著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.154, 2014-06-30 (Released:2017-05-22)

著者

小田部 胤久

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.1-12, 2014-12-31 (Released:2017-05-22)

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In diesem Aufsatz gent es darum, welchen Beitrag Kants "Kritik der Urteilskraft" (im Folgenden KU) zum Konzept der Asthetik als Aisthetik, das uns zu einer neuen Interpretation der modernen Asthetik veranlasst, leisten kann. Dabei ist erstens der Begriff der Einbildimgskraft zu interpretieren, die in der KU als "Vermogen der Anschauung" bzw. "Vermogen der Sinnlichkeit" definiert ist. In der KU behandelt Kant, seiner Argumentation in der ,,Kritik der reinen Vernunft" (im Folgenden KrV) folgend, die Einbildungskraft zunachst in zweifacher Hinsicht: einmal als "Vermogen der Auffassung" des Mannigfaltigen der Anschauung und zum anderen als "Vermogen der Darstellung" der Begriffe. Doch uber die KrV hinausgehend, thematisiert Kant in der KU im Rahmen seiner Analyse der Vermogen, die das asthetische Urteil uber das Schone und das Erhabene ermoglichen und das Genie ausmachen, die selbstandige, ja sogar schopferische Tatigkeit einer Einbildungskraft, die dem Verstand nicht untergeordnet ist. Zweitens ist Kants Behauptung zu erortern, dass wir uns des Spiels der Erkenntniskrafte "asthetisch durch den blossen inneren Sinn" "bewusst werden" (KU § 9). Das bedeutet m. E., dass der innere Sinn, der in der Formel "Ich fuhle mich" zu fassen ist, der Apperzeption, also dem Selbstbewusstsein des "Ich denke", zugrunde liegt und uns unsere Existenz bzw. unser Leben asthetisch bewusst macht.

著者

宇多 瞳

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.13-24, 2014-12-31 (Released:2017-05-22)

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La notion de lyrisme est apparue au XIX^e siecle, et elle est generalement l'expression de sentiments personnels du poete sur les themes de l'amour, de la nature, de la religion, de la mort, etc. Cette notion etait reliee a l'elevation spirituelle de l'artiste et etait souvent jugee negativement a cause de son exces de sentiments. Mais Jean-Michel Maulpoix fait remarquer le caractere moderne du lyrisme romantique et revoie la signification de la notion de lyrisme en reconsiderant la transformation des figures du sujet lyrique chez Baudelaire. En se basant sur les recherches de Maulpoix, cette etude aborde la maniere dont la notion de lyrisme est consideree par Reverdy, Breton, Dermee et Le Corbusier. Reverdy refuse d'admettre l'elevation et l'expression sentimentale du lyrisme et Breton insiste sur l'inactivite du sujet lyrique. Dermee considere quant a lui le lyrisme comme un mecanisme de la sensation du subconscient. Par ailleurs, Le Corbusier base le lyrisme sur le fondement de techniques et fait l'eloge de la creativite et de la noblesse de l'artiste. Par le biais des artistes du debut du XX^e siecle, le lyrisme est redefini comme la recherche de nouvelles expressions du sujet lyrique.

著者

奈良 葉子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.25-36, 2014-12-31 (Released:2017-05-22)

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Paintings of craftsmen, Shokunin-e, portray people of various occupations. While early Shokunin-e paintings in the medieval period illustrate craftsmen without any background, Shokunin-e paintings in the early modern period depict people working at their workshops, and the Kitain-version is the most notable example of the latter. The previous studies argue that the Kitain-version's depictions are taken out from those of paintings of the scenes in and around the capital (Rakuchu-Rakugau-zu). This paper, however, argues that, while the Kitain-version is obviously under some influence of Rakuchu Rakugai-zu and other genre paintings, important features of the Kitain-version, which are different from depictions in other genre paintings, should be examined. Based on discussions on these features with comparisons to other early modern genre paintings, this paper concludes as follows. First, paintings with focus on the life of ordinary people gained popularity in the early 17th century, and its root lied in the Oda-Toyotomi era. Second, the Kitain-version, however, is more than just depicting citizen's life. By incorporating traditional Shokunin-e style, it illustrates craftsmen as people with distinguished skill and social status. The purpose of the Kitain-version was not just to illustrate ordinary people but also to honor them, which was innovative compared to its contemporary genre paintings.

著者

大久保 尚子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.37-48, 2014-12-31 (Released:2017-05-22)

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In this paper, I examined the position of ehon with kachoga like eiri-haisho (collection of haiku with picture) as resource for textile design. In the early mid-18^<th> century, some kosode-hinagatabon artists started to depict the designs of various plants in picture-like style with reality. Though designs based on kachoga became one of the typical textile designs in late Edo, such attempts did not become widespread in kosode-hinagatabon. Meanwhile, in the first part of the 18th century, Ehon with kachoga by professional artists began to be published. Some of them were art manuals, while others were books mainly for visual entertainment, such as eiri-haisho. Although both could be applied to kachoga-like design, the former was used mainly by craftsmen or merchants, while the latter fascinated the readers with their kachoga illustrations and inspired new design devices. We verified, by investigating the reprint editions, that Ehon Fukujuso and Haikainanosiori, which are eiri-haisyo with picture of various plants, have been recognized also as reference material for creating new designs. Borderless connection between aesthetic appreciation and practical use is one of the characteristics of the relation between publications and textile designs in the late Edo period.

著者

関野 さとみ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.147, 2014-06-30 (Released:2017-05-22)

著者

太田 純貴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.148, 2014-06-30 (Released:2017-05-22)

著者

奈良 葉子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.149, 2014-06-30 (Released:2017-05-22)

著者

坂田 奈々絵

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.150, 2014-06-30 (Released:2017-05-22)

著者

谷嶋 美和乃

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.151, 2014-06-30 (Released:2017-05-22)

著者

松下 哲也

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.61-72, 2014-06-30 (Released:2017-05-22)

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Henry Fuseli(1741-1825)'s works that have supernatural subjects such as ghosts, demons, or fairies, are often painted with very strong contrast of light and shade. But in his Lectures on Painting, he claimed that such are not legitimate chiaroscuro, and too strong beam or ray must be a "terror on the eye", because chiaroscuro is a method to compose art in literary unity, and the unity is "inseparable from legitimate chiaroscuro" for his "poetic imitation" theory. Some latter studies show us that Fuseli's paintings have visual elements of theatres and shows like magic lantern or phantasmagoria. But, these observations are not enough to illustrate his method and context of phenomenon, because his art historical discipline that affected to his composition has not been well mentioned yet. Supernatural beings are often painted as forms in nearly "illegitimate chiaroscuro", which means, he painted them as superpictorial beings that alien to whole composition. His style of gothic horror was based on his meta-painting strategy and it was established by applying visual context of modern entertainment to his art historical discipline.

著者

江澤 菜櫻子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.85-96, 2014-06-30 (Released:2017-05-22)

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Saint Genevieve Keeping Watch over Sleeping Paris by Pierre Puvis de Chavannes (1824-98), one of the mural paintings of the Pantheon in 1898, is known to be his masterpiece. This oeuvre has been interpreted in various ways, but the relationship between this and his other paintings in the Pantheon is often ignored. So, it is necessary to analyze it in relation to other murals, especially his triptych, Saint Genevieve Provisioning Paris, which is to its left. This thesis focuses on the point that Puvis constructed not only the connection but also the contrast between the triptych and Saint Genevieve Keeping Watch over Sleeping Paris. In the former, he aimed to express the movement of a crowd and explicitly presented the story of the saint, who saved Paris, which was under siege by the Franks, from starvation. By comparison with it, in the latter, he made a calm, tranquil composition, deleting the motives for explaining the war or the famine. This paper reveals the source and the process of making this contrast, and shows that in it he can represent the saint's two different aspects.

著者

柳沢 史明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.97-108, 2014-06-30 (Released:2017-05-22)

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Cet article a pour but d'etudier la reception en Occident d'un peintre inconnu originaire du Soudan francais, actuel Mali, qui s'appelle Kalifala Sidibe(1900?-1930). Cette etude se base principalement sur les comptes-rendus de son exposition a Paris en 1929 et sur l'examen du discours sur la <<peinture negre>> du point de vue de l'emergence d'un nouveau type d'artiste noir. D'abord, nous etudions les idees generates de l'epoque sur l'absence du tableau en Afrique noire, notamment sur le plan historique. Et on analyse entre autres son image d'un noir <<authentique>>, a travers ses caracteristiques communes avec le peintre du Congo belge, Albert Lubaki. D'autre part, nous etudions la difference entre l'interet pour les sculptures africaines et l'interet pour la <<peinture negre>>. En fait, les tableaux de Sidibe furent apprecies par ses contemporains en Occident contrairement a l'<<art negre>> considere a l'epoque comme un art disparu. II s'agit aussi de l'emergence d'un nouveau genre artistique qui influenca revolution des relations entre l'Occident et l'Afrique noire. Les divers avis concernant Sidibe disent que ses peintures furent recues a la fois comme un prolongement de l'engouement pour le primitivisme de l'<<art negre>> et comme un vecteur sur le plan politique et culturel dans un contexte d'evolution des idees sur le colonialisme, le mouvement des noirs et l'emergence d'une nouvelle generation d'ethnologue.

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.121-132, 2014-06-30 (Released:2017-05-22)

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Des ballets anciens et modernes selon les regies du theatre (1682) by Claude-Francois Menestrier is known as one of the most important theoretical books on ballet. Being referred to by Cahusac who wrote the articles "Ballet" and "Danse" in Diderot's Encyclopedie, the book on ballet du cour seems to have had significant influence also on the 18th-century ballet reforms. This paper compares this book with Lettres sur la danse, et sur les ballets (1760) by Jean-George Noverre, showing that Noverre also wrote his Lettres on the basis of this book on ballet du cour. In the chapter 7 in Lettres, in which the rules of ballet are discussed, Noverre cites some lines from classical literature by Saint Augustine, Plutarch and Aristotle, from which Menestrier also quoted the same passages, (and actually Noverre seems to have borrowed these from Menestrier), but their arguments developed from these same classic quotes are completely different. By focusing the traits in common and difference in their arguments, this paper tries to reinterpret Noverre's statements in Lettres, revealing that this book relies on Menestrier's theory of ballet poetics.

著者

柏 智久

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.145, 2014-06-30 (Released:2017-05-22)

著者

桑原 俊介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.1-12, 2014-06-30 (Released:2017-05-22)

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In seiner "Hermeneutik und Kritik" (1818/19) setzt sich Schleiermacher mit der bisherigen Interpretation des Begriffs Hermeneutik auseinander. Er kritisiert das historische Verstandnis des Begriffs Hermeneutik als "Anhang der Logik". Was bedeutet seine Kritik? In dieser Abhandlung wird das chronologische Verhaltnis zwischen der Logik und der Hermeneutik von Dannhauer bis Schleiermacher dargestellt, um diese Frage zu beantworten. Die erste moderne Hermeneutik (hermeneutica) hat Dannhauer auf der Logik gegrundet ('pars logicae'). Diese logische Hermeneutik wird vor allem von den Philosophen der deutschen Aufklarung (Christian Thomasius, Friedrich Meier usw.) ubernommen. Schleiermacher hat seine eigene Hermeneutik aber als Methode gebildet, die von der Logik unabhangig ist. Dennoch behauptet er, dass Hermeneutik und Logik zwangslaufig voneinander abhangig gemacht werden mussten. Dabei sollte man nicht ausser Acht lassen, dass sich Schleiermachers Logik nicht mit dem bisherigen Verstandnis der Logik identifiziert. Er hat seine Logik zur Dialektik umgebildet und sie durch seine Hermeneutik erganzt und umgekehrt. Seine Hermeneutik bezieht sich auch auf den Begriff der Wahrscheinlichkeit (probabilitas, verisimilitude). In der zweiten Halfte des 17. Jahrhunderts erweitert sich der Bereich des wissenschaftlichen Wissens (scientia) von der Wahrheit (veritas) zur Wahrscheinlichkeit. Durch diese Erweiterung der Wissenschaft konnte die Hermeneutik als die moderne wissenschaftliche Disziplin verstanden werden, die sich nicht auf die logische Wahrheit bezieht, sondern allein auf der wahrscheinlichen Meinung begrundet werden kann.

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.65, no.1, pp.13-24, 2014-06-30 (Released:2017-05-22)

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In Temp et recit (1983-5), Ricoeur posed the concept of "narrative identity," saying "subjects recognize themselves in the stories they tell about themselves." Subjects narrate their lives, and thereby understand why I am what I am. We can regard this mode of self-understanding as past-oriented. However, we should note that in the texts written during the same period, Ricoeur also emphasized the importance of future-oriented self-understanding and claimed that both modes of self-understanding interact with each other. That is, subjects can project their futures only starting from the narrative reconstruction of their pasts, and what they project as the future has a retroactive effect on their understanding of the past. Yet, how precisely does the narrative reconstruction of the past allow subjects to make new future? Ricoeur didn't clarify this course. The only way to concretize it is reinterpreting his theory of will in terms of time and narrative. It was in Le volontaire et l'involontaire (1950) in which Ricoeur told "I cannot will the new without finding the old and finding myself already given," that he discussed will and freedom. Therefore, by investigating the argument of Le volontaire et l'involontaire, this paper will elucidate and embody Ricoeur's conception.

著者

井岡 詩子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.25-36, 2014-06-30 (Released:2017-05-22)

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L'objectif de cet article est de proposer une nouvelle interpretation du <<silence>> dans Manet de Georges Bataille. Dans Manet, Bataille trouve les deux types de <<silence>> aux peintures de Manet et Goya. D'une part, selon Bataille, le <<silence>> chez Goya est le cri ou le balbutiement : il peut etre interprets comme exces du langage de la peinture. D'autre part, le <<silence>> chez Manet est apporte par une operation de destruction du sujet represente : l'operation est l'utilite et la fonction de la conscience, dans la Theorie de la religion. Cependant, selon Bataille, la fin de l'art n'est pas l'utilite. Pour cela, l'operation de Manet serait de detourner cette fonction de l'utilite, c'est-a-dire d'user cette fonction en tant que jeu. C'est ce que Bataille considere comme art moderne. On peut considerer les deux <<silences>> comme instant ou se presentent les deraisonnables (le cri, le balbutiement et le jeu) dans les raisonnables (le langage de la peinture et la conscience). Bataille respecte l'art comme occasion pour reconnaitre la revolte a l'interieur de la raison.

著者

坂田 道生

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.37-48, 2014-06-30 (Released:2017-05-22)

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The column of Trajan was completed in 113 A.D. to commemorate the victory in the Dacian War. This paper reexamines the meaning of two sacrificial scenes (86, 98-99), which have been interpreted as the pledge for victory. In scene 86, the emperor performs sacrifice in front of a theatre in a harbor, while he pours libation in front of the huge bridge over the Donau allegedly constructed by Apollodorus of Damascus in scene 98-99. Before the reign of Trajan, sacrificial iconographies for the pledge of victory usually have temple architectures in the background, which implies gods the sacrifices are dedicated to. However, in the two scenes, typical roman architectures are represented in the background. I would argue that the two scenes represent not the pledge for victory, but commemorating the completion of typical Roman architectures. Two scenes may also have a meaning of praising Trajan, who completed the great construction in Roman colonies. This characteristics can also be seen not only in other scenes on the column of Trajan such as constructing roads, military camps and bridges, but also in the inscription on the base of the column.

著者

古川 萌

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.49-60, 2014-06-30 (Released:2017-05-22)

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The lives of the artists, or Vite, written by an Italian painter and architect Giorgio Vasari (1511-1574), has been considered as one of the most important works in art historiography. However, since Vasari has shown the development of artistic styles and the triumph of maniera moderna in this work, a simple fact seems to have been overlooked for quite a long time, that this book is substantially a collection of artists' biographies, rather than an extensive treatise on the history of art. This essay returns to the fact, and attempts to reconsider the structure and purpose of this book. Epitaphs and woodcut portraits of artists contained in Vite are examined to demonstrate how Vasari views these biographies as funerary monuments to assure their eternal fame, making the whole book a temple to house them. Through the analysis, Vite will also reveal itself as a tool to promote Cosimo I de' Medici's artistic patronage. This is achieved by echoing the act of mourning their artists, which was practiced by such people as Cosimo il Vecchio de' Medici and Lorenzo de' Medici, consequently emphasizing the continuity from the Florentine Republic era.