文献一覧: 美学会 (出版者)

My paper is divided into three parts. The first is entitled 'Theories of the image', where I argue about the intermediate position of image between intuition and conception, representation and meaning, imagination and feeling, and demonstrate that the image is not a real object, but it has peculiar reality on the basis of the given meaning through apperception and the affective conviction of its existence. In the second part, 'The formation of signifying image', I introduce Ingarden's theory of a purely intentional object, and Iser's interactive reading theory. Ingarden argues about the complementary concretization of represented object, but Iser criticizes him and insists the image-building through an interaction between reader and text. In the third part, 'The appearance as symbol', and the Conclusion, I deal with Kant's and Schiller's theory of the beauty as symbol, and point out that the concept of the outer symbol of the inner feeling has the same logical and psychological structure with the Empathic aesthetics. Based on this structure, the being and the meaning of aesthetic object are interlaced and the artwork appears as a <self-signifying image>, which is different in its inner becoming process from Hegel's similar definition of the classic beauty of art.

2021-01-27 16:14:00
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1 0 0 0 OA 直喩の二種類について : ソシュールとヤーコブソンの言語理論を手がかりに

著者: 波来谷史代
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.30-43, 2009-06-30 (Released:2017-05-22)

In this paper I inquire into the problems of similes. Since the age of Aristotle similes have been considered inferior to metaphors as a rhetorical skill. Nevertheless, it is apparent that artistic possibilities immanent in similes deserve to be reevaluated. Similes are skills of rhetoric that compare two objects by using words which express explicitly a comparison. Similes are divided into two groups according to whether there is some point of commonality or not between a pair of words laid in a figurative relation. To paraphrase the similes without commonality by applying the theory of Saussure, these kinds of similes cut out the ossified "langue" afresh. In this process our experiences also can acquire a renewal. On the other hand, in paraphrasing similes with commonality by applying the theory of Jacobson, such similes bring forth an image different to the visual one because of the interaction of the two images, the one perceived and the other selected by the writer. In this way we realize that our experiences consist of language. I verify my opinion by referring to some poetical real works. These examples of the poetical and epistemological functions that similes can perform testify as one of the reasons this kind of rhetoric in poetry exists.

2021-01-27 16:14:00
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1 0 0 0 OA シュライアマハーの<図式論>と<言語の二重性> : カントとシェリングの図式論との比較において

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.60, no.1, pp.44-57, 2009-06-30 (Released:2017-05-22)

M. Frank bezeichnet die Sprache bei Schleiermacher als "das individuelle Allgemeine". In diesem Aufsatz wird gesucht, den dieser Dualitat der Sprache, insbesondere der des Wortes zugrunde liegenden Schematismus im Vergleich zum Schematismus Kants und Schellings zu charakterisieren. Fur Kant ist das Schema die allgemeine "Regel der Synthesis der Einbildungskraft"; Schelling verknupft diesen Schematismus von neuem mit der Sprache, denn Schelling zufolge "ist selbst die Sprache nichts anders als ein fortgesetztes Schematisieren". Wahrend beide die Allgemeinheit des Schemas voraussetzen, betrachtet Schleiermacher dies als von Einzelnen empirisch Gebildetes. Fur Schleiermacher ist das Schema "die sinnliche Seite des Begriffs", d.h. "das allgemeine Bild", das in sich die Vorstellungsmoglichkeit von einer Menge der einzelnen, unter denselben Begriff zu subsumierenden Bilder beinhaltet, bzw. "diese Moglichkeit selbst". Der Schematisierungsprozess, d.h. die Bildung des Schemas, ist ein Teil allgemeiner Begriffsbildung, so dass das Schema einerseits zur Allgemeinheit "pradeterminiert" ist. Das Schema, als diese Vorstellungsmoglichkeit selbst, ist anderseits immer "verschiebbar", weil es stets und standig durch etwas Neues verandert werden kann, das unter denselben Begriff neu subsumiert wird. Zwar kann das Schema durch die Kommunikation tatsachlich verallgemeinert werden, doch ist diese Allgemeinheit prinzipiell im Einzelnen Begrenztes. Das Wort, d.h. "ein Zeichen des Schemas", bleibt also immer das individuelle Allgemeine.

2021-01-27 16:14:00
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1 0 0 0 OA 労働は心と身体の健康を驚くほど調節する : 十九世紀末の芸術をめぐる労働の科学と身体のリズム

著者: 石谷治寛
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.58-71, 2009-06-30 (Released:2017-05-22)

The two major artists, Camille Pissarro and Henry Van de Velde, participated in and discussed the Arts Nouveau exhibition held in 1895. Afterward Pissarro said, 'Le travail est un merveilleux regulateur de sante morale et physique', and Van der Velde praised the new style of arts of the engineers in view of 'l'ornamentation lineaire et dynamographique'. This paper examines the aesthetic of the arts and crafts through their expressions and the discourses of the sciences of work in the late nineteenth century. The science of work in this period consists in the idea of the time; the new experimental instruments examined and visualized the temporality of the effort and the fatigue during the movement of body and the perception. In this discovery of newly embodied time, the sense of the agreeable and the disagreeable replaced in the rhythm of the body and mind, and then the psychologists (Etienne-Jules Marey, Charles Fere and Jean-Gabriel Tarde) and aesthetician (Jean-Marie Guyau) were concerned in the problem of the neurasthenia and the economy of effort. Also the new practices of artists interweaved with the concepts of this rhythm of body.

2021-01-27 16:14:00
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1 0 0 0 OA 宇宙の持続と身体の論理 : 「共感の美学」としてのベルクソニスム

著者: 山内朋樹
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.72-84, 2009-06-30 (Released:2017-05-22)

Jusqu'a aujourd'hui, tres peu d'etudes se sont penchees sur le concept de la <<sympathie>> chez Henri Bergson en tant que concept esthetique. Pourtant, l'experience de l'art dans la pensee bergsonienne est inseparable de ce concept de la sympathie. La sympathie, de part sa definition et son sens etymologique, signifie posseder le pathos en communaute. La nature de l'art etant de saisir le reel, la particularite de la sympathie ne peut pas etre reduite a une simple communaute psychologique. Dans Lecons d'esthetique, le jeune Bergson etabli le concept de la sympathie comme un anthropomorphisme. Plus tard, dans Duree et simultaneite, il definira ce meme concept comme une analogie. Mais le concept de la sympathie developpe par Bergson dans l'Essai et Levolution creatrice souleve aussi la problematique du corps et de l'instinct. A ce niveau, la sympathie physique, fondee sur la camaraderie avec le reel devient une notion essentielle, et ne doit pas etre consideree comme une coincidence mais plutot comme une coexistence avec le reel. Dans cette etude nous nous proposons de repenser l'esthetique bergsonienne comme l'esthetique de la sympathie.

2021-01-27 16:14:00
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1 0 0 0 OA エドワード・ブロウの「心理的距離」概念について

著者: 郡田尚子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.85-97, 2009-06-30 (Released:2017-05-22)

"Psychical Distance" as a Factor in Art and an Aesthetic Principle' (1912) is a thesis on the subject of aesthetics and art written by Edward Bullough (1880-1934). Using the term 'Psychical Distance', he showed that the states of aesthetic appreciation and artistic production stood outside the context of our personal needs and ends. According to Bullough, this distance lies between the self and affections or objects as the sources of those affections. This paper will attempt to make his concept of 'Psychical Distance' clearer. Several studies have been made on the definition and validity of 'Psychical Distance'. Those studies assert that it's a psychical act or a set of properties of objects projected from subjective impressions. 'Psychical Distance' is variable both according to the distancing-power of the individual, and according to the character of the object. It is this interplay that makes it possible to take the concept of 'Psychical Distance' both as an act and as properties. Its interplay can also apply to the personal and the social factors in the history of Art. Bullough accounted for the contrary theories of Art by using 'Psychical Distance'. This concept has the capacity to extend over the various forms of Art.

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1 0 0 0 OA 外交手段としての美術批評 : アレティーノ書簡をつうじて

著者: 加藤志織
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.98-111, 2009-06-30 (Released:2017-05-22)

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.

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1 0 0 0 OA タルクイニウスに凌辱されるローマのルクレティア : 外交手段としてのティツィアーノ作《タルクイニウスとルクレティア》

著者: 細野喜代
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.112-125, 2009-06-30 (Released:2017-05-22)

Titian completed the Tarquin and Lucretia for Philip II of Spain in 1571. The painter called the masterpiece "Lucrezia Romana violata da Tarquino" in his letter to Philip II on 1st August 1571. This paper examines the reason why Titian called the painting in this way and the period of its execution. This picture has been considered to be erotic. However, one should pay attention to the fact that the painting was carried from Venice to Madrid in 1571 by a special envoy, Antonio Tiepolo. His mission was to request Philip II to send reinforcements to rescue the Cyprus, territory of Venice, from the attack of Ottomans. In addition to the facts, the story of Tarquin and Lucretia is about a revenge for the royalty of a different race who raped the wife of an ancient roman nobleman, the overthrow of a tyranny and the liberation of the country. Moreover, the subject of the rape has the meanings of invasion and capture. One could think therefore that the painting represents the Cyprus which was asking for help as it was about to fall and it functioned as a diplomatic means for the achievement of Tiepolo's mission. Considering the above circumstances, it seems that Titian embarked on the picture not in 1568 but in 1570 when the War of Cyprus began.

2021-01-27 16:14:00
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1 0 0 0 OA パウル・クレーの一九一七年の文字絵《Emilie》 : テクストと図像の関係について

著者: 野田由美意
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.1, pp.126-139, 2009-06-30 (Released:2017-05-22)

Klee schuf 1917 sein Schriftbild <<Emilie>>. Der Verbleib des Werkes ist unbekannt. Mittels eines Farbfotos im Zentrum Paul Klee werden die Form und der Inhalt des Gedichtes im Bild und die Zusammensetzung des Werkes analysiert, auf die die Forschung bislang nicht ausreichend eingegangen ist. Wortspiel und eine skeptische Einstellung wie in den Gedichten Morgensterns oder der Dadaisten sind in <<Emilie>> zu erkennen. Das Bild der Figur, die sich aus dieser Welt des Kriegszustandes entfernt und die in eine den Orient als den Marchenland andeutenden Landschaft fliegt, entspricht der thematischen Strategie von Waldens Klee-Ausstellungen 1916-17, der den Friedenwunsch des Publikums aufnahm. Aber dass die mit den Schriftrollen des Nonsens-Gedichtes umschlossene "Emilie" mit ihrem papierdunnem Korper im reinen Nachthimmel schwebt, ihr schiefes Gesicht wie ein Mops und ihre den Bauch mit den Handen haltende, fluguntaugliche Gebarde sind als Lachen uber Klee anzusehen, der dem Krieg seine ersten Erfolge verdankte, obwohl er sich von ihm zu distanzieren glaubte.