著者

森 理恵

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.4, pp.41-54, 2006-03-31

被引用文献数

1

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This article analyzes garments worn by young males depicted in Ihara Saikaku's 1687 publication entitled Great Mirror of Male Love, or Nanshoku Okagami. Saikaku describes garments with long fluttering sleeves, known as furisode, that were worn by young males, such as those who worked as pages in the service of military lords (kosho). Their garments, portrayed as gorgeous (hanayako) and elegant (furyu), represented the cutting edge of fashionable dress of the period. The furisode worn by young males employed in theaters mimicked those worn by young pages; however, their complicated patterns are thought to be specific to actors' garments. Furisode worn by young male actors differed little from that of young women. This study reveals that the wearing of furisode depended not on gender, but rather according to age or social status. On the other hand, the effect of interactions among social classes is apparent. Men described in The Great Mirror of Male Love followed established social norms but through interactions across class boundaries, created their own distinctive mode of beautiful clothing.

著者

星野 太

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.13-24, 2010-06-30

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In this paper, I examine Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757/59), comparing it with Pseudo-Longinus' On the Sublime. In his book, Burke does not refer to On the Sublime but once, although he shares one of the main subjects with Pseudo-Longinus, namely the "Sublime". However, in the Part V of Sublime and Beautiful, one can find some descriptions where the tradition of rhetoric, including On the Sublime, is recognized. Especially, Burkian notion of "Passion", which is discussed at the last part of Sublime and Beautiful, draws a lot of attention. According to Burke, arousing the "sympathy" or "contagion of our passion" is made possible only by words, not by paintings, architectures, or natural objects. And he assumes that the sympathy is aroused by words without "picture" (namely, mental representation). This is the very reason why, I suppose, Burke excludes Pseudo-Longinus' theory from his book on the "Sublime and Beautiful". For Pseudo-Longinus assumes that, when the violent power of speech arouses a sympathy, it is mediated as vivid image (phantasia). To put it briefly, while Pseudo-Longinus considers that the mental representation is necessary to influence other's passion by words, Burke takes the standpoint contrast with that of Pseudo-Longinus.

著者

嶋田 久美

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.121-132, 2012-06-30

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This article explores expression activities in clinical practices focusing on two cases: La Borde Clinic and Bethel House. The former is a psychiatric clinic in France known as a Psychotherapie institutionnelle and the latter is a community in Japan for people with mental disturbances founded in 1984. Both foster unique activities in ways that challenge the dichotomies in clinical practices such as art/therapy, client/therapist and normal/abnormal. In this article, two aspects of expression and art in these unique activities are verified referring to the concept of 'dispositif' by Michel Foucault, Gilles Deleuze and Giorgio Agamben. First, expression and art may function to analyze the power relations around the clinical site. Next, they function to maintain the dynamism of powers that generate liquidity and porosity among people. However, as Deleuze implies, these functions should be examined using immanent criteria. Therefore, these two cases must not be taken as universal models but should be positioned as nodes or hubs of networks concerning clinical environments. Which is why these two cases also urge us to reconsider the perspectives of disease and disability and the roles of group and community.

著者

松永 伸司

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.97-108, 2013-12-31

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When describing player's actions in videogame playing, we often use the sentences which seem to say that the player performs her actions within a fictional world. But it seems to be impossible for a real individual to act in a fictional location. Here is a puzzle. This paper attempts to analyze such sentences and solve this ontological puzzle. First, I examine some possible answers. Immersionism takes the sentences as expressing the player's experiences of immersion. Virtualism assumes that the sentences refer to players' actions within not fictional but virtual worlds. Realism says that the apparently fictional actions are really real. Fictionalism claims that the sentences are not true but fictionally true. I show that all of these are far from satisfactory. Then, I turn to two more sophisticated theories. Grant Tavinor's interactive fiction theory invokes Waltonian work-world/game-world distinction to account for the peculiarity of videogame fiction. John Sageng offers a realist theory according to which player's actions induce reference shifts from fictional happenings to on-screen happenings. But both have some fault as well. Finally, I claim that the apparently fictional actions are as real as actions in traditional games are, though specified by on-screen signs individuated by their fictional contents.

著者

安西 信一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.40, no.2, pp.36-49, 1989-09-30

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According to the fundamental assumption of the picturesque aesthetics, the "painter's eye" or "picturesque eye, " the eye conversant with painting, is privileged to discover "the picturesque" hidden from the common eyes. This is done (often with the assistance of imagination) by abstracting the purely visual qualities of objects and disregarding their utilitarian, moral or emotional contents. "The picturesque" is characterised by irregular movement (Salvatoresque "roughness, " etc.), which corresponds to high valuation of sketchy and free execution as an indispensable element of painting, and in a wider context, to a change in the idea of nature. The "painter's eye, " however, discovers this irregularity only through the medium of painting, a fixed frame-work. Hence, contradictorily, "the picturesque" requires compositional unity (Claudesque "harmony, " etc.). The abstractedness of "the picturesque" enables the "painter's eye" to regard whatever object in the world as possible source of new aesthetic pleasure. But this "discovery of nature" also is occasioned by conforming to the established standard of painting. Because of such circularity and conventionality, the picturesque aesthetics has been criticised since Romanticism. Nevertheless, these aestheticians themselves found the tradition of painting not so much an unassailable authority as an endless succession of exeperiments towards better ways of seeing nature.

著者

戸口 幸策

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.15, no.3, pp.53-56, 1964-12-30

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Nachdem ich die musikalische Notation des Codex Rossi 215 der Biblioteca Vaticana untersucht und einige Fragen uber die Erlauterung Pirrotta's, besonders der Divisiones, vorgeschlagen hatte, die sich nicht im klassischen System der italienischen Notation des Trecento finden ("Ongakugaku" X, 1) blieb mir die Analyse der in diesem Codex enthaltenen Stucke ubrig. In diesem Bericht habe ich von meinem literarischen und musikalischen Studium uber die 21 Madrigale des Codex gesprochen. Die Form des Madrigals war auch in der Zeit des "Syntagma Musicum" von Michael Praetorius literarisch nicht eindeutig festgestellt, und es war im Trecento nicht als eine vortreffliche Gattung der Dichtung gemeint. Es ist aber sehr sicher, dass das Madrigal quantitativ und qualitativ die wichtigste musikalische Gattung war, in der die Mehrstimmigkeit des Trecento entstand. Ich teile mit Martinez die Hypothese, das Madrigal auch als Dichtungsart erst in Verbindung mit der Musizierpraxis entstanden sei. Aber ich bin wenigstens fur die Madrigale des Codex Rossi nicht von der unfehlbaren Beteiligung von Instrumenten uberzeugt.

著者

森 功次

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.37-48, 2012-06-30

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In the last section of Saint Genet (1952), Jean-Paul Sartre attempts to vindicate Jean Genet's immoral works. Sartre tries to save Genet from severe moral criticism in French literary world at the time. In this paper, I will organize Sartre's argument and examine his complex defense. According to Sartre, the immorality of Genet's works consists in the veriter's devious intention to invert our values and the bad influence he has on his readers. On the other hand, Sartre claims that Genet's works have some moral merits: to give readers some understanding of what Sartre calls 'solitary' positions such as Genet's, and to impress upon readers an identical possibility for themselves. Moreover, these moral merits are supported by the aesthetic appreciation of his works. The fact that readers could fully appreciate Genet's immoral works irresistibly points out to the readers the relation between themselves and the immorality of the works. It is not, however, clear how these moral merits are able to overcome the criticism against Genet. Moreover, because Sartre's argument presupposes an appreciation that deviates from Genet's own intention, which Sartre himself recognizes, it is not clear whether or not Sartre's attempted vindication can be viewed as a legitimate evaluation of Genet's works.

著者

利光 功

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, pp.1-11, 1994-12-31

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From the second half of the 1940's to the first half of the 1960's, as is generally known, the linguistic analytic method has dominated over Anglo-American aesthetics. Recently this aesthetics, now colled anaylitic aesthetics, has been retrospected and reexamined by the various sides. Then, we also would like to analyze and loom up its primitive figure, focussing on the William Elton (Ed.) ; Aesthetics and Language (1954). In our view, analytic aesthetics can be characterized by the following three aspects, that is, its presupposition, theme and aim. (1) Analytic aestheics presupposes that the aesthetic discourse must be fundamentally empirical scientific, and based on the fact or its experience. (2) Its main theme is to analyze the ambiguous concepts and propositions, and to clarify the aesthetic discourse. (3) Its final aim is to take up the position that there is no such thing as essence in art and, therefore, no criterion for the judicial criticism. And J. A. Passmore once called aesthetics which searches for essence or the general properties dreary. Our conclusion, however, is that not aesthetics proper but analytic asethetics is dreary, for the latter never affords any insights about aesthetic or artistic phenomena.

著者

西村 清和

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.4, pp.1-14, 2003-03-31

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In his film "Strike", Eisenstein abruptly cuts from a shot of the slaughter of workers to one of the slaughter of a steer. Such a cutting is understood as a typical example of film metaphor, while it has been not incontrovertible among theorists whether it is a real metaphor. Do film metaphors or, more generally, visual metaphors exist in the world? We could enumerate three types of traditional theories of metaphor, i.e. the substitution, the comparison, and the interaction theory. These have a conception in common that metaphor is, just like synecdoche and metonymy, a relation between two things referred to by two words. Meanwhile, influenced by Max Black's epistemological view of metaphor, philosophers often use the word 'metaphor' in the expanded sense including 'analog-model' or 'symbol'. It is sure that an analog-model is a mode of recognizing the world based on the relation between two things. But metaphor is, we claim, nothing other than a linguistic phenomenon of predicative modification of a subject. If it is true, it follows that metaphor in its proper form can not appear at the dimension of such visual images as paintings and films.

著者

富士栄 厚

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.48, no.4, pp.48-59, 1998-03-31

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In previous remarks, I have stated that <Spiral Jetty> of Robert Smithson was inspired by the form and the concept of Babel Upside-Down. I also explored the analogy between the pigment of the Salt Lake and human blood. (Ph. D. dissertation, "American Land art and the notion of the picturesque and sublime." University of Paris I, 1993.) In the present paper, I shall focus deeper into these concepts regarding Smithson's <Spiral Jetty>, reflecting upon my research of Metamorphosis of the Spiral and its association with the concept of Goethe. I shall also put forth my ideas on the reconstitution of the "Figure" of <Spiral Jetty> through synthesizing the triangular and reflexive relation between A : Site works of Spiral Jetty. B : Text on S. J. C : Films on S. J. Situating the problematic of Topos of <Spiral Jetty> in classical term, I will attempt to display the Reversibilty of Topos (Babel Upside-Down) as a form in the frame of Time/Space. I will involve the analogy between the circulation of blood in the human body and the organic form of red water at Salt Lake exploring the concept of "Inside-Out".

著者

古川 萌

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.49-60, 2014-06-30

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The lives of the artists, or Vite, written by an Italian painter and architect Giorgio Vasari (1511-1574), has been considered as one of the most important works in art historiography. However, since Vasari has shown the development of artistic styles and the triumph of maniera moderna in this work, a simple fact seems to have been overlooked for quite a long time, that this book is substantially a collection of artists' biographies, rather than an extensive treatise on the history of art. This essay returns to the fact, and attempts to reconsider the structure and purpose of this book. Epitaphs and woodcut portraits of artists contained in Vite are examined to demonstrate how Vasari views these biographies as funerary monuments to assure their eternal fame, making the whole book a temple to house them. Through the analysis, Vite will also reveal itself as a tool to promote Cosimo I de' Medici's artistic patronage. This is achieved by echoing the act of mourning their artists, which was practiced by such people as Cosimo il Vecchio de' Medici and Lorenzo de' Medici, consequently emphasizing the continuity from the Florentine Republic era.

著者

井戸 美里

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.73-84, 2015-12-31

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The late sixteenth to early seventeenth century produced many narrative paintings which based on classical literature such as the Tale of Genji and the Tale of Heike. It should be noted however that the number of folding screens which visualized the Tales of the Soga increased, especially in the early seventeenth century. In this paper, I would like to analyze the motifs of the Soga screens that were said to be taken from the Kowaka version of the Tale of the Soga. The motifs which were selected from the text of Kowaka were elaborately juxtaposed on the screen, representing the originality and authority of the warrior families. I will also consider the space of kaisho where warriors gathered for some rituals with a banquet and newly emerging performing arts such as Noh theatre and Kowaka were often performed, since the emergence of the gathering space of kaisho seemed to cause an increase of the production of these narrative folding screens. Kowaka-mai performances, which often narrated stories from war chronicles, functioned not only as a pacificatory requiem for those who had died in past wars but also as an expression of desire for a more peaceful future.

著者

山下 尚一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.13-24, 2012-12-31

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Nous nous proposons dans cet article, en analysant <<L'esthetique du discontinu dans la musique nouvelle>> de Gisele Brelet, d'examiner la temporalite chez Bergson, Bachelard et Brelet. Cette genealogie du temps, Bergson-Bachelard-Brelet, nous montre une nouvelle lecture de l'esthetique musicale de Gisele Brelet. Nous essaierons d'abord de constater dans les arguments brelettiens la transition de l'esthetique de la continuite de la musique tonale a celle de la discontinuite de la musique atonale, c'est-a-dire transition du concept de la duree bergsonienne a celui de l'instant bachelardien. Ensuite, nous nous interesserons au probleme de la continuite profonde que Brelet repere fmalement dans le temps musical. Nous chercherons de la, en comparant les theories du temps chez Bergson, Bachelard et Brelet, a reinterpreter l'esthetique du discontinu de Brelet. Notre examen revelera enfin le temps musical paradoxal qui est a la fois duree et instant, temps qui consiste precisement en duree instantanee.

著者

鯖江 秀樹

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.127-139, 2008-06-30

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This paper aims at investigating the peculiar aspects of Italian architectural culture under the fascist regime. Edoardo Persico, the most important critic of architecture between the two wars, recognized well that political powers and architecture crossed on the critical discourse. From this point of view, he defined the short history of this Italian movement as a process from 'europeismo' to 'romanita', and to 'mediterraneita'. These notions do not imply the supremacy of Italian ethic and nation, but demonstrate that young architects, who had been eager to introduce European modern building styles into their own country, was subordinated to political requests of fascism. Yet it was more important for Persico to reveal the rhetorical mechanism that obstructed the European artistic taste ('gusto europeo') and also disguised the Italian one ('gusto italiano') as they were. Hence his analysis of a lot of reviews appeared on the catalogues or magazines proved the diversity of the modern culture. Persico was the only writer that could describe the whole space of critical discourse as a matrix of fascist cultures with some paradoxical characters.

著者

稲垣 眞美

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.33, no.3, 1982-12-31

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"Daigomi", which we find in such expressions as "daigomi of the piano-play" and "daigomi of fiction", is commonly used as a critical term to signify an ideal taste beyond description. "Daigo" originally comes from the passage in the sutra of Nirvana- "the cow gives milk ; the milk turns to sour thick milk ; the sour thick milk to fresh butter ; the fresh butter to rich butter ; and the rich butter to "daigo"-creamy essence-which is the best of all." "Daigo" is called sarpir manda in Sanskrit, which means the supremely tasty food finally produced from milk. In Buddhism this is compared to Nirvana, the ultimate spiritual state as was explained in Milinda Panha, - "As in daigo there are colour, smell and taste of excellent quality, so in Nirvana there are colour called virtue, and taste and smell called commandment." On the other hand, in the Western aesthetics Hegel and E. v. Hartmann regarded these senses as inferior to the senses of sight and hearing, and excluded them from the aesthetic category, which has become prevalent since then. But such Encyclopaedists as Condillac, Voltaire and Diderot were against the idea, and did justice to the senses of taste and smell. Especially Diderot almost grasped the meaning of "daigomi" and Nirvana in his definition of "delicieux". So we shall have to revaluate those senses in aesthetics, giving a deeper insight into their sensual and spiritual pleasure and beauty.

著者

城丸 美香

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.15-28, 2007-06-30

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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

篠田 大基

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.56-69, 2009-12-31

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Steve Reich (1936-), in his essay "Music as a Gradual Process" (1968), wrote that "a compositional process and a sounding music […] are one and the same thing." His aesthetic creed of "perceptible processes," indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of "Anti-Illusion: Procedures/Materials" (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich's music and postminimalist art in view of his involvement in the "Anti-Illusion" show. The theme of the "Anti-Illusion" show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones' swinging. This piece clearly demonstrates that Reich's claim in "Music as a Gradual Process" was propounded in connection with postminimalist art as an attempt to disclose musical processes and reveal the real.

著者

山縣 煕

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.3, pp.1-13, 2002-12-31

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Cet article a pour but de developper le theme qui a ete lance dans mon article precedent : "Le corps comme evenement" (paru dans le Bulletin des recherches : La Nouvelle possibilite de l'esthetique-son sens et sa limite), ou l'on a considere le corps comme centre des sensations. Le corps comme lieu des desaccords et discords est en meme temps lieu des evenements et de la naissance des sensations. A propos de l'oeuvre d'art, on dit parfois le style de l'artiste, de l'ecole et du temps. Cela est possible, parce que l'oeuvre d'art, elle a aussi un corps. Or la creation de l'oeuvre par l'artiste est un evenement et notre rencontre avec l'oeuvre l'est aussi. A ce moment, non seulement les relations entre l'artiste et l'oeuvre, et l'oeuvre et nous, mais celle-meme entre nous et l'artiste est reciproque. Cette reciprocite est le plus important des indices de l'evenement.

著者

新田 孝行

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.44-55, 2009-12-31

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The development of Paul de Man's deconstruction as well as his theory of reading is closely related to the transformation of his discourse about music. In "The Rhetoric of Blindness (1971)", he states that melody is superior to harmony since the former deconstructs the mistaken illusion of imitation as his famous "deconstructive reading" does. Melody functions as a metaphor of the reading. What is at stake in "Shelley Disfigured (1979)", however, is neither melody nor harmony but measure. Measure is defined as articulated sound, present in both music and language. Reading merely according to the rules of measure or punctuation, called "syntactical or grammatical scansion", is another more important de Manian deconstruction, for the difference between the order of words (grammar) and their meanings (rhetoric), which de Man sees as most problematic, could be deconstructed by accident, as a result of failure to decide how to punctuate sentences in the process of the reading.

著者

大愛 崇晴

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.1, pp.57-70, 2002-06-30

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While it has been often emphasized that Monteverdi's seconda pratica opens the way to the essential idea of Baroque music : musical expression of passions of the text, Zarlino has been supposed to be a great defender of the more conservative style, prima pratica. However, Zarlino also develops the idea of "imitation of words" on the basis of the medieval conception of music as quadrivium. Zarlino supports the traditional Pythagorean view defining music as Harmonia, which is based on the simple proportions of the integral numbers and accordingly connotes consonances which sound agreeably to the sense. His view of music is therefore primarily speculative and mathematically analyzable by the reason. On the other hand, in the Renaissance humanistic thought, Zarlino seeks restoration of emotional effects of music in antiquity. He asserts the arousal of passions is caused by the very words to be set, those Harmonia (tune) and rhythm which are suitable to their emotional contents, and moreover, he stresses on the ethical purpose of music. But, Zarlino admits only the polyphony composed of consonances, as device of expression. He considers mathematical harmonic match as the most intrinsic part of music, recognizing the important role of words in music.