著者

渡辺 洋平

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.25-36, 2012-12-31 (Released:2017-05-22)

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Dans Proust et les signes, Gilles Deleuze a defini l'ceuvre d'art comme une machine. C'est la premiere fois que le concept de machine apparait dans ses oeuvres, et selon Deleuze, l'oeuvre de Proust A la recherche du temps perdu est elle-meme une machine. Notre etude est une tentative pour extraire de cette oeuvre sur Proust les conditions necessaires a l'existence de ce concept de machine. Et pour cela, nous confrontons Proust avec Platon selon la demarche de Deleuze. En effet dans ce livre, Deleuze parle souvent du platonisme de Proust, qu'il considere comme le renovateur de la reminiscence de Platon. Il nous semble que le concept de machine est rendu possible par cette renovation. Il existe aussi une autre condition a ce concept: la theorie du temps. Deleuze a deja presente une theorie originale du temps dans Difference et repetition, mais elle se presente sous un nouvel aspect avec l'art comme machine. Ueclairage apporte sur ces questions permet de reveler l'importance primordiale de Proust dans la pensee de Deleuze.

著者

西田 紘子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.153, 2009-12-31 (Released:2017-05-22)

著者

小川 佐和子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.107, 2011-12-31 (Released:2017-05-22)

著者

江口 みなみ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.104, 2011-12-31 (Released:2017-05-22)

著者

増田 哲子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.73-84, 2011-12-31 (Released:2017-05-22)

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This paper focuses on the image of "eating" in Francisco Goya's Saturn Devouring His Son (1820-23). We aim to grasp the meaning of "eating" in the above and other works of Goya by examining the grotesque body image of Saturn who devours his victim with wide-open mouth and eyes, angular limbs, and disheveled grey hair. As a court painter at the end of the 18^<th> century Spain, Goya was commissioned for works like portraits and tapestry cartoons, where he drew the dignified public body of royalty and nobility, which represented the classical notion of "ideal beauty." However, in a series of works executed after the Peninsular War of 1808-1814, such as the Disasters of War and the Black Paintings, Goya painted distorted and grotesque images of bodies that eat, excrete, grow old, die, and decay. In these images, Goya represented the body as "matter" that was far from the ideal beauty. In this article, we show that the grotesque image of "eating" in Goya's works does not convey the enjoyment and pleasure of life but the insatiable desire to eat, cruelty, and violence in the act of eating, as well as aversion to food.

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.97-108, 2011-06-30 (Released:2017-05-22)

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INA Nobuo is known as the photo critic who emphasized the medium specificity of photography in his essay "Return to the Photography" in 1932 and who theorized and encouraged the reportage-photography. So researchers regarded his concept of reportage-photography as the consequence of pursuing the nature of photography. But it's a little known fact that he edited the graph-montage entitled "Scoping out the Crisis" on the magazine Hanzai-Kagaku in 1932. Interestingly, he used not only photographs but also some illustrations in his work. The aim of this paper is to re-examine his concept of reportage-photography through discussing the reason why he used some illustrations. In the era of "Ero-Gro-Nonsense" not a few books insert some erotic and exotic images to gratify the reader's desire. In response, rendering the exploring, consuming or looking people by caricatures, and the explored, consumed or looked people by photographs, his graph-montage represents class confrontation and the photography as spectacle negatively, because he assumed that photographs has to be used to convey "thought and emotion" clearly through the printed media. In this way he valued the editing on the printed media more than the property of automatic recording.

著者

高久 馨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.126, 2010-12-31 (Released:2017-05-22)

著者

蘆田 裕史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.113, 2010-12-31 (Released:2017-05-22)

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.163, 2009-12-31 (Released:2017-05-22)

著者

森 功次

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.16-29, 2009-12-31 (Released:2017-05-22)

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Dans la pensee de l'art chez le premier Sartre, l'image et le reel sont-ils distinctement separes? Sartre a-t-il meconnu la materialite de l'oeuvre d'art? Il serait excessif d'affirmer cela. Premierement, si l'on examine les concepts de <<spontaneite pre-volontaire>>, de <<degradation>>, et de <<motivation>> dans la theorie de l'image de Sartre, il apparait clairement que dans l'experience de l'oeuvre, le reel se maintient derriere l'imaginaire. La negation de l'existence de l'objet d'appreciations esthetiques ne signifie pas ne pas voir l'oeuvre. Deuxiemement, par comparaison avec le reve, l'experience de l'oeuvre d'art maintient des relations plus etroites avec le reel. Certes, le reve et l'experience esthetique constituent pareillement une experience de la conscience captive et concernent l'imaginaire, et Sartre lui-meme a d'ailleurs souvent decrit la ressemblance entre les deux. Mais dans L'imaginaire, a certains egards-notamment la distance vis-a-vis du reel, la facilite de la reflexion, et la nature du sentiment-, Sartre a clairement distingue l'experience esthetique de celle du reve. De ce point de vue, dans la theorie sartrienne, la realite de l'oeuvre, elle aussi, joue un role efficace.

著者

栗原 詩子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.71-84, 2007-06-30 (Released:2017-05-22)

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Although expression in films includes temporal and aural content, film study has attached much more importance to spatial and visual components in films. In an attempt to correct for this indifference towards temporal and aural content in film study, this paper analyzes Rythmetic (1956), an animated film of Norman McLaren (1914-1987), from the perspective of music analysis. In Rythmetic, wherein numerical characters engage in arithmetical operations on the screen, six kinds of scratched sound on the film are the main part of aural expression. The cut-paper animation for mathematical activity on the film frame results in an innovative rhythm structure that is quite different from traditional notation. That is where we realize the ingenuity of McLaren who defined animation as "the art of manipulating the invisible interstices that lie between the frames." Not a few appreciative of Rythmetic ranked this animated film "First Prize of Abstract Films" (in Rapallo), or "Diploma of Merit" (in Edinburgh). This film, however, has been often described only as a work "for education" because of its visual impression of chalkboard in the class of arithmetic. This paper threads out the seesaw between the arithmetical regularity and the aesthetical joke of the numbers, and reveals the process from the stark contrast into cross-fertilization of them.

著者

伊藤 政志

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.1-14, 2007-03-31 (Released:2017-05-22)

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In §15 der Kritik der Urteilskraft fragt Kant: ≫ob sich auch die Schonheit wirklich in den Begriff der Vollkommenheit auflosen lasse≪. Kant kritisiert Baumgartens und Meiers Asthetik, welche die Schonheit als die nur in verworrener Weise vorgestellte Vollkommenheit begreift, und baut auf der Grundlage des ZweckmaBigkeitbegriffs seine eigene Asthetik auf. Freilich ubernimmt Kant verschiedene Begriffe aus Baumgarten und Meier. Vor allem der Begriff ≫Lebhaftigkeit≪ ist ein ihnen gemeinsames Merkmal der asthetischen Erfahrung, der eine wichtige Roll in ihren Theorien spielt. Baumgarten und Meier gebrauchen diesen Begriff als Metapher, um eine Erfulltheit der asthetischen Erkenntnis zu kennzeichnen, die durch die Abstraktion der Vernunft nicht beschadigt wird. Dagegen wirkt der Begriff ≫Lebhaftigkeit≪ bei Kant nicht mehr metaphorisch. Denn fur Kant bedeutet die Schonheit zuerst die Naturschb'nheit, die man in der lebendigen und organischen Natur wahrnehmen kann. Also liegt zwischen leibnizwolffischen und kantischen Asthetik eine Wende, die dieser Aufsatz die teleologische Wende vom Schonen nennt. Dieser Aufsatz geht dem Weg Kants zu dieser Wende nach und versucht zu zeigen, welche neuen Moglichkeiten Kants Asthetik dadurch eroffnet hat, dass sie die ZweckmaBigkeit anstelle der Vollkommenheit als Leitfaden des Gadankens uber die Schonheit auffaBt.

著者

小松 健一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.15-28, 2006-12-31 (Released:2017-05-22)

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L'opera del Correggio, Venere e cupido con satiro, e generalmente accomunata a l'Educazione di Cupido, conservata alia National Gallery di Londra. Le dimensioni dei due dipinti, tuttavia, non corrispondono ed inoltre gli studiosi ritengono che il quadro di Londra sia stato dipinto prima di quello del Louvre. Le iconografie dei due dipinti, l'Educazione di Cupido e Venere svelata da satiro, ignote al mondo antico, sono invenzione degli umanisti rinascimentali. Si trovano questi due motivi "pseudo-antichi" nell'Hypnerotomachia Poliphili, pubblicato nel 1499 a Venezia, una probabile fonte iconografica delle opere correggesche. Basate sulle descrizioni di Polifilo, le due scene furono adattate facendo riferimento alle sculture mantovane ed alle incisioni degli Amori degli Dei di Caraglio. La sensualita di Venere del Louvre e derivata dalla descrizione fatta da Polifilo di una scultura di ninfa. Queste due "donne dormienti", che hanno sostanzialmente l'ambiguita dell'identita, rappresentano la bellezza di nudita come opere "pseudo-antiche". Tale relazione con l'antichita rappresenta il gusto del committente Nicola Maffei, famoso collezionista di sculture antiche.

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.2, pp.84-86, 2006-09-30 (Released:2017-05-22)

著者

瀧 一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.4, pp.15-26, 2006-03-31 (Released:2017-05-22)

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L'examen critique des cours de Bergson, surtout celui des theories des rapports de l'ame et du corps, nous fait remarquer l'importance des problemes de l'imagination et de l'analogie. En effet, le philosophe essaie dans ses cours de trouver, d'une autre maniere que la dialectique hegelienne, une nouvelle vision du dualisme en comparant l'imagination qui represente par analogic et Fentendement qui raisonne par deduction. Une lecture nouvelle des oeuvres de Bergson par ce biais confirme que l'analogie bergsonienne dans l'imagination n'est pas seulement celle de la proportionnalite, qui renvoie a la ressemblance entre deux rapports d'images, mais aussi celle d'attribution intrinseque, analogic metaphysique des degres du reel. Ainsi l'analogie de l'art, qui se trouve partout dans le bergsonisme, n'est pas simplement un art de persuasion, mais un art d'invention. Allant au-dela des images infra-intellectuelles et retournant des hauteurs supra-intellectuelles pour creer des nouvelles images ici-bas, l'intuition bergsonienne a comme logique Vana-logos qui consiste a separer pour reunir en remontant a la source. On pourrait l'appeler, en tant qu'alternative au logos de l'intelligence moderne, un logos esthetique au sens ravaissonnien du mot: ≪ le flambeau de la science ≫.

著者

蘆田 裕史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.28-40, 2005-09-30 (Released:2017-05-22)

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The Italian Futurists participated actively in the areas of applied arts. However, due to the variety of their activities, each area has not been explored equally. The purpose of this study is to reveal the significance of clothes and fashion in the Futurism. The Futurists showed interest in fashion embodying the concept of speed, for they regarded the velocity as sacred. They had interest in clothes themselves as well. Giacomo Balla presented the new Futurist clothes in his manifestoes. The clothes are characterized by three concepts; "change", "functionality" and "influence upon spirit". For Balla, clothes were not works of art, but in fact were tools. His idea of clothes had importance for the Futurists in this respect, because the arts were tools to inform or realize their ideas. Only from this point of view, however, it is impossible to find differences between clothes and other applied arts. For this reason, it is necessary to consider the fact that Balla started with textile design when he made clothes. As understood from the discourses of the Futurists, they emphasized the significance of the Italian textile industry. Because of this industrial characteristic, the Futirists regarded the fashion as a priviledged domain.

著者

庄野 進

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.2, pp.15-26, 1978-09-30 (Released:2017-05-22)

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Musikalisches Material ist nicht etwa der Inbegriff der vorgegebenen Eigenschaften der Tone und Tonbeziehungen, sondern 1) was dem handelnden Subjekt (dem Komponist) sich darbietet, 2) etwas mehr als seine Unmittelbarkeit, und 3) alles dem Subjekt Gegenubertretende, woruber es zu entscheiden hat. Musik kennt keines Naturmaterial, sondern musikalisches Material ist geschichtlich durch und durch, weil der Komponist jeweils in einem Werk ein bestimmtes Material nicht anders als das entscheiden muss. Da das Material selber sedimentierter Geist, ein gesellschaftlich Praformiertes ist, hat es eine Tendenz. Aber dies soll nicht geschichtlich-deterministisch aufgenommen werden. Denn auf die strukturelle Seite : Form, sowie auf diese geschichtliche, beide vermittelt voneinander, ist Material sich bezogen. Form ist im aktuellen Sinn die Totalitat der musikalischen Erscheinungen, nicht etwa das geschichtlich vorgebildete Schema. Aber alles im Kunstwerk Erscheinende ist virtuell Inhalt so gut wie Form, also ist sie auch Inhalt. Das Verhaltnis Form-Inhalt ist damit nicht gegensatzlich aufzufassen wie in traditioneller Theorien, sondern so dialektisch, dass in den uberlieferten Formen Inhalt sich sedimentiert hat. In dieser Zusammenhangen ist die Grundlegung der Musiktheorie Adornos der immer sedimentierende Material-und Formbegriff, der von der Gesellschaftlichkeit, der Fixierung des Verhaltnis des handelnden Subjekts zu seinem gegenstandlichen Objekt aus entsteht.

著者

並木 誠士

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.1, pp.64-74, 1994

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The Shuhanron emaki is a Japanese handscroll painting which illustrates a debate over the respective merits of rice wine verses rice for eating. Although the scroll has been recognized here-to-fore as an important historical materials within the study of eating and drinking, culinary, and banquet customs, it has not been examined from art historical standpoint. This has largely been due to the fact that numerous recensions of the scroll survive and, in turn, identification of the original painting has been problematic. Consequently, while it has been generally thought that an original version of the scroll had been produced during the Muromachi period, questions concerning its artist, precious date of production, and its historical and religious background have remained unanswered. In this paper, I classify extant versions of the scroll into two distinct lineages, one associated with the artist Kano Motonobu and the other with the artist Tosa Mitumoto. Moreover, I identify one scroll, presently in a private collection in Japan, as being the original version within the Motonobu lineage. Finally, comparison of this painting with Motonobu's Shakado engi emaki and Shutendoji emaki confirms its Motonobu style and permits us to attribute it to Motonobu himself or to his studio.

著者

皆川 達夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.3, pp.68, 1967-12-30 (Released:2017-05-22)

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The libretto of a Japanese Noh-Play is divided into many strictly formalized and fixed sections, which have not only their special dramatic character, but also their own musical style. In other words, Noh is not simply drama but is socalled Gesamtkunst. The vocal melodies of Noh are regulated by one of the two scale-like stylistic composites, called Tsuyo and Yowa. Yowa has a definite scale : the interval between the upper tone and the lower one is the seventh, which is the sum of two successive statements of the fourths, the favorite interval of the Japanese. Tsuyo is highly intoned recitation rather than music. Accent, dynamic stress, tone color, and a special vocal technique are mose important than melodic movement itself. The rhythm of Noh is quite fascinating. Noh music may sound to a Westerner like pure free-rhythm music with flexible changes of rhythm and tempo ; now there is a push forward, now a slowing down, now a breaking off. However, this flexibility should not be associated with either arbitrariness or improvisation. Each change of rhythm and tempo is weighd carefully according to the patterns of the drum-beats, the content of the text, the position of the verse, the section, etc. In many aspects, Noh music is contrary to the Western music, and it offers an interesting antithesis to the Westerners. For further details, my article Japanese Noh Music (Journal of the American Musicological Society Vol. X, No.3, 1957) should be read.

著者

松田 聡

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.2, pp.70-83, 2003-09-30 (Released:2017-05-22)

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In February, 1786, the Emperor Joseph II gave a feast at Schonbrunn Palace. On this occasion, Der Schauspieldirektor, a comedy with music by Mozart, was given its first performance, together with Salieri's opera buffa Prima la musica e poi le parole. So it has long been widely accepted that the two composers' music competed with each other in the feast. But, in fact. Der Schauspieldirektor is a unique stage work, of which the first half is formed as a German Play and the latter as a Singspiel. This fact necessitates reconsideration of the "competition". From October, 1785, three genres of stage work, German Play, Singspiel and Italian Opera, were performed at Viennese court theatres, so the feast can be regarded as an epitome of this system of performance in operation. This system marks an epoch in the Viennese performance history of opera, because, till then, it had never occurred that both the Italian Opera and the Singspiel were performed at court theatres in the same period. The two works performed in the feast share the same subject, that is the rivalry and the harmony between the different genres, and through it, the Emperor demonstrated his new idea to treat both German and Italian theatrical genres equally.