文献一覧: 貿易風 : 中部大学国際関係学部論集 (雑誌)

11 0 0 0 OA 近藤英俊/小田亮/阿部年晴篇, 『呪術化するモダニティ-現代アフリカの宗教的実践から-』, 風響社, 2007年, その1, ISBN:9784894891197

著者: 長島信弘
出版者: 中部大学
雑誌: 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
巻号頁・発行日: vol.3, pp.290-303, 2008

https://ci.nii.ac.jp/naid/110007025371

6 0 0 0 OA アラビア語回文芸術の世界 : 中世アラブ文学アル・ハリーリ作『マカーマート』の二作品を通して

著者: 堀内勝
出版者: 中部大学
雑誌: 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
巻号頁・発行日: vol.1, pp.300-327, 2006-03-31

https://ci.nii.ac.jp/naid/110005943616

6 0 0 0 OA 李禹煥ともの派 : 日本列島と朝鮮半島の美術および空間意識の比較研究

著者: 千葉成夫
出版者: 中部大学
雑誌: 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
巻号頁・発行日: vol.1, pp.68-105, 2006-03-31

<Gutai< (Japanese anti-art) and <Mono-ha< are two most important movements in the Japanese post-war art-trends. <Mono-ha< is especially characteristic of research for a new art which is not based on the European modern art. The starting point of <Mono-ha< is Nobuo SEKINE's epoch-making work, <Sphere -Earth< (1968) which was tremendously influential upon the young artists. And the two representative artists appeared: U-Fan LEE and Kishio SUGA. U-Fan LEE, among others, presented us a new viewpoint not only through his works but also by his writings on art: we couldn't find any similar viewpoint in the modern Japanese writings on art. His famous sentence symbolizes it well: <Because evertything is already realized from the very beginning, and because the world is opened as it is from the very beginning, it is impossible to create through artistic realization an another world<. The artistic creation (in its European meaning) is impossible in this Japanese archipelago. Here will be possible, instead, our <encounter< with <the world as it is< (or, <the nature itself<): <creating something< in the European sense is not possible for us in the end. We can only look for some possibility of <creating something by way of creating nothing<, so to speak. U-Fan LEE, Korean=Japanese from 1956 on, has this thought in common with Japanese way of artistic thinking, for <the nature is everything< for us as well as for him. The human being, in this Japanese archipelago, is from the origin not independent of the <nature itself<, such as the plants are not independent of it; so, he cannot objectify the <nature itself<. But Korean people think always that the human being is the natute itself. It means <human being is nature itself< at the same time <the nature is everything<. This is a humanism, but that is totally different from the Occidental humanism. The human being is <lêtredans-le-monde< in the Western world, but he is, for Korean people, a <relation< between <lêtre humain< and <le monde<. We can find this difference, between Japan and Korea, in the works of fine art. One example is the difference of the notion of realizing <garden<. Japanese garden is not the nature itself but an artificially presented nature, or represented nature after the natutre itself, in the site of the house. But, Korean garden is composed of the house and of the nature itself: in other words, Korean house is made in the midst of the real nature, in the best natural location. The garden doesn't exist in the Korean Peninsula because the nature is the garden itself. The Korean concept of garden (nature) and U-Fan LEE's thought suggest us one possibility of the <new way of creation< by way of confronting directly with the nature itself.

2020-02-15 01:53:53
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https://ci.nii.ac.jp/naid/110005943602

3 0 0 0 OA 「悦ばしき恐怖」から「リベルタン美学」へ : 18世紀における崇高概念の世俗化

著者: 玉田敦子
出版者: 中部大学
雑誌: 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
巻号頁・発行日: vol.3, pp.60-84, 2008

After the publication of Longinus's Peri Hupsous (On the Sublime), translated by Boileau in French in 1674, the concept of "sublime" became one of the most important subjects of the European intellectual society. Boileau's translation was subsequently translated again into English and published several times in England, thereby gaining a broader readership. Since then, Longinus's treatise and Boileau's added introduction have been invoked as the authority on the matter of sublimity, which was the ideal of the rhetoric discipline. If the concept of the sublime had a great impact on the French literary society of the time, it is because Boileau defined the sublime in a short sentence. In theories and treatises on rhetoric and aesthetics in Europe, despite always consulting Boileau's translation of Longinus's On the Sublime, the notion of the sublime became separated from its previous theological and "moral" connotation. Consequently, it seems necessary to clarify the process through which the concept of the sublime became secularized by analyzing theories and treatises on rhetoric published in the Age of Enlightenment. In England, sublime appears as a pleasure of the natural landscape rather than a notion of rhetoric. Poet and literary critic John Denis first used the expression "delightful horror" to express the pleasure afforded by Mount Ainguebelette in his letter written in Turino on October 25, 1688. Fifteen years later, in his "Proposition" from The Grounds of Criticism in Poetry, he explained this expression, trying to associate it with the theory of sublime written in the work of Longinus. Terror as the greatest passion subsequently became recognized as one of the main issues in aesthetic studies in England. Although, English authors such as Addison or Bailly often referred to Longinus, they considered the pleasure of landscape to be more interesting than the pleasure of literary works. As the status of awful scenery's beauty increased, the notion of sublime became separated from its previous sacred connotation, thereby providing a further aspect of the secularization of the notion. Finally, in A Philosophical Enquiry into the Sublime and Beautiful (1747), Edmund Burke demonstrated that "terror is a passion which always produces delight when it does not press too close." In France, the idea of the "natural sublime" appeared particularly in Salon de 1767, an art critique written by Diderot, who read Burke's Enquiry precisely. Such reception of the natural sublime in France prepared the public for the Romanticism in French literature, in which strong feelings, imagination, and representations of nature are important. In eighteenth-century France, the act of watching pains or distress of others required a pretext. According to Michel Foucault, during this age, exemplary punishment with show trials was considered the most useful for society. In this context, the delight received from the pains of others was explained by the deterrent effect of these punishments, which were perceived as "beauty" for the deterrent power itself. To prove the concept that a horrible spectacle is beautiful, authors of the time often referred to Montaigne and others from the sixteenth century. In the Age of Baroque, horrible spectacles were used to achieve religious and political purposes ; the stories of such spectacles were circulated to intensify their impact. In the Age of Enlightenment, La Motte, Batteux, and Marmontel attempted to define "sublime" as the effect of surprise expressed in "elegant" expression. According to the rhetoric theory of the time, "elegance" is defined as a grammatical license opposite to the grammatical "exactitude." Elegance brings changes and surprises in style with a license that creates rifts in the discourse and continues to have sensory pleasures. In this way, the sublime as the succession of surprises and intermittent changes-which Longinus and Boileau defined as one of the elements of the sublime-is associated with "elegance," a value that represents a "libertine" aesthetic.

2021-08-21 11:00:33
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https://ci.nii.ac.jp/naid/110007025355

2 0 0 0 OA セルボ・クロアート語文学史におけるユダヤ人 : 史的分析のための予備的考察

著者: 栃井裕美
出版者: 中部大学
雑誌: 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
巻号頁・発行日: vol.2, pp.235-260, 2007-04-01

2021-07-07 09:00:33
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https://ci.nii.ac.jp/naid/110006607638

2 0 0 0 IR 亡びたアラブ・アード族伝承(4) : シャッダード王と円柱立ち並ぶ都イラムについて

著者: 堀内勝
出版者: 中部大学
雑誌: 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
巻号頁・発行日: vol.3, pp.138-155, 2008

2020-06-22 14:54:12
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https://ci.nii.ac.jp/naid/110007025360

2 0 0 0 OA 18世紀フランスにおける「修辞学的崇高」の成立

著者: 玉田敦子
出版者: 中部大学
雑誌: 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
巻号頁・発行日: vol.2, pp.35-58, 2007-04-01

In eighteenth-century France, the concept of "the sublime" became the vogue. Great names such as Diderot and Rousseau often used "sublime" in their work, and other famous authors in the Age of Enlightenment, like La Motte, Batteux, and Marmontel, attempted to define the word. Treatises on rhetoric written in French at this time defined the sublime to be perfection in style that one must learn to attain. In the Age of Enlightenment, the Academie Francaise set up a linguistic policy in order to "purify" the French language, consulting the language of works published by French classical authors. The Academie's policy owed much to education in rhetoric in "college", and thus consecrated these works in the name of sublime. This paper deals with the intertextuality brought by two principal sources of treatises on the sublime in the eighteenth century in France: the introduction that Boileau added to Longinus' Peri Hupsous in 1674, and the article "Sublime" written by the Chevalier de Jaucourt in 1765. For that, it is necessary to clarify the process through which the concept of the sublime became secularized, by analyzing the treatises on rhetoric published in the Age of Enlightenment. In these treatises on rhetoric, always consulting Longinus' On the Sublime translated by Boileau, the notion of the sublime became separated from its previous theological connotation. If the concept of the sublime had a great impact on the French literary society of that time, Boileau defined the sublime in a short sentence. First of all, he distinguished the sublime from the "style sublime" that required the grandeur of hyperbolic expressions. Then, following the description of Longinus, Boileau defined the sublime as a simple expression that makes extraordinary and marvelous things. Not only this definition but also the passage in Genesis, "And said God let there be light, and there was light, " appear in the treatise on rhetoric as models of the sublime. The article "sublime" written in Encyclopedie became another authority on this concept. Jaucourt followed Boileau's succinct description closely, and then developed it into a full five pages by quoting ancient and classical French authors. Following the example of a contemporary author, Silvan, in his Traite du sublime, Jaucourt divided the notion into two categories: "sublime by images" and "sublime by sentiments." His article gave no more explanation than did Boileau's introduction, but explained in great detail the concept of "sublime by sentiment" that is represented through the acts of human beings. That provides a further aspect of the secularisation of the notion. While French classical literary theory pursued a simple style in the name of the "clearness of style, " in the next century, there emerged a preference for "style simple" but "concentrated." In the seventeenth century, communication had to be transparent, and this was achieved by means of using ample words in order to express rich and complex contents. However, in the following century, the rules changed drastically under the influence of the development of sensualism: it was only a "concentrated" style that could possibly create the energy required to express rich contents within short expressions. In this way, stylistic simplicity necessarily became closed to the sublime effect that transports an audience by means of concentrated expressions.