著者

増田 展大

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.37-48, 2012-12-31

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Au debut de XX^e siecle, Paul Richer, un professeur d'anatomie artistique, a identifie un crane decouvert au musee de l'homme comme etant celui de Rene Descartes qui avait disparu depuis 1650. Cette identification n'a pu se faire qu'en maniant les diverses techniques de reproduction comme le dessin, la photographie et le moulage. Cet article se propose donc d'examiner le procede de figuration du corps de Richer a travers la conception du <<figural>> avancee par Jean-Francois Lyotard darts Discours, Figure. Depuis les annees 1990, la problematique du figural, situee a un niveau virtuel entre langage et figure, provoque des polerniques dans les domaines de l'histoire de l'art, du cinema et des nouveaux media numeriques. Ce concept permet de debattre des proprietes ephemeres et virtuelles des images trans-mediatiques. Cependant, cela porte le risque de tomber dans la supposition d'une attitude passive et dans le manque d'analyse technique. En examinant le procede de Richer, qui analyse et modele le corps imaginaire, it faut donc d'une part verifier le figural contenu dans les processus virtuels des technologies reproductives variees, et d'autre part, presenter sa valeur au debut du XX^e et du XXI^e siecle.

著者

庄野 進

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.46, no.1, pp.56-66, 1995-06-30

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Since the birth of electroacoustic media our listening attitude has been changed fundamentally, because of the very character of those media : the acousmatic. P. Schaeffer has defined it to listen to the sounds of which sources are invisible or unknown, refering to Pythagorean ritual. The traditional listening attitude has assumed the real sounding substance behind the reproudced sounds. But nowdays, because of the development of music technology, we can mostly get sounds that have been created from scratch or modulated electronically as a whole. We listen to surface sounds, which are also real in another meaning. Today, even in the live performance of traditional classical music, people receives it in the same manner as through the acousmatic media. It means that the model of the musical experience becomes the acousmatic. It follows the loss of the physicality in the experience of sounds. Some effort in the electroacoustic and computer music are made to retrieve the physicality of sounds, investigating live performance or interactive systems. Or, it is pursued that certain contextualization of those sounds occurs while receiving those acousmatic sounds, by cover jackets, liner notes or discourse of record reviews. In either case, however, if we lose the experience of the real live sounds, we must be imprisoned in a kind of cultic world.

著者

松尾 大

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, 2012-12-31

著者

栗原 詩子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.71-84, 2007-06-30

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Although expression in films includes temporal and aural content, film study has attached much more importance to spatial and visual components in films. In an attempt to correct for this indifference towards temporal and aural content in film study, this paper analyzes Rythmetic (1956), an animated film of Norman McLaren (1914-1987), from the perspective of music analysis. In Rythmetic, wherein numerical characters engage in arithmetical operations on the screen, six kinds of scratched sound on the film are the main part of aural expression. The cut-paper animation for mathematical activity on the film frame results in an innovative rhythm structure that is quite different from traditional notation. That is where we realize the ingenuity of McLaren who defined animation as "the art of manipulating the invisible interstices that lie between the frames." Not a few appreciative of Rythmetic ranked this animated film "First Prize of Abstract Films" (in Rapallo), or "Diploma of Merit" (in Edinburgh). This film, however, has been often described only as a work "for education" because of its visual impression of chalkboard in the class of arithmetic. This paper threads out the seesaw between the arithmetical regularity and the aesthetical joke of the numbers, and reveals the process from the stark contrast into cross-fertilization of them.

著者

名須川 学

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.2, pp.13-24, 1999-09-30

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A l'age de 22 ans, Descartes a ecrit une courte etude sur la theorie musicale intitulee Compendium music〓, etude qui jusqu'a maintenant n'a pas ete suffisamment evaluee ni dans l'histoire de la musique, ni dans celle de la philosophie, ni non plus l'histoire des sciences. Son importance consiste dans le fait qu'il developpe une theorie traditionnelle de la musique. C'est-a-dire que, bien que la musique (Musica) ait traditionnellement ete consideree, a cote de l'arithmetique, la geometrie et l'astronomie (quadrivium), une discipline intellectuelle et qu'elle ait fait des proportions numeriques son pivot doctrinal, Descartes la traite, nouveaute radicale, au point de vue de la sensation (sensus). Le but de cet article est de mettre en evidence le role du sensus que Descartes a assigne au secours dans la theorie musicale et plus precisement dans sa theorie de la proportion musicale.

著者

村瀬 博春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.94-96, 2005

著者

橋本 梓

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.4, pp.69-82, 2004

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The purpose in this study is to reconsider the relationship between Alberto Giacometti and Georges Bataille. This relationship was first noticed by Rosalind Krauss. In her study, she claimed that Giacometti's work has horizontality, and this responds to Bataille's "Bas Materialisme" which is an idea established in Documents. However, I think her argument is not complete because she undervalued another important character of Giacometti's work. That is violence, which means exactly death. Violence is also an important moment for "Bas Matreialisme" which is intended to collapse the philosophical hierarchy. According to Bataille's later works, this violence is banned ("interdit") in our daily life, but since we are attracted by it, it must be transgressed. Bataille claims the importance of death by showing "sacrifice" in which executor kills living thing or destroys non-living thing. In Giacometti's surrealist work, we can find some motives of murder or destruction. Those works represent the moment before the execution of murder or destruction. This Giacometti's work's special structure causes an impulse to destroy. In other words, it demands that the spectator should play the role of executor of "sacrifice". For example, in Fleur en danger, the spectator may want to cut the string which is pulling the wood bar, and that will cause the white thing ( it may symbolizes flower) to be destructed. The work provokes the spectator to confront the idea of death, both killing and being killed. Viewing Giacometti's work as "sacrifice" can be a false-experience of death.

著者

尼ケ崎 彬

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.1, pp.1-12, 1987-06-30

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Modern art, being not understandable for normal eyes, compels us to change the definition of "fine art." Now "art work" is "anything which is requested to be seen as an art work" rather than "the result of poiesis." We may say that fine art is the production of some aesthetic meaning on some object mediated by man's intentional action. There are some ways of mediation : making or replacing an object, claiming to see an object beautiful, etc. An aesthetic meaning can't be recognized without the peculiar "eye" for it. If an artist discovers a new type of aesthetic meaning, it always requires a new type of eyes to see it. Modern art has constantly stepped outside of the established aesthetic meaning system and developed new ones. Some artists are mainly interested in the liberation from their own intersubjective institutions by means of a sort of Verfremdungseffekt, which leads them to treat all sorts of established meaning system, not confined within aesthetic. Others are incessantly developing new style of aesthetic meaning which are difficult to understand with established eyes. They don't want spectators to fully understand their works, but to try to create ad hoc eyes and meanings for them. Because they know well that an aesthetic quality will lose its power when it becomes understandable.

著者

小田部 胤久

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.41, no.1, pp.59-65, 1990-06-30

著者

堀内 彩虹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.13, 2018 (Released:2020-03-23)

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This paper examines the phenomenon in which a listener perceives other’s singing voice through his/ her own physical presence originated from the listener’s singing body. This analysis focuses on the features similar to auscultation, one of the medical practices, in the listening process, and considers the auditory spacing and its relation with the listener’s body. Auditory perception, in contrast to visual perception, has been described as a passive sense because it is impossible to close our ears the way we close our eyes. However, this study seeks to demonstrate that listening to singing voice is means of active inquiry and there are subjective behaviors in the listening process.

著者

紙屋 牧子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.109-120, 2012-06-30 (Released:2017-05-22)

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Hanakosan (1943, TOHO, MAKINO Masahiro) was made into a film from comic serials by SUGIURA Yukio published in a magazine, that is, Jugo no Hanakosan (Hanako-san at the Home Front, 1938-1939), Hanayome Hanakosan (Hanako-san, the Bride, 1939-1940), Hanakosan Ikka (Hanako-san and Her Family, 1940-1945). As for the past evaluations of Hanakosan, many critics and researchers have pointed out that it was a thoroughly light and joyful musical comedy, influenced by Busby Berkeley films, against the national policy under the wartime. I would like to send back Hanakosan into the historical context of the politics during the period, and clarify elements of a "superb" war propaganda that were forgotten in a process in which the film became a myth. And I would like to elucidate that this war propaganda is formed in a dimension even beyond a director himself and the state power.

著者

岡本 源太

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.183, 2013-06-30 (Released:2017-05-22)

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.66, no.1, pp.89-100, 2015

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In this paper I will present one interpretation of Allen Carlson's theory for aesthetic appreciation of nature. Carlson claims that we must know commonsense/scientific categories of nature for appropriate aesthetic appreciation of it. There are two intentions behind his statement: one is to make an objective theory for the judgment of nature and the other is to advocate for the assertions of environmentalists on pristine nature. According to these intentions I think Carlson assigns two different roles to those categories, and consequently he assigns two different kinds of aesthetic properties for the same nature through those categories. First, those categories can function to determine the focus of aesthetic appreciation of nature. Here Carlson depends on Kendall Walton's theory of categories of art and applies it to aesthetic appreciation of nature. In this case categories reveal some aesthetic properties that depend on non- aesthetic (physical) properties of nature. Second, categories can function to show the positions of objects in natural order. Through this function categories reveal aesthetic properties that objects can have in relation to natural order. Finally I will point out the difference and similarity of those two aesthetic properties and show the limit of Carlson's view.

著者

林 卓行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.4, pp.56-66, 1995

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No one could deny that "Minimal art" is one of the most significant movements of contemporary art in 1960s. Donald Judd, sometimes called one of the "Big Five" of Minimalists, strongly hated the name. His hate is natural for the originality of his works is often beyond the concept of Minimal Art. Judd, as "empiricist, " insists on the clarity and reality of his works, and the originality of his spatial (though not in traditional sense) works is in them. His refusal of 'composition' and 'illusion (of pictorial space)' is derived from this, because of indefinability of the former and falsity of the latter. But his works could be 'real' as long as they are visually identified and their 'clarity' means such visual identifiability. As if "What you see" were inevitably "what you see" (Frank Stella), for Judd, visual objects never loses their identities and also vision itself never do their subjective and intersubjective ones. In other words his works are created to be visually identified. The true innovation of Judd's works must be this radical identifiability because all past visual works consequently have been intended not to be visually identified, to leave behind some virtual elements of them.

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.20, no.2, pp.54-74, 1969-09-30 (Released:2017-05-22)

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In this article formation and chronology of the Cyclic Mass are discussed : according to the present writer's terminology of a Cyclic Mass, the five sections of Ordinarium Missae are unified by the use of same Cantus Firmus and the Motto (Kopfmotiv). The writer tries to conclude that the Cyclic Mass-form can be one of the criteria of the Renaissance music, that the groping of the Cyclic Mass-form on the 14th century can be regarded as the "proto-Renaissance, " the end of the Medieval music, the formation of the form on the middle of the 15th century as the commencent of the Renaissance music, and the decline of the form on the middle of the 16th century as the fall of the Renaissance music and that the Masses after that period, including the works of Lassus, Palestrina and Victoria should be rather classified as the works of Manierism.

著者

加藤 志織

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.98-111, 2009-06-30

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Pietro Aretino non si limito a svolgere un ruolo di importanza nella letteratura e nella politica del Rinascimento, ma fu anche un fine intenditore dell'arte a lui contemporanea. A tale riguardo, essendosi trasferito a Venezia, e noto il suo sodalizio con Tiziano. Questo autore eclettico, attraverso la propria corrispondenza, presento Tiziano a principi e re, cosa che fece non solo con l'illustre pittore veneziano, mettendo in contatto vari artisti con diverse corti. Simili transazioni commerciali erano effettuate tramite la corrispondenza di Aretino. Queste lettere vennero riordinate dall'au-tore stesso per poi essere pubblicate sotto forma di raccolte epistolari. I contenuti di tali lettere pero non si limitavano al solo ambito commerciale, in quanto vi si possono trovare elementi di teoria della pittura, di poetica unitamente a ekphrasis e a panegirici. Questo saggio tratta delle strategie diplomatiche di Aretino in questo ambito sulla base degli elementi che emergono dalle raccolte epistolari rimasteci.

著者

平芳 幸浩

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.61-72, 2013-12-31 (Released:2017-05-22)

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This essay deals with texts from 1928 until 1940 by Takiguchi Shuzo, a poet, art critic, and theoretical advocate of Japanese Surrealism. Through these texts, I would like to clarify how Takiguchi interpreted French Surrealism, and the extent to which these ideas were transplanted in Japan in the 1930s. His Surrealism was not a temporary form or style of art, but a system of thought with universal, eternal, and ultimate value. It was also an experiment to realize the liberation of the human spirit. In as much as it was ultimate, it could and must be perfectly applicable to any country. On the other hand, when Takiguchi faced this imperfect application and superficial understanding in Japanese Surrealism, he became aware of himself as Japanese, and developed his theory so as to connect Japanese originality in the absorption of Surrealism with the Japanese tradition of reverie. It has been often said that his nationalistic ideas, which connected avant-garde art to Japanese originality, were a reluctant "tactical retreat" intended to ensure the survival of the avant-garde. In this essay, I would like to propose a different viewpoint: that such his attempts reflected his internal requirements for the absorption of French Surrealism.

著者

李 裁仁

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.79, 2016 (Released:2018-01-01)

著者

松谷 容作

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.135, 2015-12-31 (Released:2017-05-22)

著者

近藤 亮介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.73-84, 2014-06-30 (Released:2017-05-22)

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Shortly after the establishment of the Picturesque as the third aesthetic category, following the Beautiful and the Sublime, several pieces of English literature dealing with the Picturesque were published. One of the most popular pieces was William Combe's satirical poem, The Tour of Doctor Syntax, in Search of the Picturesque (1812). Dr.Syntax's character is based on Rev. William Gilpin, an advocator of the Picturesque. The poem indicates Combe's upper-class bias and middle-class focus: is not criticizing Gilpin himself, but rather the public fervor his theories kindled. In particular, Combe criticizes the popular picturesque tour. I suggest this is due to Combe's moral stance, and class affiliations. He sympathized with Quakerism, a middle-class Separatist group, for their pacifist tendencies. Although born into a merchant family, Combe tended towards upper-class conservatism, feeling that, unlike lower classes, they less often introduced urban vices to the countryside. His esteem for Quaker ideals of peace and simplicity, and for upper-class refinement as opposed to bourgeois populism, shapes this poem. While much scholarly attention has been paid literature criticizing upper-class notions of the Picturesque, this article focuses on Combe's criticism of the middle-class, and his reasons for it.