著者

伊達 立晶

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.48, no.3, pp.13-24, 1997

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The purpose of this paper is to make clear the aesthetic thoughts of Poe and Baudelaire from the viewpoint of the imagination theory. Through this examination, we can find that their thoughts showed the peculiar views against the imitation theory in those days. Poe and Baudelaire consider that imagination has two functions : the first function is to find unexpected analogies among some ideas or things, and the second is, by the combination of these analogous ideas or things, to produce something novel and beautiful that is similar to the vision in the delirium. They insist that, by exertion of this imagination, artists should transform the composition of natural things. While Poe and Baudelaire take a similar view in these regards, we can also point out some distinctions between their imagination theories. What the distinctions may be, it is noteworthy that their imagination theories furnished arguments against the traditional imitation theory.

著者

木下 和重

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

中間 志織

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, 2005

著者

白石 恵理

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.3, 2001

著者

喜屋武 盛也

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.4, pp.25-35, 1999-03

著者

藤田 一美

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.4, pp.p42-57, 1979-03

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A famous Chinese poet, Su Shi, left us an Ode to Chi Bi, which is regarded as a famous ancient battlefield by him. But Chi Bi, where he lived as an exile, was not the ancient battlefield, and he most probably knew this historical fact. On this point we can explicitly find one of the greatest differences between the history and the poetry, i.e., the difference between the historical reality and the poetic reality, which was already and positively uttered by Aristotle. Su Shi said that the poem was made through <Rong hua> (founding). The poetry makes the poem from the everyday (or historical) happenings (or facts) as <materia>. If the usual world is only <materia>, it always remains poetically <chaos>, so far as it is not formalized (or realized) by the poet. In this sense the poet has <causa formalis> in himself. If it is so, on what ground can the poem have its superior reality? Why can we experience the poetic world? Su Shi did not question in this way. According to Plato, we have the destiny to know our world through <eidos> (forma). In other words the world is either way (historically or poetically) the linkage of <eidos> or meaning. The poet makes the poetic world through the invention of a new unified linkage of the meaninig. In this sense the poet is a little <demiourgos> (creator).

著者

藤原 貞朗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.2, pp.15-28, 2001

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Entre 1910 et 1927, Henri Focillon etudie intensement l'art asiatique, publiant trois livres et cinq articles en la matiere. Les ouvrages doivent beaucoup a la pensee de Tenshin Okakura, dont Les Ideaux de l'Orient a ete traduit en francais en 1917, quatorze ans apres la publication de la version originale. La lenteur de cette traduction fait surgir dans les annees 1920 et 1930 en France, la conception inattendue de l'histoire de l'art asiatique, ce qu'il convient d'appeler "l'histoire universelle de l'art". Le livre d'Okakura a deja perdu de son autorite dans les annees 1910. L'aspect ideologique de son idee "pan-asianiste" a ete stigmatise du point de vue scientifique. Mais Focillon n'hesite pas a admirer sa perspective historique, bien structuree, parce qu'il y devine la possibilite de degager l'universalite de l'art. Okakura, pronant son idee de "l'unite de l'Asie", opposait l'art asiatique a l'art occidental. Focillon, a son tour, utilise la notion d' "unite", tout en l'extrapolant au dela de "l'antinomie Orient-Occident". Il envisage de remplacer "l'unite de l'Asie" par un concept plus megalomane de "l'unite de l'Eurasie". Reflechissant a la fois sur l'ideal d'Okakura et sur le probleme politique d'apres-guerre, Focillon en arrive a etablir une espece d' "histoire universelle de l'art".