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1 0 0 0 OA エドワード・ブロウの「心理的距離」概念について

著者: 郡田尚子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.85-97, 2009-06-30 (Released:2017-05-22)

"Psychical Distance" as a Factor in Art and an Aesthetic Principle' (1912) is a thesis on the subject of aesthetics and art written by Edward Bullough (1880-1934). Using the term 'Psychical Distance', he showed that the states of aesthetic appreciation and artistic production stood outside the context of our personal needs and ends. According to Bullough, this distance lies between the self and affections or objects as the sources of those affections. This paper will attempt to make his concept of 'Psychical Distance' clearer. Several studies have been made on the definition and validity of 'Psychical Distance'. Those studies assert that it's a psychical act or a set of properties of objects projected from subjective impressions. 'Psychical Distance' is variable both according to the distancing-power of the individual, and according to the character of the object. It is this interplay that makes it possible to take the concept of 'Psychical Distance' both as an act and as properties. Its interplay can also apply to the personal and the social factors in the history of Art. Bullough accounted for the contrary theories of Art by using 'Psychical Distance'. This concept has the capacity to extend over the various forms of Art.

2021-01-27 16:14:00
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1 0 0 0 OA 外交手段としての美術批評 : アレティーノ書簡をつうじて

著者: 加藤志織
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.98-111, 2009-06-30 (Released:2017-05-22)

Pietro Aretino non si limito a svolgere un ruolo di importanza nella letteratura e nella politica del Rinascimento, ma fu anche un fine intenditore dell'arte a lui contemporanea. A tale riguardo, essendosi trasferito a Venezia, e noto il suo sodalizio con Tiziano. Questo autore eclettico, attraverso la propria corrispondenza, presento Tiziano a principi e re, cosa che fece non solo con l'illustre pittore veneziano, mettendo in contatto vari artisti con diverse corti. Simili transazioni commerciali erano effettuate tramite la corrispondenza di Aretino. Queste lettere vennero riordinate dall'au-tore stesso per poi essere pubblicate sotto forma di raccolte epistolari. I contenuti di tali lettere pero non si limitavano al solo ambito commerciale, in quanto vi si possono trovare elementi di teoria della pittura, di poetica unitamente a ekphrasis e a panegirici. Questo saggio tratta delle strategie diplomatiche di Aretino in questo ambito sulla base degli elementi che emergono dalle raccolte epistolari rimasteci.

2021-01-27 16:14:00
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1 0 0 0 OA タルクイニウスに凌辱されるローマのルクレティア : 外交手段としてのティツィアーノ作《タルクイニウスとルクレティア》

著者: 細野喜代
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.112-125, 2009-06-30 (Released:2017-05-22)

Titian completed the Tarquin and Lucretia for Philip II of Spain in 1571. The painter called the masterpiece "Lucrezia Romana violata da Tarquino" in his letter to Philip II on 1st August 1571. This paper examines the reason why Titian called the painting in this way and the period of its execution. This picture has been considered to be erotic. However, one should pay attention to the fact that the painting was carried from Venice to Madrid in 1571 by a special envoy, Antonio Tiepolo. His mission was to request Philip II to send reinforcements to rescue the Cyprus, territory of Venice, from the attack of Ottomans. In addition to the facts, the story of Tarquin and Lucretia is about a revenge for the royalty of a different race who raped the wife of an ancient roman nobleman, the overthrow of a tyranny and the liberation of the country. Moreover, the subject of the rape has the meanings of invasion and capture. One could think therefore that the painting represents the Cyprus which was asking for help as it was about to fall and it functioned as a diplomatic means for the achievement of Tiepolo's mission. Considering the above circumstances, it seems that Titian embarked on the picture not in 1568 but in 1570 when the War of Cyprus began.

2021-01-27 16:14:00
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1 0 0 0 OA パウル・クレーの一九一七年の文字絵《Emilie》 : テクストと図像の関係について

著者: 野田由美意
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.126-139, 2009-06-30 (Released:2017-05-22)

Klee schuf 1917 sein Schriftbild <<Emilie>>. Der Verbleib des Werkes ist unbekannt. Mittels eines Farbfotos im Zentrum Paul Klee werden die Form und der Inhalt des Gedichtes im Bild und die Zusammensetzung des Werkes analysiert, auf die die Forschung bislang nicht ausreichend eingegangen ist. Wortspiel und eine skeptische Einstellung wie in den Gedichten Morgensterns oder der Dadaisten sind in <<Emilie>> zu erkennen. Das Bild der Figur, die sich aus dieser Welt des Kriegszustandes entfernt und die in eine den Orient als den Marchenland andeutenden Landschaft fliegt, entspricht der thematischen Strategie von Waldens Klee-Ausstellungen 1916-17, der den Friedenwunsch des Publikums aufnahm. Aber dass die mit den Schriftrollen des Nonsens-Gedichtes umschlossene "Emilie" mit ihrem papierdunnem Korper im reinen Nachthimmel schwebt, ihr schiefes Gesicht wie ein Mops und ihre den Bauch mit den Handen haltende, fluguntaugliche Gebarde sind als Lachen uber Klee anzusehen, der dem Krieg seine ersten Erfolge verdankte, obwohl er sich von ihm zu distanzieren glaubte.