文献一覧: 美学 (雑誌) - Ceek.jp Altmetrics

Steve Reich (1936-), in his essay "Music as a Gradual Process" (1968), wrote that "a compositional process and a sounding music […] are one and the same thing." His aesthetic creed of "perceptible processes," indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of "Anti-Illusion: Procedures/Materials" (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich's music and postminimalist art in view of his involvement in the "Anti-Illusion" show. The theme of the "Anti-Illusion" show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones' swinging. This piece clearly demonstrates that Reich's claim in "Music as a Gradual Process" was propounded in connection with postminimalist art as an attempt to disclose musical processes and reveal the real.

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA トリシャ・ブラウンのダンスにおける床・壁・天井と身体

著者: 實渊洋次
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.70-83, 2009-12-31 (Released:2017-05-22)

This paper examines Trisha Brown's dance in the early 1970s. In the field of dance, Judson Dance Theater was launched in New York in the early 1960s. As one of the members of it, Brown created experimental dance works which broke down the preconceived ideas of dance. The focus of her pieces in the early 1970s, such as Walking on the Wall and Floor of the Forest, is on the relation of body to space. In Walking on the Wall, the performers, suspended in special harnesses from a ceiling, moved at right angles along the vertical wall-face of a gallery; in Floor of the Forest, two people put on clothes which were densely threaded with ropes, while hanging by them in midair. In such pieces, the performers' soles touch the wall, or the ropes are used as ceiling. This changes the relation of body to floor, from vertical to horizontal. In the simple and yet radical transposition, the performers find themselves sensing different kinesthetic movements in each part of the body than usual. Regulating the caused kinesthesia enables them to create new body movements.

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA 「正統なるファッション」とは : 『ゴーディズ・レディズ・ブック』のファッション・プレートをめぐる言説(1)

著者: 平芳裕子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.84-97, 2009-12-31 (Released:2017-05-22)

The women's magazine Godey's Lady's Book was launched in Philadelphia in 1837 by Louis A. Godey. Although it enjoyed great popularity due to its original fashion plates, the fact that they were a topic of intense discussion is largely unknown. In this paper, I attempt to shed light on how the magazine legitimized the plates by researching distinctive fashion imagery and engaging in ongoing discussions over a ten-year period. In studying the magazine's editorial notes, I discovered that some readers had actually been quite critical of the plates. To counter those who were against fashion, however, the magazine printed positive comments from female readers, and stories depicting virtuous women who remained unaffected by trends. Moreover, as the magazine emphasized the decorative nature of the plates, fashion came to be connected to ornamentation; and as such, an appropriate part of a woman's role as a homemaker. In this era prior to the advent of the fashion magazine in the U.S., by promoting the plates as "authentic fashion," Godey's Lady's Book established the position of the fashion plate in women's magazines.

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA アルトゥーロ・マルティーニ『観想』 : その造形性の意味

著者: 森佳三
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.98-111, 2009-12-31 (Released:2017-05-22)

Lo scultore Arturo Martini pubblica nel 1918 la raccolta di incisioni Contemplazioni, di espressione non figurativa, ma nella sua arte quest'opera non viene esaustivamente interpretata. Il presente lavoro mette in evidenza che la plasticita di Contemplazioni corrisponde ai principi plastici che Martini ha esposto negli ultimi anni della sua attivita. Innanzitutto, si verifica che una delle caratteristiche dell'espressione di Contemplazioni e il ritmo e che tale concetto e espressione di una concezione del mondo religiosa. Martini pero negli ultimi anni di vita afferma che Contemplazioni non manifesta tale concezione del mondo. Eppure, se si confronta la plasticita di Contemplazioni con quanto Martini dichiara negli ultimi anni, in primo luogo in La scultura lingua morta pubblicato nel 1945, si puo dire che il problema dei tre punti di incompletezza della scultura affermati in questo libro lo aveva gia risolto, anche se con espressione in piano, in Contemplazioni.

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA 一九世紀初頭英仏風景画の比較から見るターナーの空間構成

著者: 出羽尚
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.112-125, 2009-12-31 (Released:2017-05-22)
被引用文献数: 1

The purpose of this paper is to explore how a prominent English nineteenth-century landscape painter, Joseph Mallord William Turner composed pictorial space from the viewpoint of comparison with contemporary French landscape and its theory. Contemporary French landscape painters including Pierre Henri de Valenciennes were deeply influenced by the style of neoclassical history painting and their pictorial space was ordered by the idea of plan. Valenciennes demanded in his perspective treatise landscape painting be composed with several plans disposed parallel to the picture plane. Objects were disposed tediously on plans, which Turner considered to show French inability to give depth in pictorial space. On the other hand, the idea of ground was used to represent pictorial space in the early nineteenth-century British landscape. This difference of idea to represent pictorial space was a reason why several Royal Academicians including Turner criticized spatial representation of contemporary French paintings for their inability to give depth. Turner himself aimed at representing depth of pictorial space with introducing deep ground and manipulating colour. That provided his landscape composition with great depth and recession which he considered French paintings could not represent.

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA C・リーデルの「歴史演奏会」における「新ドイツ派」(分科会I-B[音楽とドイツ],研究発表I,第六十回美学会全国大会報告発表要旨)

著者: 朝山奈津子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.132, 2009-12-31 (Released:2017-05-22)

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA マンテーニャ作《サン・ゼーノ祭壇画》に関する一考察(分科会I-C[ルネサンス美術],研究発表I,第六十回美学会全国大会報告発表要旨)

著者: 池田郁
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.133, 2009-12-31 (Released:2017-05-22)

2021-01-27 16:17:00
1 はてなブックマーク