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.61, no.2, pp.13-24, 2010-12-31 (Released:2017-05-22)

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Dans le De gli eroici furori (1585), Giordano Bruno (1548-1600) interprete la fable d'Acteon, mythe grec d'un chasseur metamorphose en cerf par Artemis (Diane) au bain et dechiquete par sa propre meute, comme destin de ceux qui cherchent a voir la verite divine. Pour cerner l'enjeu de cette interpretation, qui constitue certainement l'un des points forts du De gli eroici furori, le mieux est d'examiner comment Bruno fait face au petrarquisme a travers la variation de la figure d'Acteon. Car, a la Renaissance, la figure d'Acteon se diffusait comme allegorie de la melancolie amoureuse petrarquiste. Mon hypothese est que l'interpretation brunienne de la fable d'Acteon met en cause la conception petrarquiste de l'art comme activite melancolique. Selon Bruno, l'art n'est pas l'activite melancolique qui tente de perpetuer l'aimee, mais le processus des <<vicissitudes>> comme la metamorphose d'Acteon le suggere.

著者

井上 由里子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.25-36, 2010-12-31 (Released:2017-05-22)

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Valere Novarina, dramaturge francais ne en 1942, est connu pour son theatre hors du commun qui s'affranchit de toutes formes d'intrigues et de psychologie. Consideres comme poemes plutot que comme pieces, ses textes n'ont ete analyses jusqu'alors que d'une maniere litteraire. En analysant La Scene, mise en scene en 2003 par l'auteur luimeme, nous tentons dans cet article de reveler son dynamisme theatral, structure par <<le sacrifice>> et <<le carnaval>>. Comment echapper a l'opposition entre l'esprit et le corps, a l'egolsme et a l'orgueil qui sont propres a l'etre humain? Voila les questions autour desquelles tourne la piece. En ayons recours a la parodie et au rire, <<le carnaval>> de La Scene fete alors tout a la fois la mort d'un monde ancien et la naissance d'un nouveau monde. Sur la scene, l'acteur mange ce texte comme it mange de nourriture: d'une part en mangeant, it se laisse envahir par le son et le rythme du langage, d'autre part it fait bruler le corps, en parlant, jusqu'au <<sacrifice>> pour revenir a un etat ou les separations, notamment entre le corps et l'esprit, n'existent pas.

著者

山下 尚一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.37-48, 2010-12-31 (Released:2017-05-22)

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Nous nous proposons dans cet article, en analysant le geste et la technique dans l'art musical, d'examiner la relation entre l'esthetique musicale de Gisele Brelet et l'ethnomusicologie d'Andre Schaeffner. Certes, it y a leurs differences : l'ethnologie de Schaeffner porte principalement sur le geste instrumental qui represente une societe dans sa singularite, tandis que l'esthetique de Brelet traite du concept de geste vocal en tant que principe universel du beau, independant du social. Mais l'examen du concept de geste technique corporel nous montre leur unite. En effet, chez Brelet comme chez Schaeffner, la technique gestuelle est realisatrice d'une musique : l'esthetique brelettienne revele que le geste corporel devient musical a travers la technique de l'interpretation, de meme l'ethnologie de Schaeffner enseigne que la technique du corps social donne au geste corporel une valeur musicale authentique. Ainsi, c'est dans ce geste technique corporel que s'exprime l'etre musical.

著者

木村 智哉

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.49-60, 2010-12-31 (Released:2017-05-22)

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This paper aims to discuss the meaning of the revolution that happened to animation in Japan from the 1950's to the 60's. There are two features to which I pay attention: the historical peculiarity of the revolution, and the common trend of the animation movies for commerce and those for non-commerce. There are three topics that are the points of the discussion: the trends of domestic production companies, the introduction of overseas animation movies, and the transition of criticisms. This paper clarifies the following: first of all, the revolution of the animation expression at that time invented a new image by the abstraction of form or movement and by the unification with sound; secondly, the revolution supported the attempt of small-scale productions or independent animators who opposed to major movie companies; and thirdly, however, the same revolution contributed to the lowering of the cost of commercial studios. These phenomena can be related to the revolution of the expression of the audiovisual arts that happened widely from the 1950's to the 60's.

著者

小松原 郁

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.61-72, 2010-12-31 (Released:2017-05-22)

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Nel presente saggio viene trattato il trittico del Mantegna commissionato dall'abate Gregorio Correr per la basilica di San Zeno a Verona. L'obiettivo dell'articolo e riconsiderare le peculiarity del dipinto, ricercando l'origine concettuale della forma della pala e della sua composizione spaziale nell'arte fiamminga che il Mantegna potrebbe avere visto a Ferrara. Gli studiosi ritengono che questo trittico sia derivato dalle due pale patavine, aventi soggetto uguale a quella mantenesca. Il presente saggio, invece, focalizzando l'attenzione sull'espressione spaziale, esamina la possibility di altre fonti del trittico, che vengono individuate nell'arte settentrionale, soprattutto in quella di Rogier van del Weyden. Inoltre, riesaminando la composizione spaziale, si suggerisce che il Mantegna abbia creato in maniera originale un nuovo spazio pittorico, una volta appresa l'espressione spaziale della pittura toscana e di quella flamminga. Sulla base di cio e possibile concludere che il trittico in esame sia la rappresentazione di un nuovo spazio, tanto sacro quanto profano, della sacra conversazione, e che costituisca un modello iconografico veneto dello stesso tema, caratterizzato da una complessa composizione spaziale e da un magnifico trono.

著者

内野 博子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.73-84, 2010-12-31 (Released:2017-05-22)

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Some of Penn's experimental photographs show fluctuant blurs on unanimated objects in the work. These blurs refuse our usual mode of perceiving blurredness. Looking carefully into the nature of this refusal will therefore shed light on our usual perception of photographic images. His experiment in the shooting process consists in a fluctuant temporal-spatial relation between reality and its photographic image within a single shot. The result makes clear two important points of our usual assumption about photography: that the relation between reality and the photographic image is constant at the time of shooting, and that our usual perception of the photographic image relates it to reality only under this shooting condition, that is single moment-single focus. Jonathan Crary articulates in terms of its historical specificity the classical technique of observing modeled on camera obscura. He suggests that the intention of the classical observer determined the specific schema for perceiving objects in the world. If we may extend his theory to our case, single moment-single focus is not only the objective structure specific to the photographic image but also its subjective schema which enables us to perceive time and space of the real world through the image by quantifying them.

著者

小宮山 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.171, 2010-06-30 (Released:2017-05-22)

著者

武藤 太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.172, 2010-06-30 (Released:2017-05-22)

著者

古後 奈緒子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.173, 2010-06-30 (Released:2017-05-22)

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.61, no.1, pp.174, 2010-06-30 (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.61, no.1, pp.175, 2010-06-30 (Released:2017-05-22)

著者

大久保 恭子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.176, 2010-06-30 (Released:2017-05-22)

著者

浅沼 敬子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.177, 2010-06-30 (Released:2017-05-22)

著者

三浦 洋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.178, 2010-06-30 (Released:2017-05-22)

著者

林 克彦

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.73-84, 2010-06-30 (Released:2017-05-22)

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Oggi di fronte al quadro cronologico delle opere di Piero della Francesca, modificato da diversi reperti accumulatisi a partire dalla fine del secolo scorso, si avverte inevitabilmente la grande lacuna della prima meta della sua carriera. Il che mi induce a riesaminare l'opinione comune riguardo all'andamento stilistico-cronologico di Piero. La spazialita della Leggenda della Vera Croce di Arezzo, che si puo considerare proprio come un punto di riferimento per le ricerche cronologiche concernenti l'artista e che la critica vuole collocare nella sua maturita, infatti, per la sua rigidita basata sulla composizione prospettica di zone cromatiche divise da contorni taglienti, e assai diversa da quella profonda e naturale delle sue produzioni mature. Recenti dati e ricerche hanno rivelato che Piero fu particolarmente impegnato intorno al 1455, epoca in cui, secondo molti studiosi, dovette concentrarsi nell'esecuzione degli affreschi aretini, e che la convinzione comune che egli avesse iniziato a lavorare ad Arezzo solo dopo la morte (1452) del pittore precedente, Bicci di Lorenzo, non ha piu fondamento. Qui si evince che lo stile specifico della Leggenda deriva dall'abbinamento dell'alta quanta scientifica della prospettiva con la "primitivita" che a sua volta puo essere attribuita all'esecuzione della prima maturita (prima del 1454).

著者

奥井 素子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.85-96, 2010-06-30 (Released:2017-05-22)

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There are three folding screens of the "Wind and Thunder Gods" created by three Rimpa school masters: Sotatsu Tawaraya, Korin Ogata (1658-1716) and Hoitsu Sakai (1761-1828). In the exhibition 'The National Treasure Screens of the Art of Rimpa' at the Idemitsu Museum in 2004, it was proven that the outlines of Sotatsu's and Korin's versions of the folding screen are almost the same. This gives an impression that Korin traced Sotatsu's work. However, by comparing both screens, I found out that Korin's work differs from Sotatsu's at several points. In this paper, I will present other possibilities of copying outlines other than by tracing, and I will examine how Korin created his work by comparing the details of both folding screens. Lastly, I will present a new way of looking at Korin's work, in that he did not merely trace Sotatsu's work. Instead, he may have used a preparatory drawing or a tracing outline prepared by another person, among other reasons to produce his own interpretation of the "Wind and Thunder Gods" folding screen.

著者

池野 絢子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.109-120, 2010-06-30 (Released:2017-05-22)

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The purpose of this research is to show one factor of the biginning of Arte povera, the most significant artistic movement of post-war Italy, through consideration of the urban space where the artists of 1960s lived. Arte povera, which was grouped up in 1967, is considered today as one of the currents of post-minimalism begun at the end of 60s. It is difficult, however, to define Arte povera by the form, since it developed various expressions in a short period. This research analyzes the works which were made throughout 60s at Turin - the major stage of Arte povera - in order to reveal the relationship between works and cultural-social situation of the city surrounding the artists. In sixties Turin was a city of FIAT as well as a center of industry in Italy, and was suffered various problems (lack of abitation and public space, conflict between classees...etc) caused by influx of workers from the southern Italy. This argument about a case of Turin, will make clear the fact that the environment of this city at that time inspired Arte povera to explore diverse expressions.

著者

鈴木 恒平

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.121-132, 2010-06-30 (Released:2017-05-22)

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Charles Darwins evolutionstheoretische Werke erhalten viele Abbildungen. Wie eng allerdings seine Theorie mit der bildlichen Darstellung verknupft ist, wurde bisher wenig beachtet. Im Zentrum dieser Arbeit stehen u. a. Illustrationen in The Expression of the Emotions in Man and Animals von 1872. Da finden sich neben 21 Holzschnitten 7 Tafeln, auf denen zwischen zwei und sieben Fotografien gezeigt werden. Der Fotografie wurde in Expression die wichtigste Rolle zugeteilt. Fur Darwin war sie die Bedingung fur Visualisierung des Unsichtbaren der inneren Gemutsbewegungen, die wissenschaftliche objektive Betrachtbarkeit selbst vom Ausdruck der Gemutsbewegungen. Dass die Fotografie, die noch ein junges Medium war und bis dahin kaum Verbreitung in den Wissenschaften gefunden hatte, als wissenschaftliches Hilfsmittel dienen kann, war damals keine Selbstverstandlichkeit wie heute. Daruber hinaus war die Belichtungszeit noch nicht kurz genug, um das fluchtige Mienenspiel scharf aufnehmen zu konnen. Er musste deshalb in Expression nicht nur seine Evolutionstheorie des Ausdrucks der Gemutsbewegungen, sondern auch eine fur sie geeignete Illustrationsstrategie entwickeln: Charles Darwins fotografische Kunst.

著者

桑原 圭裕

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.133-144, 2010-06-30 (Released:2017-05-22)

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Robert Altman (1925-2006) is one of the famous film directors representing "Hollywood Renaissance", and his work is quite distinct from the classical narrative mode. He asserts that his goal of the film is to capture "Subliminal Reality". In preceding studies about his works, Robert T. Self defines characteristic representations of Altman's film as Subliminal Reality and positions it as an art cinema which is explicitly against Classical Hollywood Cinema. He is also well known by the ensemble film which focuses on multiple characters. Altman tried to make this mode of films concerning a view of subliminal reality. I have to deeply look into the film, Short Cuts (1993) in Altman's ensemble films, because it added a new aspect to previous films. The story of Short Cuts tracks the daily lives and interactions of a large cast of seemingly unrelated characters. Recently, other directors have also used the method of story telling like Short Cuts, which has the tendency to attract audience's attention and it has become a new form of narrative structure. But this movement means a certain contradiction. Even though Altman's ensemble film is based on subliminal reality which is antithetical to a mode of Classical Hollywood Cinema, why is it also received as Modern Hollywood movement? In this process, we can find a feature of Altman's subliminal reality as art cinema mixed with classical narrative mode.

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.61, no.1, pp.145-148, 2010-06-30 (Released:2017-05-22)