著者

増田 展大

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.37-48, 2012-12-31

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Au debut de XX^e siecle, Paul Richer, un professeur d'anatomie artistique, a identifie un crane decouvert au musee de l'homme comme etant celui de Rene Descartes qui avait disparu depuis 1650. Cette identification n'a pu se faire qu'en maniant les diverses techniques de reproduction comme le dessin, la photographie et le moulage. Cet article se propose donc d'examiner le procede de figuration du corps de Richer a travers la conception du <<figural>> avancee par Jean-Francois Lyotard darts Discours, Figure. Depuis les annees 1990, la problematique du figural, situee a un niveau virtuel entre langage et figure, provoque des polerniques dans les domaines de l'histoire de l'art, du cinema et des nouveaux media numeriques. Ce concept permet de debattre des proprietes ephemeres et virtuelles des images trans-mediatiques. Cependant, cela porte le risque de tomber dans la supposition d'une attitude passive et dans le manque d'analyse technique. En examinant le procede de Richer, qui analyse et modele le corps imaginaire, it faut donc d'une part verifier le figural contenu dans les processus virtuels des technologies reproductives variees, et d'autre part, presenter sa valeur au debut du XX^e et du XXI^e siecle.

著者

庄野 進

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.46, no.1, pp.56-66, 1995-06-30

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Since the birth of electroacoustic media our listening attitude has been changed fundamentally, because of the very character of those media : the acousmatic. P. Schaeffer has defined it to listen to the sounds of which sources are invisible or unknown, refering to Pythagorean ritual. The traditional listening attitude has assumed the real sounding substance behind the reproudced sounds. But nowdays, because of the development of music technology, we can mostly get sounds that have been created from scratch or modulated electronically as a whole. We listen to surface sounds, which are also real in another meaning. Today, even in the live performance of traditional classical music, people receives it in the same manner as through the acousmatic media. It means that the model of the musical experience becomes the acousmatic. It follows the loss of the physicality in the experience of sounds. Some effort in the electroacoustic and computer music are made to retrieve the physicality of sounds, investigating live performance or interactive systems. Or, it is pursued that certain contextualization of those sounds occurs while receiving those acousmatic sounds, by cover jackets, liner notes or discourse of record reviews. In either case, however, if we lose the experience of the real live sounds, we must be imprisoned in a kind of cultic world.

著者

松尾 大

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, 2012-12-31

著者

栗原 詩子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.71-84, 2007-06-30

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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

名須川 学

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.2, pp.13-24, 1999-09-30

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A l'age de 22 ans, Descartes a ecrit une courte etude sur la theorie musicale intitulee Compendium music〓, etude qui jusqu'a maintenant n'a pas ete suffisamment evaluee ni dans l'histoire de la musique, ni dans celle de la philosophie, ni non plus l'histoire des sciences. Son importance consiste dans le fait qu'il developpe une theorie traditionnelle de la musique. C'est-a-dire que, bien que la musique (Musica) ait traditionnellement ete consideree, a cote de l'arithmetique, la geometrie et l'astronomie (quadrivium), une discipline intellectuelle et qu'elle ait fait des proportions numeriques son pivot doctrinal, Descartes la traite, nouveaute radicale, au point de vue de la sensation (sensus). Le but de cet article est de mettre en evidence le role du sensus que Descartes a assigne au secours dans la theorie musicale et plus precisement dans sa theorie de la proportion musicale.

著者

尼ケ崎 彬

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.1, pp.1-12, 1987-06-30

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Modern art, being not understandable for normal eyes, compels us to change the definition of "fine art." Now "art work" is "anything which is requested to be seen as an art work" rather than "the result of poiesis." We may say that fine art is the production of some aesthetic meaning on some object mediated by man's intentional action. There are some ways of mediation : making or replacing an object, claiming to see an object beautiful, etc. An aesthetic meaning can't be recognized without the peculiar "eye" for it. If an artist discovers a new type of aesthetic meaning, it always requires a new type of eyes to see it. Modern art has constantly stepped outside of the established aesthetic meaning system and developed new ones. Some artists are mainly interested in the liberation from their own intersubjective institutions by means of a sort of Verfremdungseffekt, which leads them to treat all sorts of established meaning system, not confined within aesthetic. Others are incessantly developing new style of aesthetic meaning which are difficult to understand with established eyes. They don't want spectators to fully understand their works, but to try to create ad hoc eyes and meanings for them. Because they know well that an aesthetic quality will lose its power when it becomes understandable.

著者

小田部 胤久

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.41, no.1, pp.59-65, 1990-06-30

著者

加藤 志織

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.98-111, 2009-06-30

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Pietro Aretino non si limito a svolgere un ruolo di importanza nella letteratura e nella politica del Rinascimento, ma fu anche un fine intenditore dell'arte a lui contemporanea. A tale riguardo, essendosi trasferito a Venezia, e noto il suo sodalizio con Tiziano. Questo autore eclettico, attraverso la propria corrispondenza, presento Tiziano a principi e re, cosa che fece non solo con l'illustre pittore veneziano, mettendo in contatto vari artisti con diverse corti. Simili transazioni commerciali erano effettuate tramite la corrispondenza di Aretino. Queste lettere vennero riordinate dall'au-tore stesso per poi essere pubblicate sotto forma di raccolte epistolari. I contenuti di tali lettere pero non si limitavano al solo ambito commerciale, in quanto vi si possono trovare elementi di teoria della pittura, di poetica unitamente a ekphrasis e a panegirici. Questo saggio tratta delle strategie diplomatiche di Aretino in questo ambito sulla base degli elementi che emergono dalle raccolte epistolari rimasteci.

著者

長田 謙一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.29-42, 2006-09-30

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In recent years, researches concerning the representative work of Koga Harue's Surrealism, Umi (1929), have pinpointed the sources to the various images portrayed therein. But, they have only deepened its enigmatic character. This paper, however, sheds new light on Koga's art. Constituted in combination with an analogue of a girl in swimsuit (right), the industrial machine imagery (top left) holds an important significance decisive to the understanding of the work's composition and meaning. The source to this image is found in the blast furnace photograph published in the German popular science journal, "Wissen und Fortschritt" (1927-10). Yanase Masamu's CAPITALISMUS too is understood to have been based on the same blast furnace Herrenwyk (Lubeck) photograph, anticipating an affinity between Koga and Yanase. Further, the introductory poem by Koga reveals how a "revolving of the world" image, akin to that of proletariat art, cuts across Umi. But, what is more important with regards Koga's "revolving" image is the collage hier ist noch alles in der schwebe (1920) by Max Ernst. "Soluble Fish" (^military vessel pouring out smoke and whose bowels are transparent=smoke-bellowing ship), with moorings in Ernst, becomes a symbol of the principle in Koga's surrealistic painting and appears frequently in a number of works post-Umi. On the bottom left of his second representative work, Sougai no Keshou (1930), there is an allusion made to a photograph of the metalwork studio of Bauhaus. From a "Romanticism of the machine" of the Umi to a "Realism of the machine" (Itagaki Takaho), as evident in the allusion to Bauhaus, Sougai no Keshou shows how Koga's "Mechanism" underwent a huge gyratory motion.

著者

伊藤 亜紗

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.1-12, 2011-06-30

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The aim of this paper is to investigate Paul Valery's criticism of description in literature and to clarify his ideal of poetry. Description is a technique to represent an object visually. Though an author chooses arbitrarily what he/she describes, he/she expects his/her reader to abstain the self and to obey him/her. Valery criticized this passiveness of reader and dominance of author. For Valery both reader and author have productive roles and they are completely separated two systems just like a producer and a consumer in a market economy. Through an act of reading, a reader finds abilities of his/her body which were unknown to himself/herself. This focusing on a reader's body is an ideal effect of poetry for Valery. While description involves a false reality, a pure poetry explores a reality of body. A work is not a messenger of feelings or thoughts of an author but a machine to make a reader's body act. A comparison with Breton's solution will make points of Valery's discussion more clear.

著者

利根川 由奈

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, 2013-12-31

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.61, no.2, 2010-12-31

著者

前田 富士男

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.34, no.1, pp.24-38, 1983-06-30

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Es ist wohl die wiederholt aufgegriffene Behauptung, dass der Eigenwert der Farbe in der Malerei seit dem spateren 19. Jahrhundert, seit der Befreiung der Farbe, eine zunehmende Rolle gespielt hat. Wenn man aber uber die grundlegende Funktion der Farbe bei der Entstehung des gegenstandslosen Bildraums denkt, so muss man feststellen, dass das Farbproblem in der modernen Malerei immer noch offen bleibt. Einen bedeutenden Beitrag zur Losung dieses Problems liefert die Darlegung der Charakteristiken der Farbenlehre Paul Klees : Farbenkugel als dynamische Ordnung und Farben als materielles Mittel. Kleesche Farbenkugel, in der sich die Grauachse zwischen den Polen Weiss und Schwarz spannt, kann auf keinen Fall als statisches Ordnungsmodell, sondern als Analogon der Erdkugel, auf der sich ein Kunstler um freie Bewegungsmoglichkeiten bemuht, angesehen werden. In dieser Hinsicht wird der den modernen Malern eigene Gesichtspunkt der immanenten Harmoniegesetze der Farben aufgegeben, und neue Phase des Bildraums, d.h. Spielraum des Schaffens, erschliesst sich unmittelbar durch die Farbengebung als solche dem Anschauenden. Klee hat auf der anderen Seite die Farbe als materiellen Trager der Bildwelt begriffen. Fur ihn ist die Gestaltung nicht anders als ein Prozess, den materiellen Charakter des Malgrunds zu uberwinden ; aber dieser Prozess bedeutet nicht den des idealistischen Schaffens, das auf die Durchsichtigkeit des Mittels zielt. Der Schaffensprozess als Belebung des Mittels, der in der Spannung der Wirklichkeit-Unwirklichkeit von Farben besteht, verleiht dem gestalteten Bild die eigentumliche Zeitstruktur.

著者

蘆田 裕史

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.28-40, 2005-09-30

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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

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.1, pp.31-41, 1994-06-30

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Along with theoretical explications in music and the very concept music', both inherited from ancient Greece, another channel of classical tradition is found in the realm of Western music : namely notated fragments from the ancient Greek world. They were first introduced to the West Europeans by Vincenzo Galilei in his Dialogo (1581). Yet curiously enough, he did not pay due attention which, in our eyes, such a direct evidence of ancient music should deserve. For he attempts here to elucidate and almost consecrate antiquity as a model of contemporary music. This inconsistency reveals the peculiar character of his attitude to ancient music : he was not so much interested in the real configuration of the Greek musical practice itself as in the image of ancient music gathered from literary, that is, secondary sources. The classical tradition in Western music is thus characterized by its indirectness. Accordingly the reconstructed image was largely influenced by the view of the classics current in other genres of art. In this way music could share aesthetic ideals with the plastic arts and literature.

著者

木村 直弘

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.51, no.3, 2000-12-31

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.62, no.2, pp.25-36, 2011-12-31

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Jean Gremillon (1901-59) etait musicien avant de devenir cineaste et it a meme compose de la musique de certains de ses films. En effet, on a toujours parle de la musicalite de son cinema. Le plus remarquable, c'est que Remorques (1939-41), mis en musique par Alexis Roland-Manuel, a ete fait allusion a l'opera bien qu'il ne soit pas son adaptation cinematographique, ni un film-opera qui contient des scenes de sa representation. Si Remorques est une sorte d'opera, c'est parce que ce film est meticuleusement elabore au niveau des acoustiques comme par exemple dans la sequence finale evoquant l'agonie de la femme isolee (Madeleine Renaud) par l'oratorio qui commence tout apres sa mort. De plus, la direction d'acteurs et la figuration cinematographique chez Gremillon font apparaitre des secrets caches des comediens, en creant des personnages allegoriques comme celles de l'opera, dans le but qu'on soit invite a porter des hypotheses sur leur identite ou, selon les mots du cineaste, "trouver et rejoindre leur secret". Catherine (Michele Morgan) est plus et autre que ce qu'elle est comme Wotan ou Salome. Remorques, film qu'il existe des personnages operatiques sans voix chantee, peut etre lui-meme defini comme un double de l'opera.

著者

安松 みゆき

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.71-84, 2008-06-30

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In 1939 wurde die Ausstellung altjapanischer Kunst in Berlin verangestaltet, eine der grossten Ausstellungen von der japanischen Kunst in Europa. In dieser Ausstellung gehorten 94 Werke unter die 126 ausgestellten Objekte zu den staatlichen Kunstdenkmalern von Japan. Aber die politische Situation unter der Nazi-Regierung warf Schatten auf diese Ausstellung. Trotz der seltenen Bedeutung im Kunstaustausch ist sie sowohl in Deutschland als auch in Japan fast Vergessenheit geraten. Seit 1999 untersuche ich uber diese Ausstellung und ihre Hintergrunde der Realisierung. Dieser Beitrag versucht, durch die damaligen Presseberichten, Nachlichtsfilme und sonstigen Quellen die Umstande dieser Ausstellung ausfuhrlicher zu erfassn. Man gelangt zu dem Ergebnis, dass die Materialien die bemerkenswerten Widerspruche und Unterschiede in Haltung und Absicht der Mitspieler dieser Ausstellung zeigen. Das ist: 1) Widerspruch zwischen den japanischen und deutschen Presseberichten uber die Hitlers Interesse an der japanischen Kunst; 2) Die Schatzung der japanischen Kunst und nicht eindeutige Haltung der deutschen Presseberichten zur "Entaltete Kunst", die sie fur die Schatzung der japanischen Kunst herangezogen haben; 3) Schatzung von Ukiyoe und Malerei bzw. Skulptur von den japanischen und deutschen Kunsthistoriker und Politiker.

著者

池野 絢子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.140-153, 2008-06-30

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This research is going to talk about the formation of 'Arte povera' as an artistic movement. Today, Arte povera is well-known all over the world as that which used 'poor' materials, such as woods, papers, coals, etc. Although this definition does not always accord with the works in respect of materials and concepts, that critical term 'povera' has succeeded in grouping up the various artists. In fact 'povera' is so ambiguous term that we can do nothing but refer to the text of a critic, Germano Celant, who named this movement. But it can be thought that between the critical discourses and the diverse works, there should be essential difference. Making it clear, this text will study from following three perspectives; the strategy of Celant, contradiction between his rhetoric and acts of artists, and problem with historicization and reception of 'Arte povera.' Through these analyses, it is aimed to show what is included in and what is excluded from the territory of 'Arte povera' along its history.

著者

犬伏 雅一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.34, no.2, pp.70-75, 1983-09-30