著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.110, 2011-12-31 (Released:2017-05-22)

著者

古賀 純子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.3, pp.65, 2001-12-31 (Released:2017-05-22)

著者

長田 謙一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.29-42, 2006-09-30

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In recent years, researches concerning the representative work of Koga Harue's Surrealism, Umi (1929), have pinpointed the sources to the various images portrayed therein. But, they have only deepened its enigmatic character. This paper, however, sheds new light on Koga's art. Constituted in combination with an analogue of a girl in swimsuit (right), the industrial machine imagery (top left) holds an important significance decisive to the understanding of the work's composition and meaning. The source to this image is found in the blast furnace photograph published in the German popular science journal, "Wissen und Fortschritt" (1927-10). Yanase Masamu's CAPITALISMUS too is understood to have been based on the same blast furnace Herrenwyk (Lubeck) photograph, anticipating an affinity between Koga and Yanase. Further, the introductory poem by Koga reveals how a "revolving of the world" image, akin to that of proletariat art, cuts across Umi. But, what is more important with regards Koga's "revolving" image is the collage hier ist noch alles in der schwebe (1920) by Max Ernst. "Soluble Fish" (^military vessel pouring out smoke and whose bowels are transparent=smoke-bellowing ship), with moorings in Ernst, becomes a symbol of the principle in Koga's surrealistic painting and appears frequently in a number of works post-Umi. On the bottom left of his second representative work, Sougai no Keshou (1930), there is an allusion made to a photograph of the metalwork studio of Bauhaus. From a "Romanticism of the machine" of the Umi to a "Realism of the machine" (Itagaki Takaho), as evident in the allusion to Bauhaus, Sougai no Keshou shows how Koga's "Mechanism" underwent a huge gyratory motion.

著者

花澤 志

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.14-27, 2004

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Marcel Duchamp (1887-1968) was in contact with the Salon Cubists in his cubist period (1911-1912). Unlike Picasso and Braque, they formulated some theories based on the new concepts of philosophy, literature, and physics in the early 20th century: Time, Simultaneity, and the Fourth Dimension. These concepts are related to their Platonistic quest for truth, and Time and Simultaneity functioned as the ways to represent the invisible truth, the Fourth Dimension. Thus it is conceivable that Duchamp also sympathized with their quest for truth. In the Cubists' paintings the fragmentation of an object caused by Simultaneity results in the destruction of a narrative sequence in the traditional paintings; on the contrary, Duchamp's paintings like Nude Descending a Staircase, No.2 carry it because he depicts an autonomous movement of an object, and a painter sees it from a static viewpoint. Furthermore, he depends on the relationship between words and painting to imply the Fourth Dimension. Consequently, I concluded that the uniqueness of Duchamp is that he never excluded the external elements such as words from painting; In other words, he still carried the viewpoint of a traditional painter.

著者

橋本 周子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.13-24, 2011

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Dans cet article, nous souhaitons eclairer le concept de gourmandise selon Brillat-Savarin par la lecture de son texte. Dans les recherches precedentes sur l'histoire de l'alimentation a Paris d'apres la Revolution Francaise, it est de coutume de decrire la vie a Paris comme une scene de carnaval. Dans ce contexte, le texte de Brillat-Savarin, qui est considers comme une sorte de symbole de la culture de la gastronomie francaise grace au succes de la Physiologie du gout (1826), n'a pas ete suffisamment analyse jusqu'a aujourd'hui. Bien que le titre nous false imaginer qu'il admire completement le <<gout>>, la chose la plus importante pour l'auteur fut en effet le plaisir modeste donne par la <<convivialite>>, qui est a l'ecart du plaisir sensuel du <<gout>> physique. Nous considerons d'abord son approche de justifier l'acte de gourmandise, non comme un vice mais comme un acte recommandable pour l'entretien du corps. Ensuite, apres avoir vu comment it transpose cet argument au niveau de la morale de la societe, nous considerons la tendance de son concept de gourmandise qui tend a rapprocher le plaisir de la sociabilite, quitte a mepriser le plaisir sensuel qu'il avait pourtant precedemment justifie.

著者

伊藤 亜紗

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.1-12, 2011-06-30

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The aim of this paper is to investigate Paul Valery's criticism of description in literature and to clarify his ideal of poetry. Description is a technique to represent an object visually. Though an author chooses arbitrarily what he/she describes, he/she expects his/her reader to abstain the self and to obey him/her. Valery criticized this passiveness of reader and dominance of author. For Valery both reader and author have productive roles and they are completely separated two systems just like a producer and a consumer in a market economy. Through an act of reading, a reader finds abilities of his/her body which were unknown to himself/herself. This focusing on a reader's body is an ideal effect of poetry for Valery. While description involves a false reality, a pure poetry explores a reality of body. A work is not a messenger of feelings or thoughts of an author but a machine to make a reader's body act. A comparison with Breton's solution will make points of Valery's discussion more clear.

著者

利根川 由奈

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, 2013-12-31

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.54, no.3, pp.15-28, 2003

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Japanese Accomplishments such as Noh performance and Tea-ceremony are considered to be located on the final phase of development of Mahayana Buddhism in Japan based on principal scripture Lotus Sutra especially chapter on Expedient means that preaches even if infant draw image of Buddha by the wood tip on the ground capriciously, the act is regarded as meritorious deed toward enlightenment. That cultural environment cultivated artistry of Tawaraya Sotatsu's painting style which aims at stimulating transcendental wisdom by full use of fictitiousness. From this point of view Sotatsu's Wind God and Thunder God is interpreted as Vairocana and two attendants, namely Vairocana, Manjusri and Samantabhadra. According to the "Words of Lin-chi", Buddha with concrete image is a tempter who should be killed by a discipliner. Sotatsu incarnated Lin-chi's principle Zen idea perfectly by putting severed gold void in the center of the composition. Sotatsu made this work as the confession of his mind of final enlightenment. Ogata Korin issued a challenge to this work by making a copy and drawing Red and White Flowring Plum Trees which is the incarnation of the Leitmotiv of Noh drama "Eguchi" as abandonment of persistence. Through these works, Korin stated that he understood Sotatsu's profound artistic idea. This way of statement is originated in Zen Buddhism that is also the ideative Band between Tawaraya Sotatsu and Ogata Korin.

著者

篠原 資明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, 2010-12-31

著者

前田 富士男

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.34, no.1, pp.24-38, 1983-06-30

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Es ist wohl die wiederholt aufgegriffene Behauptung, dass der Eigenwert der Farbe in der Malerei seit dem spateren 19. Jahrhundert, seit der Befreiung der Farbe, eine zunehmende Rolle gespielt hat. Wenn man aber uber die grundlegende Funktion der Farbe bei der Entstehung des gegenstandslosen Bildraums denkt, so muss man feststellen, dass das Farbproblem in der modernen Malerei immer noch offen bleibt. Einen bedeutenden Beitrag zur Losung dieses Problems liefert die Darlegung der Charakteristiken der Farbenlehre Paul Klees : Farbenkugel als dynamische Ordnung und Farben als materielles Mittel. Kleesche Farbenkugel, in der sich die Grauachse zwischen den Polen Weiss und Schwarz spannt, kann auf keinen Fall als statisches Ordnungsmodell, sondern als Analogon der Erdkugel, auf der sich ein Kunstler um freie Bewegungsmoglichkeiten bemuht, angesehen werden. In dieser Hinsicht wird der den modernen Malern eigene Gesichtspunkt der immanenten Harmoniegesetze der Farben aufgegeben, und neue Phase des Bildraums, d.h. Spielraum des Schaffens, erschliesst sich unmittelbar durch die Farbengebung als solche dem Anschauenden. Klee hat auf der anderen Seite die Farbe als materiellen Trager der Bildwelt begriffen. Fur ihn ist die Gestaltung nicht anders als ein Prozess, den materiellen Charakter des Malgrunds zu uberwinden ; aber dieser Prozess bedeutet nicht den des idealistischen Schaffens, das auf die Durchsichtigkeit des Mittels zielt. Der Schaffensprozess als Belebung des Mittels, der in der Spannung der Wirklichkeit-Unwirklichkeit von Farben besteht, verleiht dem gestalteten Bild die eigentumliche Zeitstruktur.

著者

蘆田 裕史

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.28-40, 2005-09-30

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The Italian Futurists participated actively in the areas of applied arts. However, due to the variety of their activities, each area has not been explored equally. The purpose of this study is to reveal the significance of clothes and fashion in the Futurism. The Futurists showed interest in fashion embodying the concept of speed, for they regarded the velocity as sacred. They had interest in clothes themselves as well. Giacomo Balla presented the new Futurist clothes in his manifestoes. The clothes are characterized by three concepts; "change", "functionality" and "influence upon spirit". For Balla, clothes were not works of art, but in fact were tools. His idea of clothes had importance for the Futurists in this respect, because the arts were tools to inform or realize their ideas. Only from this point of view, however, it is impossible to find differences between clothes and other applied arts. For this reason, it is necessary to consider the fact that Balla started with textile design when he made clothes. As understood from the discourses of the Futurists, they emphasized the significance of the Italian textile industry. Because of this industrial characteristic, the Futirists regarded the fashion as a priviledged domain.

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.1, pp.31-41, 1994-06-30

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Along with theoretical explications in music and the very concept music', both inherited from ancient Greece, another channel of classical tradition is found in the realm of Western music : namely notated fragments from the ancient Greek world. They were first introduced to the West Europeans by Vincenzo Galilei in his Dialogo (1581). Yet curiously enough, he did not pay due attention which, in our eyes, such a direct evidence of ancient music should deserve. For he attempts here to elucidate and almost consecrate antiquity as a model of contemporary music. This inconsistency reveals the peculiar character of his attitude to ancient music : he was not so much interested in the real configuration of the Greek musical practice itself as in the image of ancient music gathered from literary, that is, secondary sources. The classical tradition in Western music is thus characterized by its indirectness. Accordingly the reconstructed image was largely influenced by the view of the classics current in other genres of art. In this way music could share aesthetic ideals with the plastic arts and literature.

著者

高瀬 博文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.44, no.1, pp.24-35, 1993

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C'est vers la fin des annees 1950 que Lacan a change de direction de sa theorie sur les termes fondamentaux qu'il emploiyait : l'imaginaire, le symbolique, le reel. Depuis lors, le reel se trouve au centre de sa theorie. Lacan approfondit le concept du reel, en elaborant la logique de l'object a. Dans le symbolique se condense le sujet comme un signifiant. Mais cette condensation met en dehors du probleme l'etre de sujet qui n'est pas recupere dans le symbolique. A la fois s'y produit l'objet a comme le champs de la pulsion. C'est la logique lacanienne de l'objet a. En utilisant cette logique de l'objet a, Lacan presente sa theorie de peinture. II decouvre l'objet a dans la peinture. Dans la rupture du symbolique se montre l'objet a comme le regard qui a le caractere de 'donner-a-voir'. Parcequ'on ne trouve pas le champs qui se subordonne a l'articulation langagiere dans la peinture.

著者

木村 直弘

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.51, no.3, 2000-12-31

著者

新田 孝行

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.25-36, 2011-12-31

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Jean Gremillon (1901-59) etait musicien avant de devenir cineaste et it a meme compose de la musique de certains de ses films. En effet, on a toujours parle de la musicalite de son cinema. Le plus remarquable, c'est que Remorques (1939-41), mis en musique par Alexis Roland-Manuel, a ete fait allusion a l'opera bien qu'il ne soit pas son adaptation cinematographique, ni un film-opera qui contient des scenes de sa representation. Si Remorques est une sorte d'opera, c'est parce que ce film est meticuleusement elabore au niveau des acoustiques comme par exemple dans la sequence finale evoquant l'agonie de la femme isolee (Madeleine Renaud) par l'oratorio qui commence tout apres sa mort. De plus, la direction d'acteurs et la figuration cinematographique chez Gremillon font apparaitre des secrets caches des comediens, en creant des personnages allegoriques comme celles de l'opera, dans le but qu'on soit invite a porter des hypotheses sur leur identite ou, selon les mots du cineaste, "trouver et rejoindre leur secret". Catherine (Michele Morgan) est plus et autre que ce qu'elle est comme Wotan ou Salome. Remorques, film qu'il existe des personnages operatiques sans voix chantee, peut etre lui-meme defini comme un double de l'opera.

著者

安松 みゆき

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.71-84, 2008-06-30

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In 1939 wurde die Ausstellung altjapanischer Kunst in Berlin verangestaltet, eine der grossten Ausstellungen von der japanischen Kunst in Europa. In dieser Ausstellung gehorten 94 Werke unter die 126 ausgestellten Objekte zu den staatlichen Kunstdenkmalern von Japan. Aber die politische Situation unter der Nazi-Regierung warf Schatten auf diese Ausstellung. Trotz der seltenen Bedeutung im Kunstaustausch ist sie sowohl in Deutschland als auch in Japan fast Vergessenheit geraten. Seit 1999 untersuche ich uber diese Ausstellung und ihre Hintergrunde der Realisierung. Dieser Beitrag versucht, durch die damaligen Presseberichten, Nachlichtsfilme und sonstigen Quellen die Umstande dieser Ausstellung ausfuhrlicher zu erfassn. Man gelangt zu dem Ergebnis, dass die Materialien die bemerkenswerten Widerspruche und Unterschiede in Haltung und Absicht der Mitspieler dieser Ausstellung zeigen. Das ist: 1) Widerspruch zwischen den japanischen und deutschen Presseberichten uber die Hitlers Interesse an der japanischen Kunst; 2) Die Schatzung der japanischen Kunst und nicht eindeutige Haltung der deutschen Presseberichten zur "Entaltete Kunst", die sie fur die Schatzung der japanischen Kunst herangezogen haben; 3) Schatzung von Ukiyoe und Malerei bzw. Skulptur von den japanischen und deutschen Kunsthistoriker und Politiker.

著者

池野 絢子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.140-153, 2008-06-30

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This research is going to talk about the formation of 'Arte povera' as an artistic movement. Today, Arte povera is well-known all over the world as that which used 'poor' materials, such as woods, papers, coals, etc. Although this definition does not always accord with the works in respect of materials and concepts, that critical term 'povera' has succeeded in grouping up the various artists. In fact 'povera' is so ambiguous term that we can do nothing but refer to the text of a critic, Germano Celant, who named this movement. But it can be thought that between the critical discourses and the diverse works, there should be essential difference. Making it clear, this text will study from following three perspectives; the strategy of Celant, contradiction between his rhetoric and acts of artists, and problem with historicization and reception of 'Arte povera.' Through these analyses, it is aimed to show what is included in and what is excluded from the territory of 'Arte povera' along its history.

著者

犬伏 雅一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.34, no.2, pp.70-75, 1983-09-30

著者

辰巳 晃伸

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.1, pp.56-69, 2001

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Postminimalism, in the narrow sense, means the art by the generation next to minimalist artists, such as Eva Hesse and Richard Serra, who were representative artists at that time, and in the broad sense, it means "a series of art movements in the decade from 1965 to 1975, " which indicates the coinstantaneous developments of the time, including process art, earthworks, conceptual art, performance, and installations. Postminimalism, as well as minimalism, seems to correspond to the turning point from modernism to postmodernism, and therefore, seems to be one of the important clues, when we consider the argument about art and sites, such as current installations and public art. Arthur Danto, in his essay "Postminimalist Sculpture, " found the end of modern art in these works. The object made of daily and ephemeral materials, or the "dematerialized" work as an idea or a plan itself, for instance, as the object approaches zero, the environment or space where it stands is emphasized all the more, and in the end, art replaces the reality itself. However, I wonder if it is not until viewers participation in the empty space that postminimalist art takes shape, and we could find the potentialities of art in the setting and presentation of such devices.

著者

田中 佳佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.49-60, 2011

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It is a familiar fact that the printed books wiped out the manuscripts in the late 15th century European intellectual world. However, the significance of it in the historical context is too complex to interpret as a mere technical invention. In the present paper I shall try to explain, though only in philological way, what sort of directions were given in the Renaissance humanism by printing and the printed books as the problem of the history of ideas. I shall not discuss the mode or artistic format of any incunabula and early printed books, mine is rather abstract task of trying to understand, through some documents of Italian humanists, the historical impact of printing on the Renaissance era. My aim will accordingly indicate the essential correlation of printing with the Modern form of knowledge. In my idea, printing has three aspects: (i) the institutional package which produced the public value of books by means of mass circulation, (ii) the product of a certain technologism which changed knowing as personal study into knowing as impersonal manipulation, (iii) the breaker of the traditional close relationship between the authors and the readers. One may find these aspects support our form of knowledge.