著者

櫻井 一成

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.1, pp.37-48, 2019 (Released:2021-05-08)

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Philosophers often liken living well to creating an art work. I call this conception “poetics of life.” Hanna Arendt’s thought about human existence is very unique in that she interprets poetics of life concretely and rejects it clearly. On the contrary, there are few philosophers who concretize the metaphor and evaluate it negatively. In this paper, by replying to her criticism, I try to develop poetics of life in the right direction. The ground for her rejection to poetics of life comes from her famous typology of vita activa. In The Human Condition (1958), Arendt divides human activity into three types, namely “labor”, “work”/ “fabrication,” and “action.” Since Arendt categorizes creation of art works into “work” and regards “action” as proper activity for human being, she cannot accept the metaphor “to live well is to create a work of art.” However, investigating detailed descriptions of examples of “action”, it is revealed that the general explanation for the difference between “work” and “action” does not comprehend the essential feature of “action”; the function of formation that integrates parts already existing ad-lib. By this function, this paper will show that Arendt’s theory is capable of containing the idea of “making one’s own life.”

著者

山根 千明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.1, pp.61-72, 2019 (Released:2021-05-08)

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Ludwig Hirschfeld-Mack (1893-1965) entwarf als Student am Bauhaus Weimar einen Farbkreisel, den Optischen Farbenmischer, eines der berühmtesten Werke des Bauhauses, das auch kommerziell erfolgreich war, wobei aber noch immer nicht klar ist, auf welchen Wegen der Farbkreisel entstand. Die Bezeichnung weist auf das Ziel hin, die optische Farbenmischung zu beobachten. Der von Hand gedrehter Farbenkreisel ist ein traditionelles Instrument in der Naturwissenschaft, der auf physikalischen Experimenten von Newton und auf der Erfindung von Musschenbroek beruht, physiologisch-optisch von Helmholtz klassifiziert und später von der Experimentalpsychologie übernommen wurde. Der Zweck dieses Werkes war es, aufgrund der experimental-psychologischen Mischungsexperimente die Gültigkeit des Farbenkreises von Goethe und seinen Nachfolgern zu beweisen, deren Ziel es ist, die Mischungsverhältnisse der Komplementärfarben berechnen zu können. Aber Hirschfeld-Mack hat eine Veränderung der Anordnungen vorgenommen, die sein Lehrer Adolf Hölzel anläßlich der Argumentation empfohlen hatte, und kam dabei in seinen Aufzeichnungen der Ergebnisse der verschiedenen Mischungsverhältnisse immer zu der Feststellung : “Es ergibt Grau”. Dabei wird klar, dass dieses Instrument ein konkretes Medium war, um die Möglichkeit einer wissenschaftlich basierten Beweisführung der Farbenlehre Goethes zu schaffen, die in den damaligen Versuchen im Bereich der experimentellen Psychologie aufgegriffen worden war, und um die Diskussion darüber zu beleben.

著者

遠藤 太良

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.1, pp.73-84, 2019 (Released:2021-05-08)

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Yasuda Yojuro (1910–1981) was a Japanese thinker from the Showa period. He is famous for his literary criticism, and he also wrote a lot of art criticism, for example, Taimamandara and Nihon no bijutushi. In his literary criticism, Yasuda mostly wrote about classic Japanese literature, but in his art criticism, he wrote about not only Japanese classics but also contemporary Western art. This article aims to reconsider Yasuda’s ideas through an examination of his art criticism that previous research has hardly considered. First, I reveal Yasuda’s view of art through an examination of his famous literary criticism Taikanshijin no Goitininsya and his art criticism Saigyo to Dufy. Then, I compare Yasuda’s art criticism in 1942 and Kindai no chokoku, which was a round- table discussion in 1942 that included many famous literary scholars in Japan. Finally, I conclude that Yasuda’s ideas were not the most ultranationalistic of the time that previous research has regarded his ideas as, but more international than that of his contemporary literary scholars.

著者

小川 将也

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.1, pp.85-96, 2019 (Released:2021-05-08)

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This paper attempts to clarify the relationship between the theory of style of G. Adler and that of Art History (Kunstwissenschaft) by scrutinizing what Adler adopted and rejected from Art History in his Der Stil in der Musik (1911) and Methode der Musikgeschichte (1919). Through this study, it is revealed that his thought is deeply rooted in Hanslick’s formalism. This paper will reach following results: Firstly, as a musicologist, Adler rejects W. Worringer’s hypothesis that the origin of art is the ornamental style and cites E. Hanslick’s well-known formalistic thesis to support his rejection. Secondly, on the other hand, he adopts ideas of the construction style (Konstruktionsstil) by A. Göller and the geometric style (geometrischer Stil) by A. Riegl into his theory of musical style as a necessary condition of art of tone (Tonkunst), calling the counterpart to them the arithmetic style (arithmetischer Stil). Thirdly, while the arithmetic style has genealogically the close connection with the term of the mathematical form (mathematische Form) used by Kant, Adler aims to save music from its lowest rank around fine arts in terms of the cultural value proposed in Critique of Judgment, by referencing Hanslick’s autonomous formalism.

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.1, pp.97-108, 2019 (Released:2021-05-08)

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Gisèle Brelet est renommée pour son œuvre, Le temps musical (1949) construite en trois parties : « La forme sonore », « La forme rythmique » et « La forme musicale ». Les études précédentes comprennent « la forme musicale » à travers la typologie musicale, et n’éclaircissent pas le contenu de « la forme musicale » même. Dans cette situation, cet article saisit « la forme musicale » du point de vue des « souvenirs et de l’attente ». Car Brelet paraphrase la forme musicale par « une mouvante synthèse de souvenir et d’attente ». Pour cela, d’abord, cet article éclaircira la fonction des souvenirs et de l’attente dans la forme musicale puis mettra en évidence le fait que la forme musicale est une totalité constituée par la synthèse de ces deux éléments. Ensuite, en recherchant leur fonction dans la forme sonore et dans la forme rhythmique, il devient clair que les deux formes sont soutenues par le « souvenir et l’attente ». Finalement, cet article montrera que « la forme musicale » comme une totalité dépend du son perçu comme un événement, et affirme que le temps musical de Brelet est le « temps de l’événement ».

著者

上倉 庸敬

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.30, no.1, pp.51-61, 1979-06-30 (Released:2017-05-22)

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On use du mot "metaphore" en deux sens. Le sens aristotelicien de transposer (metapherein), c'est-a-dire, d'appliquer des mots a des choses qu'ils ne designent pas proprement. Et le sens de la ressemblance (semblance), que S.K. Langer emploie comme ce qui s'abstrait de l'ordre physique et causal pour designer ce qui est vu seulement par une perception. La ressemblance est la qualite virtuelle de l'objet esthetique. Mais, il me semble que Langer confond le premier avec le deuxieme quand elle applique le mot "semblance" aux oeuvres en prose. C'est Gaston Bachelard qui comprend la ressemblance comme image, et etudie son devenir. Par les etudes des images il decouvre que le langage poetique est ce qui porte en soi la dialectique de l'ouvert et du ferme. Ce langage a une relation intime et inseparable avec l'homme qui est "l'etre entr'ouvert". Mais d'une part on peut dire que cette relation n'est pas propre au langage poetique, elle s'etend du langage en general. D'autre part le mot a deux fonctions : la designation et le son. La philosophie de l'art poetique devrait commencer par l'etude de la relation entre ces deux sens de preference a celle de l'image.

著者

草薙 正夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.10, no.1, pp.13-24, 1959-06-30 (Released:2017-05-22)

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Art aims neither at the fastidious elaboration of form nor at the sensual intoxication. Its proper function consists, through its visibility, in representing "being as such", not in embodying a specific ideal of beauty. This metaphisical view of art, considered as "the organon of philosophy" has been a traditional one since Aristotle. But it is not free from the "imitation-theory", for here "being as such" is considered merely objectively, not existentially. Art, however, must be existential par excellence, in so far as it depends upon the free activity of creation, since "being as such" is not essentially objective wholeness, but non-objective and encompassing one. In this sense art is, according to Jaspers, the illustration of existence, and the philosophy of art does not mean thinking about art, but thinking in art. This is what Jaspers means by art as "the organon of philosophy". This treatise aims at elucidating the existential point of view of art, following Jaspers's philosophy of art-especially through his elucidation of the structure of "cipher reading".

著者

千葉 慶

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.1, pp.56-68, 2003-06-30 (Released:2017-05-22)

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A change in the evaluation of Nanga that is one of Chinese style painting symbolizes a transition of Japanese art thoughts that turned from nationalism to imperialism. In 1880's-90's, an establishment of the concept of national culture was an earnest problem. In those days, to separate Chinese element from Japanese culture was needed for an establishment of the "purity" of Japanese culture. Therefore, Nanga was attacked in art criticism. In 1910's, Nanga was re-evaluated, because Japan's national policy had turned to imperialism and desired to possess China (and Chinese culture) for obtaining the position as "a representative of the Orient." Toyozou Tanaka, an editor of "Kokka" magazine, wrote 'Nanga Shinron' to re-evaluate Nanga. He and his article had contributed to "Nanga boom" which came in 1910's. Many critics and artists commented that Nanga was the essence of the Oriental art that is more excellent than the Occidental art, in this boom. A creation of such a new image about Nanga might have been closely linked with creation of or support for Japan's new self-image in the "new era, " the era of imperialism.

著者

利光 功

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.42, no.2, pp.75, 1991-09-30 (Released:2017-05-22)

著者

川野 洋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.1, pp.22-32, 1967-06-30 (Released:2017-05-22)

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I intend to clarify how the artistic value, which is difficult to be dealt with even in a traditional aesthetics, is described from the viewpoint of information theory. M. Bense thinks simply of the value of work of art equivalent to the quantity of its information. L. Meyer thinks that a probabilistic uncertainty arised from the inhibition and resistance of tendency toward a goal implied in work of art, causes its value. And this Meyer's thought about artistic value seems on the whole familiar with Bense's one. Opposed to such explanations, A. Moles considers the artistic value as a decreasing function f (∣information-capacity∣) of the deviation ∣inf.-cap. of objective information of work of art offered by artist from subjective information capacity of receptor. If this Moles' instructive formulation about the analysis of artistic value which depends on information theory, could be applied not only to the syntactic form of work of art but also to its semantic content, the traditional problems of value in aesthetics must become more clear.

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.67, no.2, 2016

著者

加藤 浩

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.42, no.1, pp.12-23, 1991

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Plato censures the imitative poetry and at the same time makes many mythoi in his dialogues. The purpose of this paper is, therefore, to analyse the usages of mythos and its related terms in the context in which they occur and to consider the relation between mythos and poiesis. In the Protagoras the compound of mythos and logos produced by rhetorike is contrasted with logos gained by dialektike, while in the Gorgias and the Phaedo two escatological mythoi anticipate the horizont which logos will be able to reach. When the Idea of Good and dialektite are introduced in the Republic, the inconclusiveness of the dialogue and the conclusiveness of dialektike become obvious. Mythos of Er is allowed to be told as far as it points to the conclusive horizont which dialektike will ultimately reach and makes the dialogue conclusive. Likewise, mythos in the Phaedrus represents the comprehensive vision of dialektike. Mythos as poiesis is characterized by falsehood. But in the Republic mythos is judged according to two norms which regulate what the poets should tell of gods and men. Thence I infer that mythos of Er indicates the ideal mythos which should be told of men. The poetics of Plato, if possible, will be called philosophical as compared with the technical poetics of Aristotle.

著者

當津 武彦

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.8, no.4, pp.37-45, 1958

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Of six elements into which Aristotle analyses a tragedy, mythos holds first place and ethos is next in order. But this view is doubtful for us, because the relative importance of character and plot varies with different dramatists and different national temperaments, and in the evolution of tragedy there has been far more room for the growth of character-drawing than the plot. Now in this report we will pursue after Aristotle's fundamental views, for example, the universal representation of poetry, the probable or necessary sequence in tragedy etc., and then try to find the true relation between mythos and ethos.

著者

近藤 秀樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.1, pp.13-24, 1998

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L'improvisation est, selon V. Jankelevitch, l'adaptation instantanee aux "conjonctures". C'est-a-dire aux situations imprevues et changeantes. A ces circonstances soudaines et mouvantes, on ne peut repondre que sur-le-champ et a l'improviste, parce qu'on n'a pas le temps de prevoir. Pour parer a des evenements perilleux et se servir des hasards les plus fragiles, l'improvisation doit etre extemporanee et approximative. A cet egard, l'improvisation se compare avec la "metis", qu'etudient Detienne et Vernant. En grec ancien, le mot metis signifie l'intelligence rusee, le pouvoir de se tirer de situations changeantes et dangereuses par des jugements rapides et une attitude flexible. Donc, l'approximation et l'extemporaneite sont aussi les caracteres fondamentaux de la metis. Et l'improvisation et la metis se rejoignent en ce qu'elles saisissent toutes les deux le kaιros. c'est-a-dire l'occasion. Ce moment opportun, la metis et l'improvisation le decouvrent dans les conjonctures et en profitent avec rapidite. Or, l'occasion, qui est imprevisible et instantanee, condense en elle-meme l'irreversibilite du temps. C'est ainsi que la metis et l'improvisation sont deux techne qui s'affrontent au temps irreversible.

著者

金田 晉

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.3, 1998

著者

K. Negishi

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.24, no.2, pp.72-73, 1973-09-30 (Released:2017-05-22)

著者

愛宕 出

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.1, pp.42-53, 1978

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Dans le XIV^e siecle en Boheme, on pourrait trouver un type d'architecture qui correspond le mieux aux caracteristiques donnees par V. Mencl. C'est celui dont les voutes se terminent par les consoles et dont les colonnes, ordinairement placees au milieu des nefs, sont penetrees par les ogives. Mencl y a vu une modernite qui preparait la Renaissance. Mais il represente plutot le dualisme typique a la fin du moyen age. Schematiquement parlant, les voutes et les colonnes representent le mysticisme sensoriel, tandis que le mur nu maifeste l'ascetisme qui refuse le systeme gothique. En principe ce mysticisme esthetique se realise par deux moyens ; la surface lisse et la voute qui semble flotter. Celle-la resulte de l'interpretation anti-gothique de la voute d'ogive : elle consiste a economiser des ogives. C'est les consoles, d'autre part, qui creent l'impression flottante des voutes, puisqu'il n'y a pas de colonnette qui corresponde a chaque ogive. Et le mur nu est indispensable pour cet effet mystique. On pourrait en trouver l'archetype dans l'architecture profane dont la construction primitive ne fait qu'augmenter le nombre de supports pour obtenir l'horizontalite de l'espace. Et la disposition spatiale presque sans ordre de la chapelle de Bethleem a Prague peut etre consideree comme une des formes finales de ce type d'architecture.

著者

吉村 典子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.50, no.3, 1999

著者

青田 麻未

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.1-12, 2019

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I will show how we can frame temporal dimensions of our environments for our appreciation. In contrast to artworks, environments are changing all the time. There is no frame with which to define what is the specific object of appreciation in environments which surround us, and which extend without limit. We have to create our own frames by ourselves. The question is how we frame temporal changes of environments. First, I will classify the changes in two groups: macro- and micro- temporal change. We cannot directly perceive the former, but can with the latter. Although we can perceive micro changes, it is difficult to appreciate them because they are so ordinary for us that we usually do not pay any attention to them. Second, I will introduce Arnold Berleant's "aesthetics of engagement" to clarify the mechanism of framing these micro changes. Engagement is a kind of aesthetic attitude for appreciating perceptual environmental experiences which consisted of cumulative micro changes. Third, I will elaborate on the role of our activity in framing micro changes. I will distinguish our activities in environments into two levels, and show how aesthetic engagement is related to each level.

著者

野口 榮子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.39, no.4, pp.1-11, 1989-03-31 (Released:2017-05-22)

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Diderot, auteur de critique d'art dans "les Salons 1759-1781", a elabore diverses theories a propos de l'art. Nous allons nous pencher ici sur ses jujements sur le portrait. Diderot, l'un des rares critiques a mentionner le portrait de feu Madame Infante en habit de chasse de Natier au Salon de 1761, critique severement des hommes de la Cour. Pour lui, ce ne sont que des <faux> ; c'est la <verite> que l'on doit chercher dans le peinture. A propos du portrait de M. Thomas de Duplessis au Salon de 1781, Diderot dit que l'artiste doit tenter de saisir la physionomie de l'homme, de lui donner une expression, et ainsi de rechercher la <ressemblance>. Ce qui n'est pas ressemblant n'est pas <verite>.