著者

源 高根

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.28, no.3, 1977-12-30

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Takehiko FUKUNAGA, contemporary Japanese writer and poet, translated Charles Baudelaire's L'Invitation au Voyage into rhymed verse. Although we cannot say that it has no shortcomings, we can feel a natural rhythm in it and notice the fact that this rhythm comes from rhymes in Japanese. From our point of view, there exists generally a interrelation between meanings and rhymes ; clear meanings go well with effective rhymes. If so, then, there should be found more devices and considerations in our contemporary Japanese poems. There has been, as such an experiment, Matinee Poetique, Japanese rhymed poem movement, members of which, inspired by Shuzo Kuki's Rhymes in Japanese Poetry, tried to compose rhymed poems in fixed form. Their works are, however, almost neglected in Japan. Tatsuji MIYOSHI, Japanese famous poet, dares to say that rhymed poems cannot be written in Japanese. But, although clear rhymes don't always mean comfortable sounds to ear, rhymes can, if hided effectively, make poems very rhythmic. Thus there exists the reason why we should ask the possibility of rhymed verse in our contemporary Japanese poems.

著者

亀崎 勝

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.35, no.3, 1984-12-31

著者

町田 つかさ

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.195-196, 2009-06-30

著者

林田 新

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.97-108, 2011-06-30

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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

井村 彰

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.49, no.3, 1998-12-31

著者

坂手 佳絵

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.140-153, 2009-06-30

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La tragedie lyrique (ou la tragedie en musique) est, pent-on dire, un genre symbolique au temps de l'Ancien Regime: elle prit son essor en commencant par Cadmus et Hermione de Lully et Quinault representee en 1673 et elle seteignit a la fin du XVIIIe siecle. Le destin de la tragedie lyrique alla de pair avec celui de la monarchie absolue. De nombreuses recherches sur ce genre lyrique de sa naissance aux annees 1760 ont ete effectuees jusqu'a present. Il est toutefois difficile d'affirmer que nous avons suffisamment aborde les oeuvres des annees 1770 et 1780. Dans cet article, nous essayons de mettre en evidence une image de la tragedie lyrique sous le regne de Louis XVI en examinant Thesee de Gossec. Au travers de l'etude de Thesee de Gossec, nous voyons que la tragedie lyrique resta toujours un genre important de l'aristocratie, spectateurs principals, pour ne pas perdre sa raison d'etre a la fin de l'Ancien Regime. Dans ces circonstances, Gossec dut tenter de jouter sa musique dans le moule deja demode de la tragedie lyrique. Ce qui permet de montrer a la fois le genie et la difficulte de Gossec en face de ce genre bientot disparu.

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.61, no.2, pp.37-48, 2010-12-31

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Nous nous proposons dans cet article, en analysant le geste et la technique dans l'art musical, d'examiner la relation entre l'esthetique musicale de Gisele Brelet et l'ethnomusicologie d'Andre Schaeffner. Certes, it y a leurs differences : l'ethnologie de Schaeffner porte principalement sur le geste instrumental qui represente une societe dans sa singularite, tandis que l'esthetique de Brelet traite du concept de geste vocal en tant que principe universel du beau, independant du social. Mais l'examen du concept de geste technique corporel nous montre leur unite. En effet, chez Brelet comme chez Schaeffner, la technique gestuelle est realisatrice d'une musique : l'esthetique brelettienne revele que le geste corporel devient musical a travers la technique de l'interpretation, de meme l'ethnologie de Schaeffner enseigne que la technique du corps social donne au geste corporel une valeur musicale authentique. Ainsi, c'est dans ce geste technique corporel que s'exprime l'etre musical.

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

著者

岡林 洋

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.30, no.4, pp.74-78, 1980-03-30

著者

小田 昇平

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.141-142, 2011-12-31

著者

田中 英道

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.46, no.3, 1995-12-31

著者

尾鼻 崇

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

桑原 規子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.29-42, 2003-12-31

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Onchi Koshiro(1891-1955), one of the earliest pioneers of abstract paintings in Japan, executed a series of woodblock prints entitled the Lyric on Musical Composition in the 1930s. This series, which was created under the inspiration of contemporary Japanese and European music, is worthy of note as exceptional abstract work in the first half of 1930s, a period that is called "the blank era of abstract paintings. " In this paper, I examine why Onchi made these abstract prints on musical compositions in such an era. It is clear that this series was created through his friendship with Japanese musicians, such as Moroi Saburo, Yamada Kosaku and Ishikawa Giichi, and that his abstract expression was under the influence of new artistic trends in Europe, such as Kandinsky's abstract paintings and Musicalists movement in France that were introduced into Japan in those days. But what is especially important is that Onchi had specific aims for executing this series. One was to expand the boundaries of art by synthesizing art and music, and another aim was to break through the dominance of realistic art in Japan by highlighting the significance of abstract art itself. In the first half of 1930s, there were few Japanese artists like Onchi who created abstract art and declared its importance. In this respect, he must be quite remarkable in the history of prewar abstract art in Japan.

著者

西川 啓司

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.69-82, 2007-12-31

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In dieser Abhandlung soil Onchis Rezeption von Kandinsky, die in vorangegangenen Forschungen unklar geblieben ist, erklart werden. Zunachst tritt Kandinskys Einfluss, z.B. was die Moglichkeit betrifft, durch Gemalde-wie in der Musik-nicht greifbare Gegenstande darzustellen, mehr in seiner Kunsttheorie, als in seinem Werk selbst in Erscheinung. Er erhoffte sich, mit seiner Rezeption von Kandinsky die Kunst von Yumeji Takehisa oder der Zeitschrift "Shirakaba" zu iibertreffen. Als Onchi auf der Suche nach seiner eigenen Kunst und seinem Leben als Kunstler war, studierte er gerade Yumejis "innere Bilder (Uchi yori kaku e)" und Saneatsu Musyanokoujis "Das Ich (Jigay. Und so nahm er sich Kandinsky zum Vorbild, der in sich beides vereinte. Da Onchi in seiner Rezeption den Kern der abstrakten Darstellung verstanden hatte, beschrankte er sich nicht darauf-wie die tibrigen Ktinstler seiner Zeit-nur die auBere Form der europaischen Kunst nachzuahmen, sondern schaffte es mit dem ersten abstrakten Werk in der modernen Kunstgeschichte Japans eine gro£e Tat zu vollbringen. Dies ist die wichtige Bedeutung bei Onchis Rezeption von Kandinsky.

著者

Masunari T.

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.21, no.2, pp.79-80, 1970-09-30

著者

石黒 義昭

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.4, pp.1-14, 2002-03-31

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In der Kunst-Abhandlung Der Ursprung des Kunstwerkes hat Heidegger die Kunst als "den Streit zwischen Welt und Erde" bestimmt. Obwohl Heidegger, wie allgemein bekannt, den Begriff Welt schon in den 20er Jahren ofter benutzt hat, hat "die Erde" hier einen ganz neuen Klang. Die Kunst-Abhandlung kann man also als einen Begegnungsort von der bisherigen Terminologie und der neuen betrachten. Warum aber ist der Erd-Begriff vorgelegt? So besteht die Aufgabe dieser Uberlegungen darin, die Herkunft des Begriffs der Erde herauszustellen. Es kann dabei helfen, dass Heidegger das Erdhafte des Kunstwerkes auf das Dinghafte des Dinges bezieht. Wie in den Kant-Vorlesungen oder im Kant-Buch gezeigt wird, spielt die Frage nach dem Dinghaften um die Zeit der sog. "Kehre" eine grosse Rolle. Es scheint mir, dass Heidegger zuerst das Dinghafte des Dinges erortern muss, um den "Sinn von Sein" zu erlautern. Zu den anderen Worten liegt dieses Interesse am Ding von vornherein in Heideggers Denken zugrunde und fuhrt ihn zum Spatgedanken. In diesem Sinne ist sein Denken als "die Frage nach dem Ding" zu kennzeichnen. Unterwegs zum Dinge begegnet Heidegger das Kunstwerk. Sein Dinghafte wollte er doch nicht mit dem Stoff oder der Materie bezeichnen, weil das Kunstwerk weder das Zuhandene noch das Vorhandene ist. Daher ist der Erd-Begriff als eine conditio sine qua non fur die ontologische Bestimmung des Kunstwerkes aufgetreten. Diesen Begriff fuhrt Heidegger in die Kunst-Abhandlung, indem er zu den Gedanken der Vorsokratikern zuruckkehrt. Infolgedessen kommt es, dass uber die Erde zuruck zur Physis einmal nachgedacht werden muss.

著者

藤枝 晃雄

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.30, no.4, pp.49-58, 1980-03-30

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Modern art can be classified into two forms : art as art and antithetical art. The latter, which appeared for the first time in this century, is discussed in this paper. It has at times been regarded as modern art. Antithetical art, however, as the term suggests, is not self-sufficient but rather resultant from the preceding art. Marcel Duchamp, one of the first antithetical artists, has denied the possibility of defining art, but Joseph Kosuth in recent years takes an afirmative atittude and even demands to define it. In which points are these two proposals different from or similar to each other? We try to clarify the genetic conditions of antithetical art.

著者

藤枝 晃雄

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.22, no.3, 1971-12-30

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One of the particularities of modern art is the trend that art exists not as art per se but as art about art. One example of this is "Urinal". which is comprehensible even if not seen. The recent trend, however, demands that the work which is made by the artist himself has to be seen and to be conceptualized later. The trend appears to have had its derivation in the virtual desintegration of space intrinsic to positive expression. Not having any purpose, it might be called "objective contradiction." The work finds its expression in space as a portion rather than a unified entity.

著者

小林 利延

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.29, no.4, pp.58-71, 1979-03-30

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Owing to its unique construction, Botticelli's "Adoration of the Magi" in the Uffizi is distinguished from his other works of the same theme. Five of his "Adoration" paintings still survive, and they consist of various pictorial elements-Holly Family, three Magi, "a great multitude and a noble following" after Pseudo-Bonaventura's <Meditations>, horses, trees, ruins, buildings and so on. Among his "Adoration"s, the work in the Uffiizi has smaller number of horses than others and lacks "a great multitude", trees and buildings (see Table 1). Although the works in The National Gallery, London, and in National Gallery of Art, Washington, have the similar construction, "Adoration" in the Uffizi, which was painted between those two, has a considerable difference in construction. Besides, the composition of "Adoration" in the Uffizi is compressed in both sides. And again, one of the several vanishing points of its own linear perspective falls below the lower side of the picture. These mentioned facts lead us to assume that the sides of "Adoration" in the Uffizi were probably cut off from the original picture. The lost parts must have contained all those pictorial elements lacking in the present "Adoration" in the Uffizi.

著者

石田 圭子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.2-15, 2008-12-31

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T. E. Hulme, an aesthetician and a critic, is famous for his contribution to Imagism, one of the most important movements of Anglo-American Modernism. This leading figure of Modernism is also notorious as a sympathizer of protofascism who celebrates Charles Maurras and Georges Sorel. In this paper, I try to analyze the relation between Hulme's aesthetics and the ideology of protofascism. In his essays, rejecting the sensibility of Romanticism, Hulme insists on the superiority of Classicism, which is, actually, deeply affected by the political and literary view of Maurras who regards Classicism as 'anti' to liberalism and democracy. Moreover his keen interest in geometric-abstract art reflects his worldview - reactionary modernism whose core is 'the religious attitude'. In this view, he supports Sorel's political theory in which he finds Classicism and the religious attitude. Finally I point out the homogeneity between Hulme's idea and protofascistic Weltanschauung by taking an overview on the rise of irrationalism and the vulgarized Lebensphilosophie. This close relationship between aesthetics and protofascism in Hulme's thought suggests that Modernism and fascism, the two concepts that are widely assumed to be antithetical, might partly have an profound kinship.