著者

加藤 哲弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.87, 2007-09-30 (Released:2017-05-22)

著者

城丸 美香

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.15-28, 2007-06-30 (Released:2017-05-22)

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Walter Benjamin made many comments on contemporary arts. In those comments, he consistently criticized Albert Renger=Patzsch, especially his collection of photographs, The World is Beautiful. This paper considers why Benjamin criticized Renger=Patzsch from the viewpoint of the concept of aura and what elements of his photographs Benjamin thought dangerous in relation to the political aestheticism of fascism. Benjamin distinguished between the aura of work of art and that of commodity, and gave negative evaluation to the latter. Thus in previous studies, the former has been taken as authentic while the latter as fake. And it has been argued that there remains no authentic aura after the "decay of aura". In contrast, I interpret aura as having broader implications, i.e., as a "reactivation of mythic power of objects by empathy". So I think that the aura was interrupted by the shock of the invention of reproductive technology and, through this shock, was transformed from that of work of art to that of commodity while maintaining its mythic power. The aura of Renger=Patzsch's photographes depends precisely on this mythic power transmitted to the world of commodity.

著者

春木 有亮

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.29-42, 2007-06-30 (Released:2017-05-22)

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L'objet de cet article est d'eclairer la notion de la raison chez Etienne Souriau afm de valoriser des pensees qui depassent le simple rationalisme. Souriau dit que l'on ne peut realiser ≪la vie vivante≫ que par la raison, celle-ci permettant au sujet du raisonnement d'utiliser des formes parfaites au moyen de l'ideation. La forme parfaite est un ≪objet-chose≫ qui est a la fois la contrepartie du sujet et egalement transcende le sujet-objet. C'est la forme parfaite qui permet au sujet de realiser la vie vivante a travers l'unification des deux elements incompatibles : ≪la Ferveur≫ du sujet constituant sa propre vie et ≪la Lucidite≫ de la realite que le sujet sent comme autrui. L'art ainsi que le raisonnement tendent vers l'objet-chose. L'art designant, pour Souriau, un paradigme de la vie. On peut considerer la fonction de la raison comme une sorte de perception puisque le sujet raisonnant touche une chose exterieure a lui par la forme. La raison a done ≪une sensibilite≫. Souriau va meme plus loin en affirmant que la sensibilite est l'origine de la raison. Finalement, il conclut d'une maniere paradoxale que ≪les aspects esthetiques de la Raison≫ en font les fondations. La raison chez Souriau est done, pour ainsi dire, la raison esthetique.

著者

川瀬 智之

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.43-56, 2007-06-30 (Released:2017-05-22)

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Merleau-Ponty, dans la Phenomenologie de la perception (1945), dit que, dans 1'experience de la profondeur, deux vues incompatibles de la meme chose, par exem-ple la vue frontale et la vue laterale, coexistent simultanement. Et il identifie la dis-tance entre le percevant et la chose percue avec la profondeur. Et dans ≪L'Oeil et 1'e-sprit≫(1961), il dit que, dans la peinture par Rembrandt, par la coexistence simultanee des vues incompossibles, le spectateur reconnait la profondeur de l'espace. Mais, en meme temps, il dit que la distance est, ainsi que la hauteur et la largeur, l'abstraction sur la profondeur. Que signifie cette difference des deux propositions sur le rapportde la distance et de la profondeur? Dans Le visible et l'invisible, ecrit de 1959 a 1961,il s'agit de la profondeur de la chair a laquelle appartient communement et le voyant etle visible. Ici, la profondeur n'est pas la distance entre le voyant et la chose percue, mais elle inclut le voyant meme. Cette transformation de la notion de la profondeurdesigne le detachement de la pensee de Merleau-Ponty de la philosophic de la conscience sur laquelle celle-ci s'etait fondee dans sa premiere periode.

著者

山本 純子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.57-70, 2007-06-30 (Released:2017-05-22)

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UTAGAWA Yoshitaki(1841-99) was an Ukiyoe artist who worked mainly around Osaka from the late Edo to early Meiji period. The previous studies of Yoshitaki have been mainly about his print works. This paper, however, also looks into some of his rare paintings. Chapter 1 overviews changes observed in Yoshitaki's actor prints in more than 30 years of his career. Chapter 2 examines three paintings of beauties by Yoshitaki from 1880 to 1885, in which many similarities can be pointed out with his prints that were produced immediately before he shifted to paintings. Chapter 3 looks at two very important paintings of beauties painted in the late Edo era, one belonging to MFA Boston and the other to The British Museum respectively. Similarities with Yoshitaki's print style are also found in these works. Chapter 4, based on Chapter 2 and 3, discusses how, while using some print work elements, Yoshitaki's paintings style became sophisticated over time in comparison with his earlier paintings in which influences of his print works had been much more obvious.

著者

森谷 宇一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.85-87, 2007-06-30 (Released:2017-05-22)

著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.1-14, 2007-06-30 (Released:2017-05-22)

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It has been said that Gaston Bachelard's theory of time leads him to a new reflection on poetry. However, the relationship between those two distinct theories has not yet been explained in detail. In this paper, I will aim to elucidate this relationship. In L'instuition de I'instant (1932) Bachelard, influenced by Bergson, mainly argued that poetry makes a chain of instants appear as if it were duree which is opposite to the conception of creativity. But under the influence of Roupnel, he also suggests that poetry gives us to experience what an instant is, and he teaches us that it consists in creativity. Thus in his theory of time, especially in terms of the experience of poetry, there seems to be an ambiguity. In 1939 he wrote his first book on poetics, La psych-analyse dufeu, and then L'eau et les reves (1943), in which he claimed a new concept of "material imagination", which is based on the Elements. He thought that the images of material imagination were constant and this constancy was nothing but duree. Further, he considered this constancy as a positive property, holding that it gave images creativity which was solely assigned to instances in his previous writings. Therefore, we find that poetics of Bachelard is surely based on the ambiguous reflections on poetry in the theory of time.

著者

天内 大樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.69-82, 2007-03-31 (Released:2017-05-22)

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The author examines architectural theories that lead to the founding of Bunriha Kenchiku Kai (Secessionist Architectural Group) in 1920, in line with four phases focusing on the understandings of "expression". First of all, the notion of architecture was divided into "art" and "science/utility" when it was introduced to Japan from the West. Secondly, the "art" was relegated to a lower importance through Sano Toshikata's nationalistic view of architecture. Sano's follower Noda Toshihiko subordinates architectural design only to the theory of structural mechanics. Their understandings of "expression" were unilinear. Thirdly, Goto Keiji, Noda's adversary in study, believed that principles of architectural design are to be rediscovered within architects' self: he became an predecessor of Bunriha. Moreover, a Bunriha architect Horiguchi Sutemi insisted on "life" and "faith" within one's instinct. But their discussions deemed architecture only as reflections of the "self/life". Finally, the integration of self and architecture took place when another Bunriha architect Morita Keiichi discovered "inner demand" in the "beauty of dynamics" of the building. However, his understanding of "expression" remained unargued by the surrounding architects due to the theoretical constraints. This has affected our view of Bunriha.

著者

新田 博衛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.83-85, 2007-03-31 (Released:2017-05-22)

著者

川瀬 智之

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.86, 2007-03-31 (Released:2017-05-22)

著者

井上 康彦

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.86-87, 2007-03-31 (Released:2017-05-22)

著者

橋本 淳

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.87-88, 2007-03-31 (Released:2017-05-22)

著者

山本 純子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.88-89, 2007-03-31 (Released:2017-05-22)

著者

長谷 規子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.93-94, 2006-12-31 (Released:2017-05-22)

著者

春木 有亮

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.94-95, 2006-12-31 (Released:2017-05-22)

著者

伊藤 亜紗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.15-28, 2007-03-31 (Released:2017-05-22)

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What I try to indicate in this paper is that what Paul Valery called 'pure poetry' concerns the 'physiological' sensation of the body that cannot be conveyed by prose. Curiously Valery found the ideal type of art experience in the physiological phenomena due to the nature of retina-that is to say perception of complementary colors. Complementary colors produced by the eye as antidote against colors that stimulate itself are certainly subjective impressions and imply fear of disturbing objective recognitions. However, Valery regards this pure sensation which is set free from external objects to refer, as a perception of our own body whose functions are normally imperceptible to us. We directly find out about our body only when it doesn't function properly. By using means such as rhythm, rhyme, inversion and surprise, poetry captures and restrains the reader's body and interferes its smooth and automatic that is to say prosaic activity. This is the point where pure poetry and the physiology intersect. Both, guiding our attention to physical disorder, help us to gain the representation of our body, which, according to Valery's idea, is a system consisting of various functions.

著者

斎藤 郁夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.29-42, 2007-03-31 (Released:2017-05-22)

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Als Direktor der Nationalgarelie in Berlin erwarb Hugo von Tschudi Werke des Impressionismus, auch des Neo- und Postimpressionismus, die bisher in keinem Museum vertreten waren. Seine Kunstanschauung uber die modernen Kunst wurde in seinem Festvortrag "Kunst und Publikum" am kaiserlichen Geburtstag 1899 in der Berliner Akademie der Kunste dargestellt. Seiner Meinung nach vollzieht sich der erhoffte kunstlerische Aufschwung in der Richtung der naturalistischen Entwicklung, und fur die Kunstler steht die Gestaltungskraft als die personliche schopferische Kraft an erster Stelle. Seine Ansicht ist von Abhandlungen Konrad Fidlers gepragt, worin die eigentliche Bedeutung der naturalistischen Bewegungn gegen die alten idealistischen Anschauungen dargestellt wird, und neue kunstlerische Begabungen erwartet werden, die die Natur und die Wirklichkeit nicht nachahmen, sondern produzieren konnen. Fiedler, der theoretische Vorlaufer der modernen Kunst, muB Tschudi mit seiner Theorie einen Ausblick auf die spateren Kunstrichtungen eroffnet haben. Dadurch hat er ungeachtet der Giebelinschrift "Der Deutschen Kunst MDCCCLXXI" des nationalen Tempels deutscher Kunst Hauputwerke moderner franzosischer Kunstrichtungen erworben und auch Kandinskys "Zukunftsmalerei" entdecken konnen.

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, 2007-03-31 (Released:2017-05-22)

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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

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.78, 2006-12-31 (Released:2017-05-22)

著者

宮崎 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.79, 2006-12-31 (Released:2017-05-22)