著者

田中 正之

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.3, pp.25-36, 1999-12-31

---

Woman's eye is one of the most important motives in Man Ray's works. However, in his images of woman's eye, the organ of sight is quite often manipulated, sometimes even violently, and the images acquire a very uncanny nature. This uncanny manipulation of woman's eye in Man Ray's oeuvre, both in photographs and objects, can be divided into four categories : "the Gazing Monster or Surrealist Medusa, " "the Enucleated Eye, " "the Closed Eye, " "Beheading." The last can be regarded as the manipulation of woman's eye, because it is a way of punishing a woman with evil eyes like Medusa, who is exterminated by Perseus through decapitation. The uncanny nature created by these manipulations squarely corresponds to the Freudian concept of the Uncanny. In his analysis of uncanny effects in E, T, A, Hoffmann's novel, The Sand-Man, Freud defines the source of the uncanny as the castration anxiety symbolized by the eye torn out. All the four types of manipulations in Man Ray's images of woman's eye can be found in this or other Freud's essays on the castration anxiety. By visualizing this anxiety repressed in the unconscious or "the return of the repressed, " Man Ray created the true Surrealist image of the emancipation from the reason and order through the direct manifestation of the unconscious.

著者

中間 志織

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.83-96, 2007-12-31

---

Kishida Ryusei(1891-1929) held the private exhibition at the house of Nojima Yasuzo(1889-1964) in 1922. This exhibition seems so significant because the recent works which depicted his daughter Reiko were exhibited, and the most of them included the characteristic as 'Derori' which Ryusei often mentioned in his essays. Though researchers have considered the meaning of the works as 'Derori' from the producer's point of view, this paper discusses the meaning of these works from the audience's point of view. The first section mentions that the audience of the private exhibition generally includes the educated middle class elite, who had close relation to the artists and the art world at that time. The paper then analyses the display appealing the portraits of Reiko as 'Derori', and by investigating Ryusei's diary and the catalogue the audience includes a few upper class men and the educated middle class men who were very interested in the avant-garde art. Finally, making reference to the article about representation of the 'girl' in modern Japan, it intends the possibility of function of portraits of Reiko as 'Derori' as the mirror which reflected the identity of the urban educated middle class men.

著者

松友 知香子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, 2007-12-31

著者

甲斐 義明

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

小田部 胤久

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.1, pp.15-27, 2006-06-30

---

Die sich ihrer Modernitat bewussten Fruhromantiker, vor allem Fr. Schlegel, haben Fragmente mit Absicht verwendet, wie es sich aus einem Fragment von Fr. Schlegel ergibt: "Viele Werke der Alten sind Fragmente geworden. Viele Werke der Neuern sind es gleich bei der Entstehung." Im vorliegenden Aufsatz versucht der Verfasser nicht, das Fragment als eine literarische Gattung zu behandeln, sondern es geht darum, zu zeigen, dass der Geist des Fragments dem Gedanken Schlegels zugrunde liegt. Im Studium-Aufsatz von 1795 stellt Schlegel die vollendete Schonheit der alten Kunstwerke dem Fragmentarischen der modemen Kunstwerke gegeniiber. Ab 1797 leugnet er einen solchen Dualismus. Schlegels neue Auffassung des Fragments lasst sich in seiner Behauptung erkennen, dass das "Reifste und Vollendetste" "Bruchstucke von Bruchstucken" seien. Fragmente konnen "vollendet" sein, sofern sie "Winke und Andeutungen" sind. In diesem Sinne sind Fragmente Projekten gleichgesetzt. Und Fragmente als Winke und Andeutungen mussen mit der sie erganzenden bzw. verwirklichenden "Kritik", die selbst nicht anders als fragmentarisch sein kann, verbunden werden. Aufgrund einer solchen Erganzung vermitteln die Fragmente das Einzelne mit dem Ganzen, das Endliche mit dem Unendlichen, die Wirklichkeit mit der Moglichkeit und die Gegenwart mit der Zukunft.

著者

奥井 素子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.85-96, 2010-06-30

---

There are three folding screens of the "Wind and Thunder Gods" created by three Rimpa school masters: Sotatsu Tawaraya, Korin Ogata (1658-1716) and Hoitsu Sakai (1761-1828). In the exhibition 'The National Treasure Screens of the Art of Rimpa' at the Idemitsu Museum in 2004, it was proven that the outlines of Sotatsu's and Korin's versions of the folding screen are almost the same. This gives an impression that Korin traced Sotatsu's work. However, by comparing both screens, I found out that Korin's work differs from Sotatsu's at several points. In this paper, I will present other possibilities of copying outlines other than by tracing, and I will examine how Korin created his work by comparing the details of both folding screens. Lastly, I will present a new way of looking at Korin's work, in that he did not merely trace Sotatsu's work. Instead, he may have used a preparatory drawing or a tracing outline prepared by another person, among other reasons to produce his own interpretation of the "Wind and Thunder Gods" folding screen.

著者

皆川 達夫

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.20, no.2, pp.54-74, 1969-09-30

---

In this article formation and chronology of the Cyclic Mass are discussed : according to the present writer's terminology of a Cyclic Mass, the five sections of Ordinarium Missae are unified by the use of same Cantus Firmus and the Motto (Kopfmotiv). The writer tries to conclude that the Cyclic Mass-form can be one of the criteria of the Renaissance music, that the groping of the Cyclic Mass-form on the 14th century can be regarded as the "proto-Renaissance, " the end of the Medieval music, the formation of the form on the middle of the 15th century as the commencent of the Renaissance music, and the decline of the form on the middle of the 16th century as the fall of the Renaissance music and that the Masses after that period, including the works of Lassus, Palestrina and Victoria should be rather classified as the works of Manierism.

著者

深谷 訓子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.41-54, 2005-06-30

---

It's often been suggested that paintings of "Cimon and Pero" must have evoked erotic sensation in the beholder of that time and the moral message was merely a pretext. This article tries to prove if it really was the case in seventeenth-century Netherlands. Both virtuous and erotic aspects are inherent in the story itself. Some representations of the theme were used for the promotion of charitable institutes, and some of them have been accused as being an erotic pin-up. Even the strict theologian such as Molanus, however, approved some kinds of paintings that derived from pagan antiquity as "moral images", and it is plausible that "Cimon and Pero" was seen as such. To see the actual situation, inventory documents are consulted. Some documents indicate that the paintings of Cimon and Pero were hung in voorhuys, the room almost public as the first room in which man received every guest. It is likely that Cimon and Pero could have been accepted not as a pretext but as the exemplum of piety at its face value.

著者

春木 有亮

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.29-42, 2007-06-30

---

L'objet de cet article est d'eclairer la notion de la raison chez Etienne Souriau afm de valoriser des pensees qui depassent le simple rationalisme. Souriau dit que l'on ne peut realiser ≪la vie vivante≫ que par la raison, celle-ci permettant au sujet du raisonnement d'utiliser des formes parfaites au moyen de l'ideation. La forme parfaite est un ≪objet-chose≫ qui est a la fois la contrepartie du sujet et egalement transcende le sujet-objet. C'est la forme parfaite qui permet au sujet de realiser la vie vivante a travers l'unification des deux elements incompatibles : ≪la Ferveur≫ du sujet constituant sa propre vie et ≪la Lucidite≫ de la realite que le sujet sent comme autrui. L'art ainsi que le raisonnement tendent vers l'objet-chose. L'art designant, pour Souriau, un paradigme de la vie. On peut considerer la fonction de la raison comme une sorte de perception puisque le sujet raisonnant touche une chose exterieure a lui par la forme. La raison a done ≪une sensibilite≫. Souriau va meme plus loin en affirmant que la sensibilite est l'origine de la raison. Finalement, il conclut d'une maniere paradoxale que ≪les aspects esthetiques de la Raison≫ en font les fondations. La raison chez Souriau est done, pour ainsi dire, la raison esthetique.

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.55, no.1, pp.56-69, 2004-06-30

---

I analyze the environmental sculpture of Michael Heizer's "trace" by his action in the desert and create the connection between Art and Archeology. The "Trace" has multiple meanings. The notion of "Displacement" which is related to "Trace", is defined as the displacement of the people, objects and matter. "Displacement" denotes the replacement or transfer. 1) I situate the historic context which has made the foundation for the interdisciplinary theory between actual art and archeology through the exchange of information of American art historians and anthropologists.2) I analyze the relation of the contemporary Land art and the notion of "Colossal", which also has multiple meanings, issued from 18th century philosophy of the Sublime, as evidence of connection between art and archeology. I also analyze "Diffracted Gestalt", the key concept in understanding the works of M. Heizer 3) I analyze the notion of "Displacement", in three cases: (1)Monument, (2)Connection of art and archeology, and (3)Copy. 4) 1 consider the actions of M. Heizer as ritual and analyze the meaning of his individual ritualistic action, referring the American Indian's ritual in the art context.

著者

長田 年弘

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.4, pp.13-24, 2000-03-31

---

Im Fachgebiet der Altegeschichte wurde bis heute heftig diskutiert, wie die Griechen archaischer und klassischer Zeit die Barbaren erkannt und geschatzt haben. Zu dieser Frage scheinen die Analyse der erhaltenen athenischen Vasenmalerei auch einen wichtigen Beitrag leisten zu konnen. Die Skythendarstellungen scheinen uns die Barbaren-Anschauung der zeitgenossischen athenischen Burger wissen zu lassen. In dieser Arbeit wird das Flucht-Motiv der Skythen erwahnt. Die Darstellung der Skythenbogenschutze, der vom Kampf der Hopliten zuruckzieht und die Flucht ergreift, ist bei den zwolf Beispiele zu finden. Ausser diesen Skythendarstellungen wurde das Flucht-Motiv in der athenischen Vasenmalerei nur fur die folgenden funf Themen benutzt : die feigen trojanischen Heroen, wie Paris, die Giganten, die Amazonen, die Agypter und die Neger. Aus diesem Sachverhalt ist klar zu entnehmen, dass die damaligen Athener die Antithese, die tapferen Griechen und die furchtsamen Barbaren, in sich beibehalten haben. Es ergibt sich, dass sich die Verachtung der Barbaren bereits vor dem Perserkrieg bei der athenischen Gesellschaft entwickelt hat.

著者

赤塚 健太郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.69-82, 2005-09-30

---

In the baroque period, the body of French courtiers was educated in dance lessons. Therefore the most basic motion in the dance of that time, which was called mouvement, dominated rhythmic character of their bodies. Mouvement is a bending of the knees followed by a rise of the body and a straightening of the knees. The energy of the rise from the sink stresses the measure, but these motions are executed quite fluently and have no instant that divide time into beats. Because of these characters, the dancer count beats upward. Music has to cooperate with this bodily feeling in some ways, and notes inegales is one of them. Notes inegales is a convention in which notes with equal written values are performed with alternation of long and short durations. This convention has some characters in common with mouvement. For example, it conceals gaps between beats and makes the performance more graceful. Still more, the duration of the sound has great importance under this convention. Experience of this duration requires concentration on the progress of the sound. Here it builds up the mutual relationship with the rhythmic character of the body.

著者

植野 健造

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.43, no.2, pp.59-69, 1992-09-30

---

AOKI Shigeru's "Umi-no-sachi (Gifts of Sea)" (1904, Ishibashi Museum of Art) is regarded as one of the most important works not only in his artistic career but also in the history of modern western-style paintings in Japan. The unfinished aspect and the solemn atmosphere this work shows absorb our attention. In this article, the author discusses the problems in the following order ; analysis of the conditions and process in producing this work ; analysis of the concept of this work and lastly discussion of the meaning and place of this work in the history of western-style paintings of Meiji period. As a conclusion, the author proposes thus : this work was left unfinished intentionally by the artist for the purpose of heightening it's expressional effects, the core of the concept of this work was the artist's yearning for ancient worlds, this concept brought this work to show a solemn atomosphere and this work was placed at the important changing point from academically compositive paintings into expressionally imaginary paintings in the history of western-style paintings of Meiji period.

著者

山下 晃平

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.85-96, 2014-12-31

---

This paper takes up "The Japan International Art Exhibition (Tokyo Biennale)", the first international art exhibition in Japan after World War II. In 1952, the first exhibition was held under the auspices of the Mainichi Newspaper Company until 1990, the 18th and last one. During this time, the exhibition was unavoidably changed by the movements of the times, but we still haven't researched the exhibitions as a whole. In this paper, I have collected numerous articles about "The Japan International Art Exhibition" and have inspected the intentions. As a result, we can find that the intentions shifted from the "across-the-board" structure in the situation of "Japan against the World" to "avantgardism". In being avant-garde, on the other hand, the exhibition had the condition of a conservative bias against the West's sense of values or systematized "Art". With the end of the binomial opposition of "Japan and the World", "simultaneity" was then pursued, but the "Japanese originality" in the "simultaneity" wasn't pursued carefully enough. Japan has continually been involved with the problem of institutionalizing "Art" and the context peculiar to Japan since modern times. After WW II it was again expressed in this international exhibition. Thus, "The Japan International Art Exhibition" formed an important stage for criticism in Japan after WW II and has always relativized the position of "Japan".

著者

小川 光

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.44, no.3, 1993-12-31

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.51, no.2, pp.1-12, 2000-09-30

---

Disengagement with painting, recurrent throughout the avantgarde art history, find its various manifestations in the 1960s American art. They allegedly attempt to restore the corporeal dimensions of aesthetic experience, questioning the idea of modernist pure opticality. The body itself, however, goes through curious changes. In the practices of minimal art that expel illusionism and anthropomorphic naturalism, a physical experience of the viewer becomes essential to the theatrical presence of the art object, whereas the body to be represented or projected in the work must disappear. And it does so more thoroughly with raw, unformed, mutable materiality in post-minimal art. The performance art of the same period places emphasis on one's experience of one's own body, rather than the body as a visible form/spectacle. The role of the artist's body also changes, as the discourse of technology enters into art-making. The body trained and structured as an expert within a certain tradition is no longer valued ; instead, the artist's body internalizes more and more technological prostheses, thus approximating the status as the cyborg.

著者

前田 茂

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.2, pp.57-70, 2001-09-30

---

Gilles Deleuze determine ses considerations sur le cinema, Cinema 1-L'image-mouvement : "[c] ette etude n'est pas une histoire du cinema. C'est une taxinomie, un essai de classification des images et des signes." C'est-a-dire que cette oeuvre n'est pas une pure application de l'epistemologie qui deroule de Matiere et memoire au cinema, mais une "classification" qui consiste d'echelonner des etres divers selon leur evolution. Nous en tirons la question qui oriente notre article : quelle est la liaison dans le cinema entre l'epistemologie des images cinematographiques et l'ontologie de ces images qui expliquerait leur evolution elle-meme? En effet, d'apres la definition de l'image chez Bergson, l'image cinematographique prend sa pleine et propre existence, et dans Cinema 2-L'image-temps qui en traite par rapport a la pensee, l'image-corps n'est pas consideree comme un des objet de la connaissance, ou le scheme qui la conditionne, mais une substance irreductible a la representation, qui nous force la pensee sans representation.

著者

椎原 伸博

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.43, no.1, pp.1-12, 1992-06-30

---

Chevalier de Mere est un ecrivain francais du XVII^e siecle. Maintenant, Son nom reste comme l'ami de Pascal, et aussi comme le principal theoricien de l'Honnete Homme (=HH). Mere dit que l'honnetete est "ce n'est autre chose que d'exceller en tout ce qui regarde les agrements et les bienseances de la vie." Dans cette definition, il y a deux concepts esthetiques. Dans une conversation divertissante de HH, le premier <agrement> est des regles de la Rhetorique, sur des bases de la retenue. le second <bienseance> est des regles des relations modestes entre soi et ses semblables. Et, les deux sont le sujet de l'eloquence dans le commerce du monde, se fonde sur l'art de plaire. Par cette eloquence, HH peut vivre heureusement, et rendre heureux des autres. Donc c'est la communication pratique, agreable et rationnelle. Et pour cela, HH a besoin d'avoir le bon gout, qui vient d'une connaissence exquise et juste, c'est-a-dire, la raison. Mais, cette raison n'est pas le sens philosophique, et coincide le "je ne sais quoi". C'est la caractere de l'esthetique de HH. Et, sur ce point, elle a une place dans l'histoire de l'esthetique.

著者

鈴木 恒平

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.121-132, 2010-06-30

---

Charles Darwins evolutionstheoretische Werke erhalten viele Abbildungen. Wie eng allerdings seine Theorie mit der bildlichen Darstellung verknupft ist, wurde bisher wenig beachtet. Im Zentrum dieser Arbeit stehen u. a. Illustrationen in The Expression of the Emotions in Man and Animals von 1872. Da finden sich neben 21 Holzschnitten 7 Tafeln, auf denen zwischen zwei und sieben Fotografien gezeigt werden. Der Fotografie wurde in Expression die wichtigste Rolle zugeteilt. Fur Darwin war sie die Bedingung fur Visualisierung des Unsichtbaren der inneren Gemutsbewegungen, die wissenschaftliche objektive Betrachtbarkeit selbst vom Ausdruck der Gemutsbewegungen. Dass die Fotografie, die noch ein junges Medium war und bis dahin kaum Verbreitung in den Wissenschaften gefunden hatte, als wissenschaftliches Hilfsmittel dienen kann, war damals keine Selbstverstandlichkeit wie heute. Daruber hinaus war die Belichtungszeit noch nicht kurz genug, um das fluchtige Mienenspiel scharf aufnehmen zu konnen. Er musste deshalb in Expression nicht nur seine Evolutionstheorie des Ausdrucks der Gemutsbewegungen, sondern auch eine fur sie geeignete Illustrationsstrategie entwickeln: Charles Darwins fotografische Kunst.

著者

平塚 弘明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.1-14, 2006-09-30

---

Visual Culture Studies, which attaches importance to the sociality or historicality of vision, has revealed the problem of power which underlies "seeing", but on the other hand runs the danger of reducing "seeing" to a mere repetition of social structure or discourse. This paper aims to discover within "seeing" itself a way to break through the constructed nature of it by considering the notion of the Image and its double function in the theory of W. J. T. Mitchell. Mitchell defines the Image as a "natural sign", a sign which represents a resemblance in a given representation system. One of its social functions is to provide in a natural form the basis for "seeing" to those who share the same representation system. This basis is formed and functions not by the power of the Image itself, but through our narrations concerning the Image. However, the Image, as a natural sign, has a further function of making visible the basis itself for "seeing". Such a recognition of the Image is not "seeing" on a particular basis but is itself the basis for "seeing", and thus differs from seeing within "a prescribed set of possibilities". In narrating concerning the Image, we forget what lies outside of the possibilities even though we experience it continually.