著者

庄野 進

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.2, pp.15-26, 1978-09-30 (Released:2017-05-22)

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Musikalisches Material ist nicht etwa der Inbegriff der vorgegebenen Eigenschaften der Tone und Tonbeziehungen, sondern 1) was dem handelnden Subjekt (dem Komponist) sich darbietet, 2) etwas mehr als seine Unmittelbarkeit, und 3) alles dem Subjekt Gegenubertretende, woruber es zu entscheiden hat. Musik kennt keines Naturmaterial, sondern musikalisches Material ist geschichtlich durch und durch, weil der Komponist jeweils in einem Werk ein bestimmtes Material nicht anders als das entscheiden muss. Da das Material selber sedimentierter Geist, ein gesellschaftlich Praformiertes ist, hat es eine Tendenz. Aber dies soll nicht geschichtlich-deterministisch aufgenommen werden. Denn auf die strukturelle Seite : Form, sowie auf diese geschichtliche, beide vermittelt voneinander, ist Material sich bezogen. Form ist im aktuellen Sinn die Totalitat der musikalischen Erscheinungen, nicht etwa das geschichtlich vorgebildete Schema. Aber alles im Kunstwerk Erscheinende ist virtuell Inhalt so gut wie Form, also ist sie auch Inhalt. Das Verhaltnis Form-Inhalt ist damit nicht gegensatzlich aufzufassen wie in traditioneller Theorien, sondern so dialektisch, dass in den uberlieferten Formen Inhalt sich sedimentiert hat. In dieser Zusammenhangen ist die Grundlegung der Musiktheorie Adornos der immer sedimentierende Material-und Formbegriff, der von der Gesellschaftlichkeit, der Fixierung des Verhaltnis des handelnden Subjekts zu seinem gegenstandlichen Objekt aus entsteht.

著者

並木 誠士

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.1, pp.64-74, 1994

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The Shuhanron emaki is a Japanese handscroll painting which illustrates a debate over the respective merits of rice wine verses rice for eating. Although the scroll has been recognized here-to-fore as an important historical materials within the study of eating and drinking, culinary, and banquet customs, it has not been examined from art historical standpoint. This has largely been due to the fact that numerous recensions of the scroll survive and, in turn, identification of the original painting has been problematic. Consequently, while it has been generally thought that an original version of the scroll had been produced during the Muromachi period, questions concerning its artist, precious date of production, and its historical and religious background have remained unanswered. In this paper, I classify extant versions of the scroll into two distinct lineages, one associated with the artist Kano Motonobu and the other with the artist Tosa Mitumoto. Moreover, I identify one scroll, presently in a private collection in Japan, as being the original version within the Motonobu lineage. Finally, comparison of this painting with Motonobu's Shakado engi emaki and Shutendoji emaki confirms its Motonobu style and permits us to attribute it to Motonobu himself or to his studio.

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

皆川 達夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.3, pp.68, 1967-12-30 (Released:2017-05-22)

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The libretto of a Japanese Noh-Play is divided into many strictly formalized and fixed sections, which have not only their special dramatic character, but also their own musical style. In other words, Noh is not simply drama but is socalled Gesamtkunst. The vocal melodies of Noh are regulated by one of the two scale-like stylistic composites, called Tsuyo and Yowa. Yowa has a definite scale : the interval between the upper tone and the lower one is the seventh, which is the sum of two successive statements of the fourths, the favorite interval of the Japanese. Tsuyo is highly intoned recitation rather than music. Accent, dynamic stress, tone color, and a special vocal technique are mose important than melodic movement itself. The rhythm of Noh is quite fascinating. Noh music may sound to a Westerner like pure free-rhythm music with flexible changes of rhythm and tempo ; now there is a push forward, now a slowing down, now a breaking off. However, this flexibility should not be associated with either arbitrariness or improvisation. Each change of rhythm and tempo is weighd carefully according to the patterns of the drum-beats, the content of the text, the position of the verse, the section, etc. In many aspects, Noh music is contrary to the Western music, and it offers an interesting antithesis to the Westerners. For further details, my article Japanese Noh Music (Journal of the American Musicological Society Vol. X, No.3, 1957) should be read.

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

松田 聡

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.2, pp.70-83, 2003-09-30 (Released:2017-05-22)

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In February, 1786, the Emperor Joseph II gave a feast at Schonbrunn Palace. On this occasion, Der Schauspieldirektor, a comedy with music by Mozart, was given its first performance, together with Salieri's opera buffa Prima la musica e poi le parole. So it has long been widely accepted that the two composers' music competed with each other in the feast. But, in fact. Der Schauspieldirektor is a unique stage work, of which the first half is formed as a German Play and the latter as a Singspiel. This fact necessitates reconsideration of the "competition". From October, 1785, three genres of stage work, German Play, Singspiel and Italian Opera, were performed at Viennese court theatres, so the feast can be regarded as an epitome of this system of performance in operation. This system marks an epoch in the Viennese performance history of opera, because, till then, it had never occurred that both the Italian Opera and the Singspiel were performed at court theatres in the same period. The two works performed in the feast share the same subject, that is the rivalry and the harmony between the different genres, and through it, the Emperor demonstrated his new idea to treat both German and Italian theatrical genres equally.

著者

北村 ひろ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.20, no.1, pp.16-34, 1969

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E. Zola sagt, in dem Vorwort der zweiten Auflage seines Romans : "Therese Raquin, " dass man in der Fiktion das Wahre suche. Was heisst denn das? Um uns daruber klar zu werden, mussen wir zuerst das Wesen des Sprechens und die Struktur des Erzahlens verstehen. Dann wird es sich klar werden, dass das Erzahlen das vermittelte Wirklichkeitserlebnis ist. Daraus werden wir weiterhin verstehen, dass die naturalistische Methode des modernen Romans auch eng mit der Struktur des Erzahlens verwandt ist. Daraus kann sich eine Antwort auf das Problem der Realitat im modernen Roman entwickeln.

著者

北村 ひろ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.4, pp.44-54, 1968

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E. Auerbach sagt in seinem Werke "Mimesis", dass dieser Stil die Perspektive hat, so charakterisiert das Wort Perspektive einen Stil. Der Begriff der Perspektive aber scheint mir der Grundbegriff des Stiles zu sein, denn alle Stile haben jede Perspektive. Zudem, meiner Ansicht nach ist die Perspektive das Wesen der Vorstellung, das Subjekt im besonderen Sinne und das Sprechen als solches in der Epik.

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

中村 俊春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.37, no.4, pp.50-62, 1987-03-31 (Released:2017-05-22)

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Das um 1611 von Rubens geschaffene Gemalde "der Tod von Seneca" ist ein interessantes Beispiel von der Antikenrezeption bei Rubens. Er bediente sich als Vorlage seines Senecas einer antiken Statue, die damals als Darstellung des sterbenden Seneca misinterpretiert wurde. (Heute wird sie als afrikanischer Fischer gedeutet.) Aber wie Muller Hofstede darlegte, stellte die negroide Physiognomie der Statue dem Maler ein Problem, denn sie passte nicht gut einem romischen Philosophen wie Seneca. Spater wahlte Rubens als Seneca-Bildnis eine andere antike Buste mit einem nobleren und vergeistigteren Antlitz, namlich den sogenannten Pseudo-Seneca. Auch diese Buste galt damals falschlich als authentischer Bildniskopf von Seneca. Bekanntlich ist der heroische Tod von Seneca von Tacitus in seinen Annalen berichtet. Schwierig festzustellen ist jedoch, ob unser Gemalde, das ikonographisch als Rubens' Neuerfindung anzusehen ist, mehr als ein Historienbild ist. Offensichtlich wurde das Gemalde von niederlandischen Neustoizismus angeregt und Rubens deutete damit sein Verhaltnis zur stoischen Philosophie an. Dazu noch mitzudenken ist, wie G. Hess meint, die rezeptionsgeschichtliche Tradition von "Seneca Christianus". Ich will jedoch in Rubens' Seneca keine direkte Beziehung damit sehen, sondern eher, wie etwa im ekstatischen und inspirierten Aufblick Senecas, das Hineinschlupfen des Formenvokabulars von den Martyrerbildern des Barock feststellen.

著者

安西 信一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.40, no.1, 1989

著者

定金 計次

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.40, no.4, pp.47-59, 1990-03-31 (Released:2017-05-22)

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Indian painting is believed to have started developing in the post-Vedic period. On the basis of early Buddhist literature, it is certain that Buddhist monasteries began to be decorated with mural paintings in the late post-Vedic or the early Mauryan period. This is the first definite connexion between the Buddhist community and painting. We cannot, however, regard this as the true beginning of Indian Buddhist painting. For mural paintings in early Buddhist monasteries almost certainly consisted of decorative motifs which were not peculiar to Buddhism. Though we have no positive data, it seems that cloth paintings used in narrative recitation were popular in the same period. It may well be that Indian Buddhist painting came into existence in the form of such painting, which depicted Jatakas (stories of the Buddha's former births) and stories from the Buddha's life. Early Buddhist relief sculptures on railings and gateways of stupas probably presupposed these cloth paintings. Buddhist shrines had been developing since the Mauryan period. In the post-Mauryan period, Buddhist mural painting, influenced by Buddhist cloth paintings used in narrative recitation and by mural paintings of royal palaces, appeared in Buddhist stupa shrines.

著者

福田 安佐子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, 2016

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.