著者

高瀬 博文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.44, no.1, pp.24-35, 1993-06-30 (Released:2017-05-22)

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C'est vers la fin des annees 1950 que Lacan a change de direction de sa theorie sur les termes fondamentaux qu'il emploiyait : l'imaginaire, le symbolique, le reel. Depuis lors, le reel se trouve au centre de sa theorie. Lacan approfondit le concept du reel, en elaborant la logique de l'object a. Dans le symbolique se condense le sujet comme un signifiant. Mais cette condensation met en dehors du probleme l'etre de sujet qui n'est pas recupere dans le symbolique. A la fois s'y produit l'objet a comme le champs de la pulsion. C'est la logique lacanienne de l'objet a. En utilisant cette logique de l'objet a, Lacan presente sa theorie de peinture. II decouvre l'objet a dans la peinture. Dans la rupture du symbolique se montre l'objet a comme le regard qui a le caractere de 'donner-a-voir'. Parcequ'on ne trouve pas le champs qui se subordonne a l'articulation langagiere dans la peinture.

著者

伊達 立晶

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.48, no.3, pp.13-24, 1997-12-31 (Released:2017-05-22)

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The purpose of this paper is to make clear the aesthetic thoughts of Poe and Baudelaire from the viewpoint of the imagination theory. Through this examination, we can find that their thoughts showed the peculiar views against the imitation theory in those days. Poe and Baudelaire consider that imagination has two functions : the first function is to find unexpected analogies among some ideas or things, and the second is, by the combination of these analogous ideas or things, to produce something novel and beautiful that is similar to the vision in the delirium. They insist that, by exertion of this imagination, artists should transform the composition of natural things. While Poe and Baudelaire take a similar view in these regards, we can also point out some distinctions between their imagination theories. What the distinctions may be, it is noteworthy that their imagination theories furnished arguments against the traditional imitation theory.

著者

坂上 桂子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.33, no.2, pp.56-69, 1982-09-30 (Released:2017-05-22)

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De nombreux historiens de l'Art essayent de voir dans le "Pointillisme" de Seurat des elements exterieurs a sa creation picturale qui expliquerait l'origine de ce procede novateur. Mais la raison veritable lui permettant d'acceder a la formation de cette technique parait plutot resider dans l'evolution artistique du peintre lui-meme. Si l'on suit l'evolution de ses oeuvres du debut de sa carriere comme peintre jusqu'a 1887, annee ou est concu le "Pointillisme", nous pouvons constater deux choses qui depuis toujours dirigent la peinture de Seurat : 1° le rapport etroit etabli au cours des annees 1880-1884 entre la touche et le motif, comme celui entre les touches entrecroisees et l'herbe, entre la tache imprecise et la feuille, entre la touche a la fois ample et lisse et la figure humaine, enfin entre les touches paralleles et l'eau, rapport qui persiste meme dans la peinture pointilliste ou les touches sont mises en apparence de maniere homogene et "scientifique", 2° la representation de la lumiere, flottant en l'air ainsi que les particules delicatement eparpilles sous le soleil, qui reussit a donner d'excellents effets lumineux surtout dans sa peinture de l'epoque pointilliste. Ainsi, le "Pointillisme" de Seurat, fruit de ses experiences et ses recherches, peut etre considere plutot comme un aboutissment de sa propre conception artistique qu'une simple methode inventee sous l'influence des elements exterieurs.

著者

伊藤 亜紗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.1-12, 2011-06-30 (Released:2017-05-22)

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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

金光 陽子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.29-42, 2007-09-30 (Released:2017-05-22)

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This paper examines John Everett Millais's painting Bubbles, 1886, and associated reproduction. The Victorian era saw a flowering of reproduced images of paintings in parallel with the spread of photography and illustrated journals. Bubbles, showing a boy with a pipe blowing soap bubbles, was particularly disseminated as an iconic image of Victorian 'childhood' or 'cleanliness' through reproductions for Pears Soap advertisements. The aim of this paper is to situate Bubbles in diverse contexts of new and old print-making technologies and copyright, disentangling the complex interrelationships between painters, print-sellers and owners of paintings. In Britain, it was not until 1862 that a Copyright Act appeared to protect paintings. Through an examination of the historical and legal contexts surrounding the Fine Arts Copyright Act, this paper clarifies the reason that Bubbles was placed 'automatically' in the so-called 'public domain'. To date, particular emphasis has been put on the fact that Millais was outraged by the unofficial addition of a bar of Pears Soap to Bubbles. Yet in fact, Millais did not at all object to the appropriation of the painting for advertising purposes, so that it enabled numerous lower-middle class and working-class people to enjoy the image of Bubbles for free.

著者

三上 真理子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.4, pp.70-83, 2005-03-31 (Released:2017-05-22)

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Yayoi Kusama herself is not a minimalist, but she did have contact with minimal artists such as Donald JUDD and Eva HESSE. Judd praised Kusama's Infinity Net Paintings from the start, especially her obsessional repetition. According to Judd, the new art trend of the 60s were represented by three-dimensional works which were neither paintings nor sculptures. Kusama's Compulsion Furniture was one of them and Judd himself was making such works. On the other hand, Michael FRIED attacked minimal art because Specific Objects, as Judd had called them, had objecthood, and even though one looks at such works which depend on installation, all the viewer can feel is his or her own duration. Then, what kind of time can we experience by appreciating Kusama's works? Comparing Kusama's works with Hesse's ones and so on, the relation of repetition and time is explained in order to describe the originality of Kusama's works.

著者

春木 有亮

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.131, 2010-12-31 (Released:2017-05-22)

著者

山田 由佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.73-84, 2014-12-31 (Released:2017-05-22)

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Jean Fautrier a peint les Otages entre 1942 et 1945. Le mot <<otage>>, durant l'Occupation, renvoie a une personne executee par la Gestapo pour sanctionner son appartenance a la Resistance. Fautrier a presente 46 peintures et 3 sculptures d'otages a la galerie Rene Drouin en 1945. Nous examinons le sens donne par Fautrier a sa representation des tetes d'otages. Pour considerer cette question, nous nous appuyons sur les textes de Francis Ponge et Michel Ragon, pour qui les facies evoquent le Linge de Veronique. Deuxiemement nous voyons que la matiere et la forme abstraite des tetes ont deconcerte les critiques: Selon l'analyse de Karen K. Butler des textes d'Andre Malraux et de Ponge consacres aux otages, ces oeuvres pouvaient mieux transmettre la definition meme de l'otage que des representations d'otages moins abstraites. Nous montrons la particularite des Otages par rapport aux oeuvres de Fautrier de la premiere moitie des annees 1940, notamment les gravures. Nous voudrions relever une analogie entre le Linge de Veronique et tete d'otage: il s'agit du lien entre l'image et la production de l'image.

著者

名取 四郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.27, no.3, 1976-12-30

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La mosaique de l'arc triomphal de cette eglise, executee par Sixtus III^e, presente, outre six scenes tirees de l'histoire de l'Enfance, une composition symbolique signifiee d'une part par un trone monumental, place au sommet de l'arc et entoure de Pierre et de Paul, et d'autre part par Jerusalem et Bethlehem occupant les ecoincons. Cette composition triangulaire semble etre une variante de la Traditio Legis. Cependant le trone possede quelques motifs symboliques : deux medaillons aux extremites des accoudoirs du siege, chacun representant un buste d'homme, identifies comme etant Pierre et Paul ; deux tetes de lions fixees sur le dossier. Les bustes des apotres se faisant face semblent representer la Concordia Apostolorum qui a son prototype dans la representation de la Concordia Augustorum. Les deux tetes de lions sont aussi un motif tire de l'art imperial, attribut du trone de la Roma-Concordia. Nous voyons donc sur cette composition triangulaire l'idee de la Concordia realisee par divers schemas suivants : Concordia apostolique, Pierre representant l'Ecclesia ex circumcisione et Paul, l'Ecclesia ex gentibus, unies par une Croix sur le trone ; Concordia de deux cites, Jerusalem correspondant au cote de Pierre et Bethlehem, au cote de Paul. Cette representation semble refleter la propagande politico-religieuse de l'Eglise romaine du V^e siecle centree sur l'idee de l'Universalis Ecclesia et developpee deja depuis le pape Libere. La meme idee fondamentale se retrouve dans la Traditio Legis a Pierre au cote de Paul.

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.23, no.1, pp.53-57, 1972-06-30

著者

田邉 健太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.71-82, 2013-06-30 (Released:2017-05-22)

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Jerrold Levinson insists that musical works are indicated type entities. The aim of this paper is, first, to summarize and clarify his view and, second, to examine his view and the criticisms which are directed towards Levinson's notions of "indication" and "creating type." In Section 1, I summarize why Levinson rejects "Sound Structure Theory." His motivations for rejecting it are two. First, he assumes musical works can be created, but sound structure cannot. Second, he assumes musical works must be individuated so finely that they can bear the aesthetic/artistic properties which we ordinarily attribute to them. In Section 2, I explain his proposal that musical works are indicated type entities and "Indicated Type Theory" avoids the problems which "Sound Structure Theory" cannot. In Section 3, I examine two criticisms of Levinson's view. The first criticism concerns the ontological nature of indicated type. But I think Levinson can object to that criticism. The second criticism concerns his notion of "creating new type." This is a genuine problem for Levinson.

著者

前田 茂

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.186-188, 2008-06-30

著者

入江 繁樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.16-29, 2008-12-31 (Released:2017-05-22)

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This paper focuses on the production theory which was presented by YANAGI MUNEYOSHI (1889-1961), the leader of the Japanese Mingei movement. Analysing the contradiction of this theory, I indicate his unique view on the modern civilisation. In the 1920's, he insisted on the revaluation of Japanese traditional folk-crafts, and renamed them Mingei. According to him, the essential aesthetic quality of Mingei is the unconscious beauty (mushin-no-bi), and this beauty can not be created any more by modern artist-craftsmen who are too self-conscious. But, in the meantime, YANAGI demanded that these artist-craftsmen supervise Mingei production and conduct folk-craftsmen who are actual producers of Mingei. Is this YANAGI's methodological fallacy? Rather, we should think that this is an unavoidable paradox on the Mingei production. In YANAGI's view, aesthetic appreciation should be based on the modern consciousness and the latter is indispensable even when we appreciate the unconscious beauty of Mingei. Therefore, he could not help placing the modern artist-craftsmen as leaders in the Mingei production. In short, he thought that the "nonmodern" beauty of Mingei should be paradoxically realised in the gaze of the "modern" men.

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

甲斐 義明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.85-96, 2011-06-30 (Released:2017-05-22)

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Alfred Stieglitz's series of photographs of clouds entitled Equivalents has been understood from two contrasting perspectives: "straight photography" and symbolism. This essay discusses an aspect of the Equivalents which has been neglected in these two dominant frames of reference. When Stieglitz began to make the Equivalents in the mid-1920s, the painters around him, such as Georgia O'Keeffe and Stanton Macdonald-Wright, were primarily concerned with how to represent the American landscape. This concern urged them to abandon pure abstraction and to depict landscapes that were considered to be characteristically American. Although the Equivalents capture only clouds in the sky, each photograph was shot at Lake George in upstate New York. When he exhibited them, Stieglitz carefully arranged the captions and installations so that a viewer could realize this fact. As Lake George was another place regarded to embody the beauty and spirit of America, the Equivalents were not unrelated to the shared interest of the painters of the Stieglitz circle. In pursuing this concern, Stieglitz utilized an intrinsic characteristic of the photographic medium, namely its inseparable connection to a specific place and viewpoint.

著者

今井 晋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, 2011

著者

田口 かおり

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.73-84, 2013-12-31 (Released:2017-05-22)

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This paper aims to reconsider Theory of Restoration of Cesare Brandi (1963) for restoration of contemporary arts. In his Theory of Restoration, Brandi defines restoration as an intervention to a physical entity of art for the purpose of transmitting the unity of aesthetic value and historical value to the future. However, in case the artists are still alive and reject permanency of their works of art or complex, brand-new materials and anti-materials such as installation art intervenes, the act of restoration seems to have difficulty in esteem in a Brandi's theory. As a matter of fact, Theory of Restoration is known for resolving a problem of preservation and restoration of art from ancient to modern period. Its actuality in the field of contemporary art is now to be discussed. Does Brandi's theory show any possibility or limit for the intervention of contemporary arts?

著者

越前 俊也

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.43-56, 2006-09-30 (Released:2017-05-22)

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Krzysztof Wodiczko started his Public Projection in 1980, by anatomical analysis of architectures on photographs. If we use the terms of Walter Benjamin, this new artistic presentation can be understood as a behavior to give an Exhibition-Value to architectures, which have their own Aura and Cult-Value. According to the terms of Alois Riegl, the writer of "The Modern Cult of Monuments," it also can be understood as a behavior to make known the intention of authors of architectures by projecting their symbolic images to Intentional Monuments. It changed, however, in the middle of 1980's, to a behavior to protect Monuments by projecting critical thoughts and reflections of inhabitants around them. Wodiczko seemed to regard their thoughts and reflections as Artistic-Will (Kunstwollen), one of the most important terms of Alois Riegl, but we must not overlook that there is a gap between them. Video Public Projections, which Wodiczko started in 1996, used architectures as transitional objects: a term of developmental psychology for silent speakers. Public Projection continued changing in the past quarter century in order to extract various abilities of architectures.

著者

鈴木 賢子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.62, 2004-12-31 (Released:2017-05-22)

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.