however we can examine a Florentine print that was related to its records in the inventories. Through this process, this study shall reveal that the Flemish paintings also fulfilled the Medici's taste for a kind of grotesque which can also be seen as a direct visual equivalent of Lorenzo's Canzone Carnascialesche.

2021-01-27 16:33:00
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1 0 0 0 OA フェルナン・レジェの都市イメージ : 絵画における空間構築に関する一考察

著者: 山本友紀
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.62, no.1, pp.73-84, 2011-06-30 (Released:2017-05-22)

The present paper proposes to analyze the theme of the Modern City in a series of loosely related works by French painter Fernand Leger (1881-1955) from 1919 to 1923. After returning from the Great War, Leger proved remarkably productive and tackled several different styles and themes at once, thus leading previous critics of his art to describe this stage in his career as a particularly eclectic one, especially when compared with the contemporary "call to order" within the avant-garde circles. Nonetheless, it is a common trend in these studies to somewhat overlook the overarching motif-based on the painter's deeply personal interpretation of modern urban life-which served to conceptually unify these works. It is our intention therefore to reassess Leger's conception of the City and reveal the significance of his works on this theme in a new light. He was very receptive to the dramatic changes around him and showed great interest in the emerging forms of modernist architecture. This choice of subject led him to move from his early "simultanist" evocation of life in the Modern City towards a socially-engaged and boldly pictorial exploration of new possibilities within a revolutionary concept of urban space.

2021-01-27 16:33:00
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1 0 0 0 OA イメージの起源への探求 : 初期先史学におけるイメージの発見とその「真正性」

著者: 唄邦弘
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.62, no.1, pp.109-120, 2011-06-30 (Released:2017-05-22)

Les Grottes de l'Altamira ont ete decouvertes par Henri Breuil en 1902. Les reproductions des gravures et des peintures presentees a l'academie lui ont permis de montrer aux prehistoriens comment it est possible de faire une analyse interne des representations figuratives pour en degager le fondement plastique : la decouverte des peintures parietales auraient du etre le resultat d'une recherche methodique a l'aide d'instruments de mesure. Mais sa vue sera brouillee par l'obscurite de la grotte dans la pratique, car l'eclairage insuffisant dans la grotte (la lampe ou la bougie) transforme les formes et les couleurs des reliefs et peintures parietales suivant les textures rocheuses ou les mouvements des lumieres. Breuil les a donc decalquees directement au contact des parois. Il s'ensuit de la qu'il experimente une comprehension intuitive, fondee sur la sympathie, de leurs intentions esthetiques et religieuses. Cette these essaie de reconsiderer les gestes d'Henri Breuil comme imitation qui s'accordent avec ceux d'un createur, c'est-a-dire comme mimesis au sens de ressemblance corporelle en meme temps qu'elle produit la representation <<authentique>> et, pour cela, d'expliciter son entreprise de releve des oeuvres paleolithiques bien plus qu'une simple technique de reproduction.