著者

井奥 陽子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.146, 2018 (Released:2019-06-01)

著者

居村 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.85, 2017 (Released:2019-01-02)

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This paper clarified the significance of ‘Philosophy of Anthropophagy’ by a Brazilian artist Hélio Oiticica (1937-1980) in Tropicália, his work of art in 1967. He was one of the most representative artists of Brazil. His works were characterized by spatial involvement with a viewer or a viewer’s active participation. Tropicália might be one of the most important things in his works and was considered to be a ‘cannibalistic’ work affected by Oswald de Andrade, a Brazilian critic and poet. Oiticica accepted this opinion too. On Tropicália, however, Oiticica described that he was devoured by this work, while Andrade as an ideal ‘cannibal’ attempted to devour and absorb the western culture. This study started with this problem. At first, I overviewed Oiticica’s career and Tropicália and showed a problem with this work. Oiticica wrote his experience with a television set in Tropicália. This experience was problematic for ‘Philosophy of Anthropophagy’. Second, I analysed the experience from the point of view of “invasiveness”. Finally, I clarified the significance of the result caused by that invasiveness in terms of “Aesthetics of the devoured”.

著者

小野寺 奈津

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.61-72, 2017 (Released:2018-07-01)

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In the early 1960s, Fluxus, an art movement organized by George Maciunas (1931- 1978), an art historian and designer, performed “Event” based on the instruction called “Score.” Their central activity was holding the concert consisted of “Event.” “Event” was performed under avant-garde interpretation in the concert and it emphasized the anti-artistic aspect of Fluxus. On the other hand, George Brecht (1926-2008) who wrote “Score” intensively and developed “Event” into concept, thought “Event” did not need to be performed. It was intended as a means of drawing the perceptual experience. I would like to pay attention to the gap between the two and how to perform the “Event” in this thesis. When looking at the idea that Maciunas aimed at Fluxus, it turns out that he requested the viewers to experience the “Event” subjectively, but in the concert actually, the viewers were passive. Therefore, through reconsideration of the “Event” by Brecht, I intend to present the viewpoint that the very “Event” which Brecht attempted embodied the ideal that Maciunas envisioned in Fluxus.

著者

守谷 広子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.77-88, 2015-06-30 (Released:2017-05-22)

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Cet article propose de presenter une premisse du concept du ≪Texte≫, examinant la discussion sur la ≪forme litteraire≫ chez Roland Barthes (1915-80). Dans les annees 1960, avec l'acceptation de la semiologie, Barthes affirme l'importance de la ≪ forme ≫ dans la litterature. Le langage qui est une matiere de l'oeuvre litteraire est un systeme de generation semantique en soi. II est donc impossible de distinguer le discours litteraire et les autres discours selon le signifie. C'est pour cela que Barthes affirme que ce qui distingue la litterature et les autres langages est bien l'≪originalite de la forme≫. En raison de l'implication de sa forme, l'oeuvre n'est pas equivalente au produit donne par la generation semantique du langage. La forme influencant le processus meme de la generation semantique, elle rend l'oeuvre intentionnelle, et de plus, ≪humaine≫. L'originalite de la forme litteraire, donnant un decalage entre le signifiant et le signifie, porte une sorte de ≪vide≫ dans l'oeuvre. En offrant cette forme a l'oeuvre, l'auteur evoque des questions du lecteur, et le lecteur chercherait le sens de l'oeuvre lui-meme. Cet echange entre l'auteur et le lecteur, transforme l'oeuvre, qui est une construction linguistique, en un ≪Texte≫. Si le concept du Texte de Barthes se situe dans le prolongement de la discussion de la forme precitee, l'importance de l'auteur est prouvee meme dans le traite du Texte qui est generalement interprete comme une theorie qui donne un role privilegie au lecteur.

著者

中藤 有希

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.147, 2011-12-31 (Released:2017-05-22)

著者

古川 裕朗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.43-56, 2008-06-30 (Released:2017-05-22)

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Hermann Schmitzs Asthetik ist zunachst praktische Asthetik, da seine Phanomenologie, die die Asthetik einschliesst, eine praktische Aufgabe hat. Diese Aufgabe ist, die Introjektion, bei der die Stimmungen einer Landschaft als Projektionen aus der Innenwelt eines Subjekts betrachtet werden, zu uberwinden, und die rezessive Entfremdung der Subjektivitat, bei der das menschliche Subjekt an den Rand der Welt verbannt wird, zu kurieren, und den Menschen mitten in seine Umgebung einzuordnen. Diese Aufgabe versucht Schmitz mit der kritischen Ubernahme der Asthetik Moritz Geigers, vor allem dessen Landschaftsansicht, zu bewaltigen. Schmitz meint, dass die Heiterkeit der Landschaft das uberpersonliche und praobjektive, ganzheitlich-atmospharische Gefuhl ist, das weder aus dem Subjekt noch aus den Objekten entspringt. Und er bestimmt aufs Neue asthetischen Genuss als lustvolles Sicheinlassen auf eine von asthetischer Andacht hervorgebrachte, gluckliche Mitte zwischen Distanz und Ergriffenheit. Schmitzs Asthetik ist auch eine Asthetik von der Praxis, die, aristotelisch verstanden, Lebensfuhrung im Gegensatz zur Fertigung eines objektivierten Werkes (Poiesis) ist. Bei seiner Asthetik besteht die Moglichkeit, Landschaft als Praxis zu argumentieren, denn Landschaft wird durch rahmendes, und damit zugleich filterndes Sehen als umfriedete Wohnung angesehen, in der sich der Mensch mit den abgrundigen Gefuhlen so arrangiert, dass er zu ihnen ein harmonisches Verhaltnis findet.

著者

深谷 訓子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.41-54, 2005-06-30 (Released:2017-05-22)

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It's often been suggested that paintings of "Cimon and Pero" must have evoked erotic sensation in the beholder of that time and the moral message was merely a pretext. This article tries to prove if it really was the case in seventeenth-century Netherlands. Both virtuous and erotic aspects are inherent in the story itself. Some representations of the theme were used for the promotion of charitable institutes, and some of them have been accused as being an erotic pin-up. Even the strict theologian such as Molanus, however, approved some kinds of paintings that derived from pagan antiquity as "moral images", and it is plausible that "Cimon and Pero" was seen as such. To see the actual situation, inventory documents are consulted. Some documents indicate that the paintings of Cimon and Pero were hung in voorhuys, the room almost public as the first room in which man received every guest. It is likely that Cimon and Pero could have been accepted not as a pretext but as the exemplum of piety at its face value.

著者

裾分 一弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.9, no.1, pp.45-51, 1958-06

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

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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.

著者

島本 浣

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.38, no.1, pp.13-25, 1987

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Au XVIII^e siecle le discours de la critique d'art, au sens etroit du terme, semble motive par la connaissance des valeurs plastiques de la representation picturale. On peut donc mettre Chardin au meme niveau que les peintres d'histoire. Avec R. de Piles et son Cours de Peinture nous tentons de montrer un des champs, ou cette valeur est theorisee, en analysant ce traite sur les trois parties principales composant la peinture. A la difference des idealistes classiques qui mettent les parties (composition-dessein-coloris) en rapport hierarchique, R. de Piles, parce qu'il pense qu'un oeuvre pictural, qui doit seduire les yeux, ne se realise qu'a travers un systeme organique des parties, les place dans un rapport d'egalite. Ce systeme, c'est-a-dire celui de la representation, produit une valeur picturale et s'ouvre aussi sur tous les genres de la peinture. Ainsi R. de Piles au XVIII^e siecle ouvre la voie a la critique dite "picturale."

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.55-68, 2007

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Johannes Kepler, one of the most famous astronomers during the period of scientific revolution, illustrates a unique view on consonance in Harmonice mundi (1619). First, Kepler rejects the Pythagoreans' symbolism of numbers (discrete quantity) that defines their concept of harmony and consonance. Instead, he defines consonance using geometrical figures that consist of concrete lengths (continuous quantity), treating numbers only as the values of the lengths. For explaining the concept of consonance, Kepler underlines the function of human soul to recognize harmony. He classifies harmony into two types: "sensible" and "pure." Sensible harmony (i.e., consonance) is realized by the human soul while comparing things that are perceived by sense (i.e., sounds). Pure harmony, on the other hand, functions as the archetype of sensible harmonies. It is an abstract mathematical idea, inherent in the human soul, and it certifies sensible harmonies as such. Moreover, this archetypal harmony is associated with God himself. Thus, Kepler hypothesizes on consonance based on his own metaphysics, which differs from the Pythagoreans' reflections on the subject.

著者

安松 みゆき

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.2, pp.43-56, 2001

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Das Wiener Opernhaus von Eduard van der Null (Architekt) und August Sicard von Siccardsburg (Bauingenieur) wurde schon seit langem ins besondere von der Kunstund Architekturgeschichte als Gebaude mit unklarem Stil kritisiert, obwohl man es seiner Zeit als das Symbol der Stadt Wien geplant hatte und es sehr bekannt ist. Der Hauptgrund der Kritik ist, dass der Historismus nur die leicht erkennbare Kopie, d.h. den klaren historischen Stil, geduldet hat. Nach der neueren Betrachtung der modernen Architekturgeschichte, wie zum Beispiel der von W. Curtis, hat aber die moderne Architektur den Historismus nicht einfach als Nachahmung der vergangenen Stile abgelehnt, sondern ist durch abstrakte Zitaten der vergangenen Formen mit dem Historismus in Beziehung gestanden. Mit der Erkenntniss dieses Hintergrunds konnte der "unklare Stil" des Opernhauses in Wien positiv beurteilt werden. Dieser Beitrag versucht es durch eine Untersuchung der baulichen Merkmale zu interpretieren, warum der Stil des Opernhauses in Wien unklar ist. Beleuchtet wird nicht nur der Stilcharakter des Gebaudes selbst, sondern auch die Theorien um den Stilstreit der Architektur in 19. Jahrhundert ebenso wie der Gedanke zum das Ornament wie ihn der Architekt van der Null entwickelt.

著者

石田 美紀

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.4, pp.59-70, 1999

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La nave bianca (1941), il primo lungometraggio di Roberto Rossellini, Viene considerato come una delle origini del neorealismo che e il movimento cinematografico del secondo dopoguerra, anche se il Centro ministero navale lo produsse con l'intenzione della pubblicita per le armi navali. Perche questo film venne prodotto nella maniera che assomiglia a quella del neorealismo (attori non professionali, filmare all' esterni, racconti reali) e la scena della battaglia navale e molto diversa dalla retorica propagandistica. Per o dal punto di vista del suo effetto e del suo significato, ha il carattere assolutamente diverso da neorealismo, infatti e la propaganda eccellente. Usando la strategia di low politics come l'immagine di Elena, una infermiera volontaria, e il racconto d'amore tra lei e Basso, un soldato ferito, questo film pote avvicinarsi agli spettatori e trasmettere il messaggio fascistico piu efficacemente che urlare l'ideologia fascistica. In questo saggio, provo a analizzare la sua mise-en-scene e mettere a fuoco il nuovo problema nell'opera di Rossellini che si cela sotto i discorsi d' auteur, cioe la relazione tra l'immagine delle donne e l'ideologia.

著者

岩城 覚久

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, 2006

著者

阿部 美由起

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.4, pp.13-24, 2001

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Semper diskutiert in seinen Schriften oft den Stoff, was in der Kunstwissenschaft die Einschatzung Sempers als Materialist bewirkt hat. Warum ist aber Semper als Materialist betrachtet worden? Durch die Untersuchung einiger Beispiele der Rezeption Sempers wird in dieser Arbeit versucht, diese Frage zu beantworten. Im Anschluss werden Sempers Schriften analysiert, um zu erklaren, welche Funktion der Stoff- bzw. Materiebegriff in der Semperischen Theorie spielt. Aus dieser Untersuchung ergibt sich, dass der Stoffbegriff Sempers 1) als Schlusselwort fur die Gesellschafts- und Technisierungskritik fungiert und 2) eine wichtige Rolle bei der Erklarung der Entstehung von Kunstwerken spielt. Ein zusatzlich wichtiger Faktor fur Sempers Stoffbegriff ist die Vernichtung des Stofflichen. Desweitern lasst sich sagen, dass die schopferische Kraft des Menschen im Stoffbegriff enthalten ist. Diese vielfaltigen Bedeutungen des Semperischen Stoffbegriffs gehen also weit uber den traditionellen Stoffbegriff hinaus. Da der spezielle Stoffbegriff Sempers die Kultursituation im deutschsprachigen Raum widerspiegelt, lasst sich hinaus ein effektiver Leitfaden fur die weitere Untersuchung des damaligen Meinungsklimas entwickeln.

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

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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

長野 順子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.37, no.4, pp.p1-12, 1987-03

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Die meisten Interpreten (cf. J. Kulenkampff, P. Guyer, G. Kohler) behaupten, dass die phanomenologische Analyse der Struktur des asthetischen Urteils den zentralen Aspekt der Kritik der asthetischen Urteilskraft bildet. Meines Erachtens aber geht es besonders in ihrer zweiten Halfte darum zu erklaren, welche Rolle das astheitische Urteil im Ganzheit des menschlichen Lebens spielen muss wenn der Mensch fur die Gesellschaft bestimmt sein soll. Der Kernbegriff ist der "allgemeinen Mitteilbarkeit" des Gemutszustandes oder des Gefuhl der Lust in gegebener Vorstellung. Schon seit langem war die "Geselligkeit" oder "Sozialitat" der unentbehrliche Faktor bei Kants fruher Theorie der Schonheit, wie gezeigt in seiner Vorlesungen uber Logik und Anthropologie um 1770. Aber in der ausgereiften Asthetik von seiner kritischen Philosophie, wahrend die Beziehung auf Gesellschaft den Geschmack zum blossen Mittel zur Verbindung oder sogar Konkurrenz mit anderen machen konnte, ist dem Begriff der allgemeinen Mitteilbarkeit eine ganz neue Bedeutung und eine wesentliche Funktion gegeben. Diesem Begriff liegt sensus communis (die Idee eines gemeinschaftlichen Sinnes) zugrunde, welcher durch die "Operation der Reflexion" dem Menschen moglich macht, sich in die Stelle jedes anderen zu versetzen, und so auf die allgemeine Gemeinschaft der Menschheit als einer Gattung, zielt. Fur Kant ist das Wesen des asthetischen Urteils die Beforderung der "Kultur der Gemutskrafte" zur "der Menschheit angemessenen Geselligkeit".

著者

西井 奨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.168, 2013-12-31 (Released:2017-05-22)

著者

定金 計次

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.46, no.3, pp.1-11, 1995-12-31 (Released:2017-05-22)

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There is the general misconception that all Indian art is religious. In India, however, secular painting achieved development equal to that of religious sculpture. If we survey the history of Indian painting from the Ajanta murals through pre-modern miniatures, it becomes evident that a consistent pattern permeates the tradition. While down-playing natural surroundings, Indian painting invariably focuses around human figures, especially those with the procreative powers of youth. The mithuna, or generative young couple, appears repeatedly as primary subject matter and is often expressed as the young Radha and Krsna in pre-modern paintings. An auspicious symbol of procreation, the mithuna dates back to primitive religions, thus linking Indian secular art and religion. The idealization of youth is also evident in Indian sculpture. Throughout history, most Indian divinities have been represented in the forms of young people-the Indian people regarded age sixteen as their ideal. This tendency influenced not only the growth of Tantrism in Indian religious thought but also the propagation of cults of boy-gods in Indian religions. Adoration of youth thus popularized Krsna and Karttikeya in Hinduism and Manjusri in Buddhism.

著者

辻 惟雄

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.3, pp.49, 1978-12-30 (Released:2017-05-22)

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As has long been discussed from various points of view, a close relationship exists between art and play. The materials for such discussions, however, have been limited for the most part to the works of western arts. In this paper I would like to point out that such materials have also abundantly existed throughout the history of Japanese painting. In proof of the existence of play moment in Japanese art, at first we shall focus our attention on paintings in the late Heian Period, especially Oko-e, the extempore caricature drawings-executed in a light and easy style-which were popular among 11th century aristocrats. These Oko-e served as the model for later comic descriptions found in master handscroll works in the 12th century such as "Shigisan-engi Emaki", "Chojugiga", "Jigoku-zoshi" and so on, because of their fluencies and vividnesses in describing style. Secondly is considered in this paper the existence of the curious art critic known as "Enan-ho" ("Picture-Accusing Priest") who played the clown at Court, works of pornographic caricature called Osokuzu-no-e, and the trompe-l' 〓il of waterfall which was painted on the wall of a noble's hermitage for the purpose of astonishing guests. Finally we might point out that the spirit of playfulness also existed vividly in paintings of the Edo Period.