著者

野村 良雄

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.13, no.3, pp.1-4, 1962-12-30

---

Cult seems to be the alpha and omega of arts. F. W. J. Schelling unged that the Church and her Cult be treated as living works of art, but he could not realize such an aesthetics. Comparative liturgics, which compares mainly Western and Eastern rites of Christendom, is already existing. But in order to study liturgies of various religions as a whole, we need some new method and way of approach. Needless to say we should consult with science of religions, ethnology, musicology, history of art and theology and their results. But aesthetics seems to be most profitable for such an universal and fundamental research of liturgy. Here aestheics means an indispensable foundation of an existential metaphysics uniting mythological and scientifical worlds into a higher synthesis. By the way, our experiment. such as combining Byzantine chanting with liturgical music of Zen temple, has won an unexpected success. We hope our Aesthetics of Liturgy could contribute a little to an Itinerarium mentis ad Deum in modern civilisation.

著者

福井 麻純

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.4, pp.57-69, 2002-03-31

---

NAKAMURA Hochu has been conventionally known as a Rimpa school painter who published Korin Gafu and whose folding screen work entitled "Flowers of the Four Seasons" is now possessed by The British Museum. Some scholars, however, have often pointed out that he was also well connected with other artistic schools led by Taiga, Buson, or Nichosai. Nevertheless, his raison d'etre as a distinguished painter in the late 1700s and early 1800s has been obscured. The main reason is that people have taken him just as one of many Rimpa schoolpainters and he flourished mostly in the Osaka art circles during the Edo period. This paper explains that it is not appropriate to discuss Hochu simply as a Rimpa school painter and explicates his views on Korin and the figure motifs illustrated in Korin Gafu. This paper also tries to put some light upon his close relationship with the world of Haikai and his personal involvement with the Bunjin circles in Osaka. In addition, this paper tries to show how versatile his artistry was and how critical his contemporaries were to his paintings. Through these topics, this paper elucidates Hochu in a wider context than ever before.

著者

太田 智己

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.49-60, 2013-12-31

---

An emphasis on the scientific production of knowledge garnered attention in the formation of Japanese art historical scholarship in the 1930s. The present study will delineate the significance of this academic trend in the field of Japanese art history by illuminating the sociocultural background, state initiatives and private agencies involved in the process. Ultimately, it will shed light on the ways in which modern Japanese scholars attempted to situate art historical studies within the "disinterested" academic realm of human science through the rational systemization of artifacts, historical accuracy, and empirical values. Indeed, this marked a turning point in the development of art historical study in Japan distinguishing it from antiquarian and hobbyist practices of art appreciation. This paper will contribute to the ongoing historical reassessment of Japanese art historical scholarship in the first half of the twentieth century. Moreover, I will analyze not only the interdisciplinary approaches but also a Neo-Kantian scientific perspective on Japanese art history. Finally, I will show how the scientific research trend had been avidly incorporated into the academic disciplines of Japanese art history, contrary to prevalent nationalistic rhetoric of this time.

著者

潮江 宏三

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.24, no.4, pp.65-70, 1974-03-30

著者

熊谷 貴史

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, 2008-12-31

著者

馬場 朗

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.3, pp.1-13, 2001-12-31

---

La problematique du gout occupe une place difficile a negliger dans la pensee de Rousseau sur le beau ainsi que les beaux-arts, problematique que l'on n'a pas encore eclaircie suffisamment. En analysant d'abord la theorie du gout dans le livre IV de l'Emile, nous constatons l'approfondissement de la possibilite a la fois esthetique et sociale que cette faculte comportait depuis son origine au 17 eme siecle. Ensuite, nous voyons comment cette theorie s'insinue et se developpe dans ses autres ecrits concernant le beau et les beaux-arts. En particulier, si la notion de gout trouve sa signification veritable, c'est a travers ses rapports tendus avec celles de sensibilite et de sentiment qui saisissent plus directement derriere le beau l'existence ethique axee sur l'<<amour de soi>> moral. Tout en ecartant la suprematie du gout a cause de sa distanciation a l'egard de l'objet esthetique, Rousseau ne refuse pas necessairement sa collaboration riche et ideale avec le sentiment qui ne saurait s'actualiser dans la societe que grace a la raison. Ainsi le gout s'integre solidement comme supplement rationnel pour le sentiment dans son esthetique ou il s'agit avant tout de la communion morale de sentiment avec les autres semblables.

著者

井上 由里子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.25-36, 2010-12-31

---

Valere Novarina, dramaturge francais ne en 1942, est connu pour son theatre hors du commun qui s'affranchit de toutes formes d'intrigues et de psychologie. Consideres comme poemes plutot que comme pieces, ses textes n'ont ete analyses jusqu'alors que d'une maniere litteraire. En analysant La Scene, mise en scene en 2003 par l'auteur luimeme, nous tentons dans cet article de reveler son dynamisme theatral, structure par <<le sacrifice>> et <<le carnaval>>. Comment echapper a l'opposition entre l'esprit et le corps, a l'egolsme et a l'orgueil qui sont propres a l'etre humain? Voila les questions autour desquelles tourne la piece. En ayons recours a la parodie et au rire, <<le carnaval>> de La Scene fete alors tout a la fois la mort d'un monde ancien et la naissance d'un nouveau monde. Sur la scene, l'acteur mange ce texte comme it mange de nourriture: d'une part en mangeant, it se laisse envahir par le son et le rythme du langage, d'autre part it fait bruler le corps, en parlant, jusqu'au <<sacrifice>> pour revenir a un etat ou les separations, notamment entre le corps et l'esprit, n'existent pas.

著者

森田 亜紀

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.54, no.2, pp.1-14, 2003-09-30

---

The middle voice, distinct from the active and the passive, is almost forgotten in our days. We could adopt this linguistic category as an alternative category in thinking about the experience of art. According to the linguists' discussions, in the middle voice the subject is inside the process and is affected from it. The process arises of itself without any agent. The middle voice is to grasp a matter not depending on identical terms or units, but starting from an event itself. As the middle voice event takes place, something is slipping off from itself; there is neither 1 nor 2. It concerns between 1 and 2. It is difficult to describe the experience of art in the schema of <<subject - object>> , <<active - passive>> ; both in creation and reception, there takes place something middle. It is also difficult to distinguish the sensible and the signification, the expression and the expressed in the experience; two moments are differentiated and mediated at the same time. In this sense the experience of art seems to be middle. The middle phase in the experience of art is a foundation event from which <<subject - object>> , <<the sensible - the signification>> are deriving.

著者

金田 千秋

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.33, no.1, pp.26-40, 1982-06-30

---

Es ist die Absicht dieses Aufsatzes, Fichtes Wissenschaftslehre aus dem asthetischem Gesichtspunkt zu uberblicken. Dazu bekommen wir einen Anhalt bei dem Manuskript, das "Practische Philosophie" gennant ist. Der leitende Begriff dieses Manuskripts ist der des Strebens, der die konsequente Thematisierung der sinnlichen Lust, des Schones und des Erhabenes ermoglicht. Erstens in der asthetischen Erfahrung geschiet die Wiederherstellung des vorstellenden Ichs aus der Abhangigkeit von dem Nicht-Ich. Zweitens erhalten das Schone und das Erhabene in sich eine Struktur des Reflexes. Diese zweien Einsichten sind nicht nur der Charakter der fruheren fichteschen Asthetik, sondern auch der der spateren. Denn die Grundeinsicht spaterer Wissenschaftslehre ist dargestellt unter dem Begriff der Reflexibilitat, der eine Konsequenz fichtescher Asthetik von Anfang bis zum Ende bezeugt.

著者

藤田 一美

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.31, no.3, 1980-12-31

---

Bei Platon ist ποιησι〓 (Hervorbringung) fur irgend etwas Ursache, aus dem Nochnicht-Seienden in das Seiende zu treten. Aber das poietisch Hervorgebrachte ist im eigentlichen Sinne kein Sein (το ον), sondern das Erdichtete (ψευδο〓). Ποιησι〓 als Erdichtung ist meistens >>μιμησι〓 φαντασματο〓<<, weil es schwierig ist, die metaphysisch-erkenntnistheoretische Wahrheit (αληθεια) oder Klarheit (σαφηνεια) zu haben. In diesem Sinne konnen wir ποιησι〓 als μιμησι〓 φαντασματο〓 >>φανταστικη<< nennen. Φαντασια bei Aristoteles meint eigentlich >>προ ομματων τι ποιησασθαι<<. Diese φαντασια hat deswegen die Freiheit der Konstruktion als ihr positiver Charakter, weil es ihr an direkte Bestimmung der αισθησι〓 fehlt. Auf der anderen Seite hat sie deshalb die starke Sehnsucht nach der Wirklichkeit oder Klarheit, weil es ihr an >>ενεργειν ακριβω〓<< oder >>αισθανεσθαι εναργω〓<< mangelt. Wenn solche φαντασια, die in sich solche Widerspruch enthalt, das Eine (εν) von den verschiedenen φαντασματα komponiert, nennen wir sie φαντασια λογιστικη. Diese φαντασια konnen wir fur sogenannte >>imaginatio<< halten. Aber Aristoteles erwahnt solche φαντασια nur in Bezug auf πρακτικη. Deswegen setzen D. Ross sich dem Gedanken entgegen, dass φαντασια λογιστικη poietische Einbildungskraft auch meint. Unserer philologischen Betrachtung nach sind συνισταναι, τη λεξει συναπεργαζεσθαι, προ ομματων τιθεμενον, εναργεστατα ορων, die wir im Kontext von Poetica 1455a 22-29 finden konnen, alle die notwendigen Momente der φαντασια λογιστικη.

著者

Ebisawa B.

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.11, no.3, 1960-12-20

著者

富田 大介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, 2003-12-31

著者

天貝 義教

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.85-96, 2012-06-30

---

In this paper I investigate the concepts of industrial design expressed by the Japanese term Kogyo-teki Isho which appeared in the Design Act of 1909, by focusing on the ideas of two representative industrial design educators Hirayama Eizo and Matsuoka Hisashi in the transition from the Meiji era to the Taisho era. In his articles published in the 1900s, Hirayama pointed out that by designing ornamentation, which was developed by the addition of elements derived from every part of the natural world, the industrial designer should elevate the aesthetic value of industrial products without interfering with their usefulness. In his articles published in the 1910s, criticizing Japanese designers for copying historical and Western style design, Matsuoka stressed that the industrial designer should display his own originality in designing industrial products for daily use, and defined that the aim of industrial design was to beautify all industrial products including daily necessities, common machines and the ditch covers. Their ideas on industrial design showed changes from the early idea of applying art to industry to the new idea of beautifying all industrial products for daily use, on which the establishment of a new institution for industrial design education was based.

著者

篠原 資明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.41, no.4, pp.1-10, 1991-03-31

---

Dans le monde de l'art, il y a plusieurs entretes : surtout, <<entre>> l'auteur et l'oeuvre, et <<entre>> l'oeuvre et le recepteur. Ces entretes se superposent aux entretes temporelles, parce que l'entrete entre l'auteur et l'oeuvre est passee pour le recepteur, et que l'entrete entre l'oeuvre et le recepteur est future pour l'auteur. Or, ces entretes sont possedees de l'exces. L'exces passe s'actualise dans la citation, l'exces present donne lieu a la communication entre les sens, et l'exces futur s'actualise comme la pluralite de l'interpretation. On peut considerer l'oeuvre d'art comme l'appareil communicatif de ces exces. Une telle position est indivisiblement liee a la conception de la fabrication comme l'operation des entretes. Le modele de communication propose ici contient ces quatre types : uni-communication, bi-communication, anti-communication et hetero-communication. Dans le monde de l'art, la communication de l'exces concerne hetero-commnnication.

著者

Kobata J.

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.10, no.1, 1959-06-30

著者

外山 紀久子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.4, pp.45-55, 1995-03-31

---

This is an attempt to decipher some representative discourses on the "failure of the avant-garde" and presume a latent structure of denial/repression/exclusion under the origin of modern art, a structure as the other side of self-formation of art with a newly gained myth of autonomy. In order to establish itself as a sublimated domain of high culture, art might have had to throw away everything that could not comfortably fit in with its self-definiton. Since moderinized "arts" fell into a generic category "Art, " this Art seems to have been increasingly marginalized and impoverished, and at the same time given more privileges (if only symbolic ones) in compensation. While the dualism between "high culture" and "low culture" is no longer grounded in reality as firmly as it was once, a renewed device, modernism, was invented to secure imaginary boundaries and to continue the process of autonomization ; a more refined and reinforced device of repression, which also is to include the rebellious avant-garde as a momentary release of the repressed. The interrelatedness of modernism and the avant-garde, then, will appear as a conflict between an aesthetics for control and an aesthetics for anarchy.

著者

中川 克志

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.2, pp.66-78, 2002-09-30

---

After John Cage extended the field of musical sounds to include all audible sound in the ealry 1950s, in the early 1960s La Monte Young adopted the strategy of including all sound into the musical world to innovate the traditional Western music and introduced the "inaudible" sound. This paper deals with the condition of how this "inaudible" but "perceptible" sound can be introduced into the musical world by investigating Young's "word pieces" (1960-62). I argue, first, that Young introduces the "inaudible" sound by declaring the audible judgement on sound unnecessary. Secondly, I consider the condition which secures this declaration, by concentrating on the process how Young reconsiders Cagean One Sound and reconstructs his own conception of sound and listening. By showing how the process of the "act of listening" has acquired the creative ability not only to transform sound but also to generate sound from nothing, in conclusion, it becomes clear that, by giving the creative ability to the "act of listening", Young introduced the "inaudible" sound and extended the field of musical sound to include all "conceivable" sound.

著者

庄野 進

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.28, no.4, pp.73-77, 1978-03-30

著者

桝矢 令明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.1, pp.70-83, 2001-06-30

---

In this paper I make a study of B. Eno's Ambient Music by examining its conceptual and methodological relationship with experimental music. In particular, I approach Discreet Music (1975), which could be regarded as the incipient work of Ambient Music, through (1) a comparison of Eno's idea of hearing music as part of the ambience of the environment with E. Satie's "furniture music" ; Satie is "the only pre-experimental composer whose work is more than merely relevant..." (Nyman) ; (2) studying the relationship between the methodology of the Tape Delay System in Discreet Music and J. Cage's "rhythmic structure"-Cage belonging to the first generation of experimental music-and (3) the examination of the influence of S. Reich's early tape music It's Gonna Rain (1965) and of his methodological essay, Music as a Gradual Process (1968) ; Reich is typical of the composers of the post-Cage generation. Through the discussions in this paper, I would like to clarify what Ambient Music is, and show how I have arrived at the interpretation of it as "music as perceived sound".

著者

千速 敏男

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.42, no.4, pp.46-56, 1992-03-31

---

Das Wort, 'Schilderachtich' (=malerisch), wurde zuerst von Carel van Mander in "Het schilder-boek" (1604) verwandt. Obwohl Giorgio Vasari (1550) schon ein italienisches Wort, 'pittoresca', verwandt hatte, unterschied van Mander dazwischen, indem er 'pittoresca' auf 'schilderich' ubertrug : Joachim von Sandrart nahm in "Teusche Akademie" (1675) das Wort, 'schilderachtige' (sic), auf. Also hatte 'schilder-achtich' in den Niederlanden des 17. Jahrhunderts eine eigene Bedeutung. Van Mander nannte das 'schilderachtich', was man nach der Natur behutsam darstellt, und das gilt auch, wenn ein Maler tuchtig, barmherzig und sittsam ist. Weil er diese zwei Bedeutungen nicht deutlich unterschied, konnten seine Zeitgenossen das Wort nicht richtig aufnehmen. Wie von Sandrart berichte, nannten damalige Kunstliebhaber 'schilderachtich' die nicht aus der Klassik kommenden profanen Themen : Genre, Landschaft und Stilleben, die in den Niederlanden des 17. Jahrhunderts popular waren. Jan de Bisschop machte daher in "Paradigmata" (1671) kritische Bemerkungen, dass man nicht die klassische Skulptur studiert, sondern etwas Hassliches darstellt, unter dem Namen, 'schilderachtich'. Dagegen nahm Gerard de Lairesse in "Het groot schilderboek" (1707) das Wort an, indem er ihm eine klassizistische Bedeutung gab. Er nannte 'schilderachtich' die Landschaftsmalerei wie von Poussin. Wie es in Francois Halmas Worterbuch (1717) steht, wurde das Wort nun als Synonym von 'de la grace' angenommen. Damit hatte es die eigentumliche Bedeutung aufgehoben.