著者

国清 景子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.37-48, 2015-12-31 (Released:2017-05-22)

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The presence of specific themes in Rembrandt van Rijn (1606-69)'s works has been pointed out by Held and other scholars. These themes serve as essential concepts to unite his works regardless of subject matter of a given work. Blindness is considered to be one of such themes. Rembrandt's works illustrating the Apocryphal Book of Tobit are considered to include the blindness theme. However, though Tobit, the main character of the Book of Tobit, is a blind man, the 17th-century-people considered the book was enlightening piety, mutual assistance and industry. Tobit's blindness merely serves as a basic context for the miraculous healing of Tobit's eyes, and is not a dominant theme. Instead what is remarkable is that Rembrandt repeatedly depicted the healing as a cataract operation at that time. This essay explores the background of the painter's repeated use of the operation motif to depict the miraculous healing of Tobit's eyes. To this end, the essay looks into other Rembrandt's works illustrating a medical operation and compares them with the said works. And finally it reveals that Rembrandt's works depicting the healing of Tobit's eyes are allegorical representation that while being subsumed into Sight, Touch is the sense that supports Sight.

著者

今村 信隆

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.49-60, 2015-12-31 (Released:2017-05-22)

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The main purpose of this paper is to examine Roger de Piles' Conversations (1677), not only as the consistent theory of paintings, but also as a story, where the characters communicate with each other, looking for some steady grounds for consensus of their tastes. In the first part of Conversations, three characters discuss the proper taste and correct judgement on paintings. Pamphile, the instructor, firstly shows that, in order to obtain sane judgement, it is necessary to argue about various paintings with others, but at the same time not to accept their opinions without the conviction that they are reasonable. However, there is no further explanation of this seemingly important concept, "reasonable" in the whole book. Instead of such detailed explanation, Pamphile affirms that one has to build his taste on the basis of the Antique works' taste which is amended by Nature. Three additional characters in the second part, that is, Caliste, Leonidas, and Philarque respectively can be considered as advocates of the Antique works, Nature, and the Antique works amended by Nature. Here, de Piles do not ask whether each kinds of taste is fundamentally reasonable or not, but depict Caliste as a failure in this honnete conversation.

著者

宮崎 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.61-72, 2015-12-31 (Released:2017-05-22)

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Francois Tronchin (1704-1798), amateur genevois, a prononce trois discours sur la peinture a la Societe des Arts de Geneve en 1787 et 1788. Les manuscrits de ces discours ont ete publies dans le Discours relatif a la peinture, ou est demontree une theorie unique de Tronchin sur le fini. Cependant, malgre l'importance de l'auteur, grand collectionneur et ami des meilleurs artistes du siecle, le Discours n'a pas ete profondement analyse par les historiens de l'art. Cet article a donc pour objet d'eclaircir les apports theoriques du Discours en ce qui concerne le fini de la peinture. Pour cela, nous mettons en evidence l'activite de Tronchin, collectionneur des peintres hollandais reputes pour le grand fini de leurs oeuvres, gui forma ses theories en acceptant et modifiant les positions du peintre genevois Jean Etienne Liotard, et des theories traditionnelles et connues dans l'Europe francophone du XVIII^e siecle. Ainsi, il s'agira de saisir les enjeux abordes par Tronchin: 1) l'importance accordee au fini et la theorie sur la secheresse; 2) la relation entre le fini et la distance necessairement tenue entre le spectateur et l'oeuvre, 3) l'influence du climat portee sur le fini des artistes hollandais.

著者

伊集院 敬行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.85-96, 2015-12-31 (Released:2017-05-22)

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Inspired by a short story by Julio Cortazar's "Las babas del diablo" (1959), Michelangelo Antonioni both wrote and directed Blow-Up (1967). However for a lot of people, it seems that Blow-Up was loosely based on Cortazar's story. "Las babas del diablo" is a fantastic story. On the other hand, Blow-Up was regarded as 'absurd', like Antonioni's previous other existentialistic films. But, we can't overlook the uncanny atmosphere common to both works. According to Freud's "The Uncanny", a sense of the 'uncanny' derives from the anxiety caused by a repressed infantile 'castration complex'. Certainly we can find an oedipal scenario in "Las babas del diablo". In fact, Cortazar had been influenced deeply by Freud's writings and surrealistic literature. Furthermore, if we search for an oedipal complex in Blow-Up, we can notice this phenomenon. So, this paper tries to find the close relationship between these works from a psychoanalytic point of view, and to clarify that although Blow-Up does not follow the text of "Las babas del diablo" closely, Antonioni's adaptation shows his keen understandings of Cortazar's story.

著者

加藤 隆文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.211, 2015-06-30 (Released:2017-05-22)

著者

青木 孝夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.212, 2015-06-30 (Released:2017-05-22)

著者

大石 和久

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.212, 2015-06-30 (Released:2017-05-22)

著者

岩崎 陽子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.213, 2015-06-30 (Released:2017-05-22)

著者

八幡 さくら

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.214, 2015-06-30 (Released:2017-05-22)

著者

遠山 公一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.215, 2015-06-30 (Released:2017-05-22)

著者

中村 泰士

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.149-160, 2015-06-30 (Released:2017-05-22)

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Cette etude se propose d'examiner les fonctions representatives des Cabanes Eclatees, une serie d'oeuvres de Daniel Buren, qui se situe a un tournant de ses activites, par l'analyse du point de vue structurale. Dans les activites de Buren, les Cabanes Eclatees sont categorisees comme ≪travail situe≫ qui a un archetype transportable, a la difference du ≪travail in situ≫, connu comme son travail representatif, qui devoile la specificite du lieu par ses rayures. Ainsi, il serait important d'etudier non seulement ≪le travail in situ≫, mais aussi les Cabanes Eclatees pour etablir une perspective globale sur ses activites. Les Cabanes Eclatees ont des particularites structurales : la mise en abyme, le treillage, la presentation du chassis, des evidures et des ouvertures. Ces particularites engagent le spectateur a prendre conscience, premierement, sur l'ambiguite entre l'oeuvre et la salle d'exposition; deuxiemement, sur l'espace du musee et sur l'institution museale; troisiemement, sur l'autocritique de l'oeuvre ; et enfin, quatriemement, sur le spectateur lui-meme. Ensuite, des ouvertures, des couleurs ou des miroirs suscitent des jeux libres du spectateur comme des decors de theatre sans acteur. En conclusion, les Cabanes Eclatees sont considerees comme un dispositif qui amene le spectateur a la prise de la conscience et au jeu.

著者

松原 薫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.161-172, 2015-06-30 (Released:2017-05-22)

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This paper considers the role of the theory of melody (die Melodielehre) in Johann Mattheson's Der vollkommene Capellmeister. In the first half of the eighteenth century, the mathematical view of music and the strict artificial contrapuntal theory were often criticized. As this paper will exemplify, Mattheson criticized the former in "Die canonische Anatomie" (in a dispute with Heinrich Bokemeyer) and the latter in Das neu-eroffnete Orchestre. These two criticisms, however, seem to be inconsistent with his description of the contrapuntal theory in the third part of Der vollkommene Capellmeister, which encompasses the northern German Baroque theory. I then turn my attention to the role of Mattheson's theory of melody, wherein he regards the melody as 'noble simplicity' or 'naturalness'. He also introduced the words 'Symphoniurgie', instead of 'counterpoint' at the bridge of the explanation of a single melody, and 'Vollstimmigkeit', or full-voicedness, which means an artistic combining of different melodies sounding together simultaneously. This re-definition of the counterpoint indicates that he considered it the mass of the plural melodies. Mattheson's theory of melody leads to the integration, without inconsistency, of the contrapuntal theory and the criticism of the mathematical view or rational, artificial treatment of music.

著者

金子 智太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.185-196, 2015-06-30 (Released:2017-05-22)

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American documentary recordist, commercial producer, Tony Schwartz(1923-2008) is best known for the sound producer of a controversial political advertisement, "Daisy"(1964). Since 1940s, he recorded street music, voices of his neighbors, and diverse environmental sounds in Manhattan where he lived, and edit them to produce records. The aim of this essay is to understand how he listened to acoustic environment through his microphone and how his mode of listening was formed, by discussing these works and his texts, and cultural situation in which he was placed. It appears that his explanation about communication through electronic media in his advertisement theory evolved out of the practice of environmental sound recording. This essay therefore examines his documentary recording in detail referring to the theory, and attempts to show the importance of listening to "sound patterns" in acoustic environment for his practice. Sound pattern means sensorial qualities of sound that take on significance only after the listener has received them.

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.201-206, 2015-06-30 (Released:2017-05-22)

著者

大熊 洋行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.207, 2015-06-30 (Released:2017-05-22)

著者

杉山 卓史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.208, 2015-06-30 (Released:2017-05-22)

著者

川野 惠子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.209, 2015-06-30 (Released:2017-05-22)

著者

藤阪 新吾

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.210, 2015-06-30 (Released:2017-05-22)

著者

中谷 礼仁

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.30-40, 2015-06-30 (Released:2017-05-22)

著者

小田 昇平

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.41-52, 2015-06-30 (Released:2017-05-22)

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Dans l'analyse, qui est la methode de Condillac, nous constatons une double operation : la (re)composition et la decomposition. Pour cette double operation, bien qu'il s'appuie sur la definition de la methode analytique de Newton dans l'Opticks, il doit en outre s'aider de l'experience de la pensee afin de decomposer l'esprit humain. Dans l'Essai, il emploie ≪la double histoire des operations de l'ame et de l'usage des signes≫ et cette adequation est garantie par la vraisemblance engendree par la fiction. Pour Condillac, des lors que la fiction et la vraisemblance sont tirees de l'imagination, fonction permettant de depister ce qui est absent, la decomposition est alors possible. Or, comment la (re)composition devient possible ? Condillac ne donne aucune explication a ce sujet dans l'Essai et emet donc un prejuge. A l'instar de la regle de Descartes, le prejuge de Condillac fait ≪partout des denombrements si entiers, et des revues si generales, [qu'il] fusse assure de ne rien omettre≫. Son prejuge sert de conclusion generale a l'aide de la repetition de l'experience ainsi que de l'observation. Et c'est grace a cela que la (re)composition, en d'autres termes l'analyse (methode utilisee par Condillac), devient envisageable.