著者

佐々木 秀憲

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.85-96, 2011-12-31

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Taro Okamoto, the avant-garde artist, 1911-96, was very active in Japan after World War II. Since his death in 1996, an increasing number of studies about Okamoto have been made. While it has been often mentioned that his philosophical background had some influences from Marcel Mauss, Alexandre Kojeve, Georges Bataille and so forth, with whom Okamoto had acquired during his days in Paris between 1930 and 1940, there has been no study on this matter during the period after World War II. Taro Okamoto Museum of Art, Kawasaki possesses about 400 French books of Okamoto's old stock, which had been previously kept in his bedside bookshelf at his residence (present Taro Okamoto Memorial Museum) in Minami-Aoyama, Tokyo. These books that had been treasured by Okamoto, were all donated to the museum without any volume missing. Among these 400 French books, we can confirm that the six books authored by Mircea Eliade, have a number of Okamoto's own underlines and notes. This article has elucidated the Eliade's influences on Okamoto's creative works.

著者

守谷 広子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.77-88, 2015-06-30

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Cet article propose de presenter une premisse du concept du ≪Texte≫, examinant la discussion sur la ≪forme litteraire≫ chez Roland Barthes (1915-80). Dans les annees 1960, avec l'acceptation de la semiologie, Barthes affirme l'importance de la ≪ forme ≫ dans la litterature. Le langage qui est une matiere de l'oeuvre litteraire est un systeme de generation semantique en soi. II est donc impossible de distinguer le discours litteraire et les autres discours selon le signifie. C'est pour cela que Barthes affirme que ce qui distingue la litterature et les autres langages est bien l'≪originalite de la forme≫. En raison de l'implication de sa forme, l'oeuvre n'est pas equivalente au produit donne par la generation semantique du langage. La forme influencant le processus meme de la generation semantique, elle rend l'oeuvre intentionnelle, et de plus, ≪humaine≫. L'originalite de la forme litteraire, donnant un decalage entre le signifiant et le signifie, porte une sorte de ≪vide≫ dans l'oeuvre. En offrant cette forme a l'oeuvre, l'auteur evoque des questions du lecteur, et le lecteur chercherait le sens de l'oeuvre lui-meme. Cet echange entre l'auteur et le lecteur, transforme l'oeuvre, qui est une construction linguistique, en un ≪Texte≫. Si le concept du Texte de Barthes se situe dans le prolongement de la discussion de la forme precitee, l'importance de l'auteur est prouvee meme dans le traite du Texte qui est generalement interprete comme une theorie qui donne un role privilegie au lecteur.

著者

桝田 倫広

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, 2009-12-31

著者

一色 裕

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.47, no.1, pp.13-24, 1996-06-30

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Beauty cannot be comprehended by definition. The proper way to understand beauty per se is self-knowledge. When one is asked 'what beauty is', one is asked at the same time 'what oneself is'. The most eminent beauty for Plato is that of virtue. The beauty of virtue is one of the strongest motivations of his philosophy. The task of 'Phaedrus' is to ask the possibility of understanding the rationality (logos) of this beauty by his method of philosophizing : dialektike. Plato names the power to philosophize 'love' (eros). But eros in the vulgar sense of the word is a mere sexual desire. Phaedrus, Socrates' interlocutor in this dialogue, is charmed uncritically (i.e. losing himself) by a beautiful discourse on eros composed by an orator named Lysias. Therefore, Socrates uncovers the narrowness and partiality of eros understood in this discourse and narrates the proper sense and work of it. Eros is the love of beauty or divine wisdom and this love is donated by beauty. Beauty is found at the beginning of and is situated in the end of philosophizing. Beauty is the coincident value of the beginning and the end. In this way, through examining the work and sense of eros, one can understand the rationality of beauty by dialektike. This enables one to be incarnated in eros. This means nothing else than the generation of philosophy which is the end of this dialogue.

著者

岩城 見一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.40, no.3, pp.12-23, 1989-12-31

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Die Malerei ist diejenige Kunst, die die Realen durch die Farben als die Besonderung des Lichts auf deren ideellen Beziehungen reduziert. Dieses Prinzip der Malerei als Subjektivisierung der Welt entspricht der Weltanschauung des Christentums, dessen Prinzip auch die Subjektivitat, m.a.W. die Innigkeit des Gemuts ist. Deshalb ist die Malerei nach Hegel erst in der Welt des Christentums vollendet und seitdem das Paradigma der bildenden Kunste geworden. Aber die Malerei muss sich nach ihrer eigenen Inhalten der Subjektivitat in beide Extreme trennen. Die eine ist die "ideale" Malerei, deren Inhalte die gottliche Subjektivitat und die seelische Versohnungen der Menschen mit dieser substanziellen Subjektivitat sind, und die andere ist die Malerei der "partikularen" Wirklichkeiten, mit denen die einzelnen menschlichen Subjekten sich beschaftigen. Diese partikulare Subjektivitat ist zwar eine notwendige Folge der geschichtlichen Entwicklung des christlichen Prinzips. Aber unter dem Gesichtspnnkt der idealen religiosen Malerei gesehen, musste die partikulare weltliche Malerei immer negativ bleiben. Trotz seines Standpunkts der idealen Kunst, der seine ganze "Asthetik" zu herrschen scheint, hat Hegel den eigentumlichen Wert der niederlandischen weltlichen Malerei des 17 Jahrhunderts treffen konnen. Wie mir scheint, war es ihm deshalb moglich, weil er die sowohl logische als auch geschichtphilosophische Beschranktheit des Ideal-und damit gebundenen Werk-begriffs schon durch seine andere Werke oder Vorlesungen z.B. "Phanomenologie des Geistes", "Logik" oder "Philosophie der Religion" aufgefasst hat.

著者

廣田 孝

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.2, pp.45-55, 1994-09-30

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Seiho painted three famous figure-paintings in his life. "Dancing to the tune" (1909), "Posing for the first time" (1913) and "Day Laborer" (1917). I started my study with "Cherry Viewing" (=a skeleton looking back to cherry blossoms falling, 1897) and mainly study about "Dancing heavenly maid" (Only idea, Cealing-painting of the gate, Higashi-Honganji temple, 1910-15). He was interested in human-frame and body, before 1897. He visited Paris Exposition Universal 1900, and looked around the art-expositions fulled with nude-paintings and nude-sculptures. He was deeply impressed in nude-arts. When he was requested to paint the ceiling, 1910, he decided to paint female-nudes. He investigated old-type heavenly maid in Japanese paintings and on the other hand he skeched real nude-models day after day. Finaly he failed the ceiling-painting without two trial productions. Seiho painted the lion from his sketches at Antwerp zoo. It was very real from traditional style, and was the first-prize at Art Contest 1901. Analogically saying, he wanted to paint real nude-shape from real nude models. There is the pattern extremely similar in "Lion" and "Heavenly maid". He failed it by the gaps between Japan and Europe. It is necessary to study in the future.

著者

神林 恒道

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

西村 清和

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.4, pp.1-14, 2006-03-31

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As opposed to the linear perspective since Renaissance, Wolfgang Kemp recognizes new ways of pictorial composition in the 19th century which constitute new types of spectators seeing the world from their particular positions. Then he argues a parallelism between the new perspectives of modern paintings and those of modern novels. Different from the transcendent and omniscient viewpoint of narrating stories in the old age, and from the omniscient and transcendental viewpoint based on linear perspective, modern historical paintings and novels were concerned with narrative modes of individual experiences. According to Kemp, paintings newly defined spectators as individual witnesses of depicted events. But he does not assign the narrative mode of 'la vision ≪avec≫' (Jean Pouillon) to paintings which lets readers stand at the position of a diegetic character, because paintings always require the physical presence of spectators standing in front of them. He confuses the 'angle' of physical eye with the 'viewpoint' of narration. In fact, the narrative mode of 'la vision ≪avec≫' exists in paintings as well.

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.57, no.3, 2006-12-31

著者

矢向 正人

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.43, no.3, pp.12-23, 1992-12-31

被引用文献数

1

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Music is a systematizing of time, and various characteristics of time are reflected in music. A singular point of time passes is the present, but the present time which we understand practically, has range. The present range is different, and it is dependent on the line of connection. Also in music the present has range. For example, it can either be a tone or a first motif. Interpretation of music is changed according to which range is selected as the musical present. The various range of time according to how to take the present, is inseparable from the hierarchy of music. In concrete terms, the variety of the present range is closely related with the difference between the hierarchical units, the lower stage (short unit) and the higher stage (long unit). That is to say, the diversity in the choice of the present range proves musical hierarchy. This paper considers, by way of a schematic model, how hierarchical characters which musical present has are related with meter which is another factor that composes musical time.

著者

亀井 克朗

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.2, pp.61-71, 1999-09-30

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In this paper I approach the Tarkovsky's world by analyzing three scenes in "The Sacrifice" (1986) in terms of the reception. First, I analyze the character's actions in the scene of a burning house by making a clear distinction between the mutual communication of the characters in the dramatic world and their communication to the spectator. When Alexander kneels to Maria, and his behavior is shown to the spectator, the latter perceives a saint in him. Second, I analyze one of the shots in the sequence of the beginning of a nuclear war. In this shot, a corporal precommunication between Alexander and the spectator brings the spectator to understand that what happens to Alexander here does not belong to the earthly experience. Finally, I take up the last shot of this film in which the light shines out directly toward the spectator over a dead tree, and brings it into blossom. This light comes from another world, as in Holy Icon of the Orthodox Church, and makes the spectator's body sacred. The Tarkovsky's work lets the spectator experience a spiritual world owing to its various elaborate contrivances.

著者

礒山 雅

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.4, pp.36-47, 1988-03-31

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In der Melodielehre seiner "Critica Musica" (1722∿25) kritisiert J. Mattheson H. bokemeyers Lehre, dass der Text einer Melodie das rechte Leben gebe und die einzige Richtschnur sei. Er behauptet dagegen, dass die Melodie ihre eigene Schonheit hat und den Gedanken des Textes erlautern und darlegen kann. Der Gedanke, keine einzelnen Worte, bewirkt den Affekt, der durch die Musik dargestellt werden soll. Die Wiederholung des Textes soll eine "Analysis melopoetica" sein, die immer den Sinn des ganzen Satzes klar macht. Diese Lehre von Mattheson bereitet der "ars inveniendi" des deutschen Barock ein Ende. In der bisherigen "Finde-Kunst" wurde gelehrt, dass man die texttreue Inventio aus einem treffenden Wort herausziehen kann. Die damaligen Theoretiker (z. B. Nucius, Herbst und Speer) sammelten in ihren Buchern die Schlusselworter dazu und forderten eine musikalisch korrekte Wiedergabe. 3 "Loci topici" von J. Heinichen bedeuten nichts als die Kunst, ein Schlusselwort in jeder Situation zu finden. Mattheson aber brachte das Wort-Ton-Verhaltnis auf hohere Dimension, indem er die Melodie auf den Inhalt des Textes bezog. Aus dieser Perspektive sind seine "Figuren"-wie "Loci-topici-Lehre" im "Vollkommenen Capellmeister" besser zu verstehen. Damals suchte J. S. Bach in seiner Kirchenmusik den tieferen theologischen Gedanken eines Textes symbolisch auszudrucken. Mattesons Lehre bestatigt Bachs Praxis vom Standpunkt des Theoretikers aus.

著者

太田 峰夫

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.2, pp.39-52, 2002-09-30

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In his mature years Bela Bartok continuously argued that the influence of peasant music on art music should be realized by grasping its "spirit"-which penetrates the composer's creativity. We usually take this argument simply as a part of his program for modernist music, but the significance of this "spirit" remains hardly convincing. It is unclear why modern musicians should undertake such a demanding task as to make the "spirit" of peasant music their own. We can clarify the importance of this idea solely by considering the historical background of Hungary. The discourse of the "spirit" of peasant music can be related to the nationalistic movement from the first decade of the twentieth century ; especially to the innovatively minded movement led by young intellectuals such as Endre Ady. Under the influence of social radicalism, they began to seek the new cultural identity of Hungary. Precisely according to this new trend Bartok also formulated his strategy, approaching long-forgotten cultures of the peasant class and of other peoples. Because of this political-cultural context it became his ultimate goal to grasp the "spirit" of peasant music, which could justify his artistic endeavor both in the nationalistic context and in the modernist one.

著者

新倉 慎右

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.49-60, 2012-06-30

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There was the first version of Michelangelo's Christ in Santa Maria sopra Minerva in Roma which had been abandoned before the completion. In 2000, Baldriga and Squarzina identified the statue of Christ in San Vincenzo Martire at Bassano Romano with the lost first version. Although they argued only about the difference of the posture between two statues of Christ in Roma and in Bassano Romano, the rediscovery is very important for the reconsideration of the shape of Christ in Roma, because being executed under the same condition of the contract the difference makes the progress of Michelangelo's idea from Christ in Bassano Romano to that in Roma clear. This paper examines the importance of Christ in Roma to Michelangelo's transition of the style in statue. The factors (mainly the twist of the body and the position of the arm) that make the apparent difference between two statues of Christ appear on the works that Michelangelo executed after Christ in Roma, and it is this Christ that Michelangelo boldly made at first time under such idea which he would continue to utilize for realizing his statue. Therefore, contrary to the comparatively low evaluation of the modern studies, Christ in Roma occupies fixed position in the stylistic history of Michelangelo's statue.

著者

喜多村 明里

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.47, no.1, pp.37-48, 1996-06-30

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Fra Angelico, attivo gia nel 1417 come pittore Guido di Pietro, entro poco piu tardi nel convento di San Domenico. Fu chiamato Fra Giovanni, ma le sue mani e i suoi occhi erano quelli del pittore ; che tentava di creare consapevolmente delle immagini autenticamente devozionali per la vita dei frati Osservanti domenicani, nelle celle del dormitorio del nuovo convento di San Marco a Firenze, essendo perfettamente a conoscenza della sua costruzione e di ogni sua funzione. Negli affreschi delle celle dei novizi, raffigurando le varie forme di preghiera, "De modo orandi", il pittore si mostro attentissimo disegnatore degli atteggiamenti delle figure, e creo una nuova immagine di Santo Domenico che si aggrappa al Crocifisso. Cosi, per i frati predicatori, trasformo la Vita di Cristo e l'Incoronazione della Vergine in immagini contemplativi ispiranti meditazione e predica. In quanto agli affreschi nelle celle dei frati conversi, con naturalezza e sottile eloquenza delle figure, rese i soggetti sacri piu educativi e comprensibili ai frati meno colti. Gli Osservanti domenicani consideravano Fra Giovanni un predicatore visivo. Tra i quali ricordiamo Fra Antonino Pierozzi, operatore del proggeto di costruzione di San Marco, la cui estetica si avvicina a quella rinascimentale di Leon Battista Alberti. Gli affreschi nelle celle di San Marco sono vere e proprie immagini meditative dal pittore-frate, la sua verita contemplata.

著者

高安 啓介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.4, pp.15-28, 2002-03-31

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Neue Musik gewinnt ihre eigene Kraft erst durch die jeweilige Distanzierung von der traditionellen und popularen Musik. Aber neue Musik neigt dazu, sich wegen dieser Distanzierung in der Gesellschaft zu isolieren. In diesem Dilenmma braucht neue Musik notwendigerweise eine philosophische Orientierung. Die Idee einer "musique informelle", die Adorno 1961 in "Darmstadter Ferienkursen fur Neue Musik" bekannt machte, hat immer noch eine wegweisende Bedeutung. Informelle Musik heisst keineswegs Musik ohne Form, sondern Musik, die nicht durch die vorgegebenen Schemata kontroliert wird. Folgende vier Punkte sind zu betrachten. Erstens konzipiert Adorno informelle Musik als die fur die Zukunft geoffnete, obwohl er die fruhe atonale Musik von Schonberg fur ein Modell der informellen Musik halt. Zweitens weist Adorno aufgrund dieser Idee darauf hin, dass die avantgardistische Einstellung nicht immer mit der Freiheit verbunden ist. Drittens impliziert Adornos positive Beurteilung der Musik von Mahler und Berg, dass die informelle Musik nicht das Populare ausschliesst, sondern daraus die unbekannte Form entstehen lasst. Viertens zeigt Adorno mit der Idee der informellen Musik nicht nur die Richtung der Komposition, sondern auch eine Moglichkeit der modernen Vernunft und die Bedingungen der sachhaltigen Erfahrung.

著者

小河原 あや

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

門田 彩

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.85-98, 2008-06-30

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In this paper, I investigate El Greco's St. Ildefonso, currently placed at the Chapel of the Hospital of Charity in Illescas. This was painted in his most prolific stage, around 1600. Until recently the details of the commission issued to El Greco have not been obvious. Here, I present a tentative plan concerning the ditails of the commission of St Ildefonso, examining the relationship between El Greco and Salazar de Mendoza, a patron of El Greco. First, I focus on how St. Ildefonso is depicted as a Church Father, or author/scholar figure, which differs from the general representation of St. Ildefonso which portrays him receiving the chasuble, or dressed as an archbishop. I demonstrate how that El Greco's Ildefonso resembles the figure of St. Jerome in his study and I examine the description on St. Jerome and St. Ildefonso in Mendoza's work El Glorioso San Ildefonso…(1618), thus adding evidence for the likelihood of an influence from Mendoza. Moreover, I suggest a close connection between Charity and Mendoza. This is evident from the fact that El Greco and Charity both signed a contract for the retable at the Hospital Tavera, of which Mendoza was administrator. The goal of this paper is to present the details of the commission of St. Ildefonso, considering the intervention of Mendoza, an Toledan.

著者

伊藤 るみ子

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

吉田 寛

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, 2014-06-30