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.61, no.2, pp.124, 2010-12-31 (Released:2017-05-22)

著者

千 宗員

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.125, 2010-12-31 (Released:2017-05-22)

著者

寺本 圭佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.127, 2010-12-31 (Released:2017-05-22)

著者

調 文明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.85-96, 2010-12-31 (Released:2017-05-22)

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This paper aims to consider how photography can incorporate "imagination" in itself despite the fact that it is limited to representing something in front of a camera. For this consideration, the nineteenth-century British photographer H. P. Robinson is the key figure, because he continued to think the relationship between photography and imagination throughout his photographing career. In Pictorial Effect in Photography (1869), he regarded imagination as faculty for composing something that did not exist, for example, angels. He insisted, therefore, that a photographer violated fitness as a picture-maker when he depended on imagination. But in The Art and Practice of Silver Printing (1881), Robinson focused on a photographer as a picture-viewer and turned to look upon imagination as faculty for forming a picture of something as it should be. Moreover, Robinson implied in Picture Making by Photography (1884) that when the photographer's imagination was stimulated by something instantaneous that was fixable only by gelatin plate, he might try to set up an event in the real world as it looked instantaneous and to photograph it. In my reading, Robinson believed such an operation of imagination enabled the photographer to demonstrate his imagination without violating fitness.

著者

新井 思郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.114, 2010-12-31 (Released:2017-05-22)

著者

石田 圭子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.115, 2010-12-31 (Released:2017-05-22)

著者

市川 秀和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.116, 2010-12-31 (Released:2017-05-22)

著者

入江 繁樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.117, 2010-12-31 (Released:2017-05-22)

著者

奥田 亜希子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.118, 2010-12-31 (Released:2017-05-22)

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.61, no.2, pp.13-24, 2010-12-31 (Released:2017-05-22)

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Dans le De gli eroici furori (1585), Giordano Bruno (1548-1600) interprete la fable d'Acteon, mythe grec d'un chasseur metamorphose en cerf par Artemis (Diane) au bain et dechiquete par sa propre meute, comme destin de ceux qui cherchent a voir la verite divine. Pour cerner l'enjeu de cette interpretation, qui constitue certainement l'un des points forts du De gli eroici furori, le mieux est d'examiner comment Bruno fait face au petrarquisme a travers la variation de la figure d'Acteon. Car, a la Renaissance, la figure d'Acteon se diffusait comme allegorie de la melancolie amoureuse petrarquiste. Mon hypothese est que l'interpretation brunienne de la fable d'Acteon met en cause la conception petrarquiste de l'art comme activite melancolique. Selon Bruno, l'art n'est pas l'activite melancolique qui tente de perpetuer l'aimee, mais le processus des <<vicissitudes>> comme la metamorphose d'Acteon le suggere.

著者

井上 由里子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.25-36, 2010-12-31 (Released:2017-05-22)

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Valere Novarina, dramaturge francais ne en 1942, est connu pour son theatre hors du commun qui s'affranchit de toutes formes d'intrigues et de psychologie. Consideres comme poemes plutot que comme pieces, ses textes n'ont ete analyses jusqu'alors que d'une maniere litteraire. En analysant La Scene, mise en scene en 2003 par l'auteur luimeme, nous tentons dans cet article de reveler son dynamisme theatral, structure par <<le sacrifice>> et <<le carnaval>>. Comment echapper a l'opposition entre l'esprit et le corps, a l'egolsme et a l'orgueil qui sont propres a l'etre humain? Voila les questions autour desquelles tourne la piece. En ayons recours a la parodie et au rire, <<le carnaval>> de La Scene fete alors tout a la fois la mort d'un monde ancien et la naissance d'un nouveau monde. Sur la scene, l'acteur mange ce texte comme it mange de nourriture: d'une part en mangeant, it se laisse envahir par le son et le rythme du langage, d'autre part it fait bruler le corps, en parlant, jusqu'au <<sacrifice>> pour revenir a un etat ou les separations, notamment entre le corps et l'esprit, n'existent pas.

著者

山下 尚一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.37-48, 2010-12-31 (Released:2017-05-22)

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Nous nous proposons dans cet article, en analysant le geste et la technique dans l'art musical, d'examiner la relation entre l'esthetique musicale de Gisele Brelet et l'ethnomusicologie d'Andre Schaeffner. Certes, it y a leurs differences : l'ethnologie de Schaeffner porte principalement sur le geste instrumental qui represente une societe dans sa singularite, tandis que l'esthetique de Brelet traite du concept de geste vocal en tant que principe universel du beau, independant du social. Mais l'examen du concept de geste technique corporel nous montre leur unite. En effet, chez Brelet comme chez Schaeffner, la technique gestuelle est realisatrice d'une musique : l'esthetique brelettienne revele que le geste corporel devient musical a travers la technique de l'interpretation, de meme l'ethnologie de Schaeffner enseigne que la technique du corps social donne au geste corporel une valeur musicale authentique. Ainsi, c'est dans ce geste technique corporel que s'exprime l'etre musical.

著者

木村 智哉

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.49-60, 2010-12-31 (Released:2017-05-22)

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This paper aims to discuss the meaning of the revolution that happened to animation in Japan from the 1950's to the 60's. There are two features to which I pay attention: the historical peculiarity of the revolution, and the common trend of the animation movies for commerce and those for non-commerce. There are three topics that are the points of the discussion: the trends of domestic production companies, the introduction of overseas animation movies, and the transition of criticisms. This paper clarifies the following: first of all, the revolution of the animation expression at that time invented a new image by the abstraction of form or movement and by the unification with sound; secondly, the revolution supported the attempt of small-scale productions or independent animators who opposed to major movie companies; and thirdly, however, the same revolution contributed to the lowering of the cost of commercial studios. These phenomena can be related to the revolution of the expression of the audiovisual arts that happened widely from the 1950's to the 60's.

著者

小松原 郁

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.61-72, 2010-12-31 (Released:2017-05-22)

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Nel presente saggio viene trattato il trittico del Mantegna commissionato dall'abate Gregorio Correr per la basilica di San Zeno a Verona. L'obiettivo dell'articolo e riconsiderare le peculiarity del dipinto, ricercando l'origine concettuale della forma della pala e della sua composizione spaziale nell'arte fiamminga che il Mantegna potrebbe avere visto a Ferrara. Gli studiosi ritengono che questo trittico sia derivato dalle due pale patavine, aventi soggetto uguale a quella mantenesca. Il presente saggio, invece, focalizzando l'attenzione sull'espressione spaziale, esamina la possibility di altre fonti del trittico, che vengono individuate nell'arte settentrionale, soprattutto in quella di Rogier van del Weyden. Inoltre, riesaminando la composizione spaziale, si suggerisce che il Mantegna abbia creato in maniera originale un nuovo spazio pittorico, una volta appresa l'espressione spaziale della pittura toscana e di quella flamminga. Sulla base di cio e possibile concludere che il trittico in esame sia la rappresentazione di un nuovo spazio, tanto sacro quanto profano, della sacra conversazione, e che costituisca un modello iconografico veneto dello stesso tema, caratterizzato da una complessa composizione spaziale e da un magnifico trono.

著者

内野 博子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.73-84, 2010-12-31 (Released:2017-05-22)

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Some of Penn's experimental photographs show fluctuant blurs on unanimated objects in the work. These blurs refuse our usual mode of perceiving blurredness. Looking carefully into the nature of this refusal will therefore shed light on our usual perception of photographic images. His experiment in the shooting process consists in a fluctuant temporal-spatial relation between reality and its photographic image within a single shot. The result makes clear two important points of our usual assumption about photography: that the relation between reality and the photographic image is constant at the time of shooting, and that our usual perception of the photographic image relates it to reality only under this shooting condition, that is single moment-single focus. Jonathan Crary articulates in terms of its historical specificity the classical technique of observing modeled on camera obscura. He suggests that the intention of the classical observer determined the specific schema for perceiving objects in the world. If we may extend his theory to our case, single moment-single focus is not only the objective structure specific to the photographic image but also its subjective schema which enables us to perceive time and space of the real world through the image by quantifying them.

著者

小宮山 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.171, 2010-06-30 (Released:2017-05-22)

著者

武藤 太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.172, 2010-06-30 (Released:2017-05-22)

著者

古後 奈緒子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.173, 2010-06-30 (Released:2017-05-22)

著者

伊集院 敬行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.174, 2010-06-30 (Released:2017-05-22)

著者

杉山 卓史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.175, 2010-06-30 (Released:2017-05-22)