著者

田中 正之

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.3, pp.25-36, 1999-12-31

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Woman's eye is one of the most important motives in Man Ray's works. However, in his images of woman's eye, the organ of sight is quite often manipulated, sometimes even violently, and the images acquire a very uncanny nature. This uncanny manipulation of woman's eye in Man Ray's oeuvre, both in photographs and objects, can be divided into four categories : "the Gazing Monster or Surrealist Medusa, " "the Enucleated Eye, " "the Closed Eye, " "Beheading." The last can be regarded as the manipulation of woman's eye, because it is a way of punishing a woman with evil eyes like Medusa, who is exterminated by Perseus through decapitation. The uncanny nature created by these manipulations squarely corresponds to the Freudian concept of the Uncanny. In his analysis of uncanny effects in E, T, A, Hoffmann's novel, The Sand-Man, Freud defines the source of the uncanny as the castration anxiety symbolized by the eye torn out. All the four types of manipulations in Man Ray's images of woman's eye can be found in this or other Freud's essays on the castration anxiety. By visualizing this anxiety repressed in the unconscious or "the return of the repressed, " Man Ray created the true Surrealist image of the emancipation from the reason and order through the direct manifestation of the unconscious.

著者

中間 志織

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.83-96, 2007-12-31

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Kishida Ryusei(1891-1929) held the private exhibition at the house of Nojima Yasuzo(1889-1964) in 1922. This exhibition seems so significant because the recent works which depicted his daughter Reiko were exhibited, and the most of them included the characteristic as 'Derori' which Ryusei often mentioned in his essays. Though researchers have considered the meaning of the works as 'Derori' from the producer's point of view, this paper discusses the meaning of these works from the audience's point of view. The first section mentions that the audience of the private exhibition generally includes the educated middle class elite, who had close relation to the artists and the art world at that time. The paper then analyses the display appealing the portraits of Reiko as 'Derori', and by investigating Ryusei's diary and the catalogue the audience includes a few upper class men and the educated middle class men who were very interested in the avant-garde art. Finally, making reference to the article about representation of the 'girl' in modern Japan, it intends the possibility of function of portraits of Reiko as 'Derori' as the mirror which reflected the identity of the urban educated middle class men.

著者

松友 知香子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, 2007-12-31

著者

阿達 佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.73, no.2, pp.1-12, 2022 (Released:2024-01-01)

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It is well known that Hans-Georg Gadamer (1900-2002) placed the concept of “play (Spiel)” at the center of his art theory. The main concept in his art theory, however, has changed from “play” to “execution (Vollzug)” since the 1990s. This paper examined this change as a shift and clarified its significance by comparing “Truth and Method” (1960) and “Word and Image: as True as Being” (1992). In “Truth and Method”, concepts of art such as structure (Gebilde), simultaneity, and mimesis are all developed on the basis of “play”. In “Word and Image,” on the other hand, structure and simultaneity are reconsidered on the basis of execution derived from energeia. The simultaneity is redefined as a way of dialogically “tarrying (Verweilen),” and the structure is subsumed into the concept of execution as a self-formation of meaning. It means that in the experience of art execution is an interpretation that proceeds together in an agreed upon dialogic event between artwork and spectator called tarrying. The change in the main concept from “play” to “execution” is not based on a shift in the basic idea, but is the result of the reorganization of “play” into the more comprehensive concept of “execution”.

著者

二宮 望

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.72, no.2, pp.24-35, 2021 (Released:2023-04-27)

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Ernst Kris and Ernst Hans Gombrich started to research on caricatures in the 1930s and attempted to accomplish the unfinished project. This paper examines the potential of their caricature study in terms not only of the theoretical exploration but also of the curatorial praxis. In 1936 Kris organized an exhibition featuring drawings of Honoré Daumier at the Albertina in Wien with Gombrich’s support. This event suggested their intention to intervene in “the dark times”, which seemed to come closer to the absurd world that Daumier sketched about half a century ago. The two art historians focused on political performativity in their articles on caricatures. The discussion splits into two directions: contextualizing it in the art history and psychological analysis of its mechanism. On the one hand, Kris and Gombrich located caricature in the series of image-magic, with which people confuse an effigy with a real person. On the other hand, it is revealed from the psychoanalytical perspective how caricature gives beholders a comical impression. Kris applied Sigmund Freud’s argument on wit to the visual persuasion of caricature. Finally, this paper concludes that caricature is a technique that converts politically sublime energy into an aesthetical benefit.

著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.13-24, 2011-06-30 (Released:2017-05-22)

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In The Poetics of Space (1957), Gaston Bachelard adopts a phenomenological approach to the literary image for the first time. In the volume, he introduces the notion of "Retentissements" (echoes)-the creative reception of image-which is given a central role in the work. This paper aims to examine the evolution of his theory, particularly in relation to his epistemology and earlier theory of art. When Bachelard refers to Husserl's phenomenology in his epistemological work, he criticizes it as too "formal." To Bachelard, the examples Husserl gives do not provide a sufficient understanding of the relationship between subject and object in science. In his earlier theory of art, Bachelard also establishes his distance from Sartre's phenomenology, which draws a clear distinction between the reality and the image. For Bachelard, they are intimately interwoven and escape from the fact-imagination opposition. Paradoxically, although he seems hostile toward phenomenologists, his critique eventually leads him toward a new phenomenology of the imagination. In the process of his debate with them, Bachelard appropriates some features of their theories in order to forge his own. In this way, he evolves his theory of the imagination and, in this sense, he is influenced by other phenomenological thought and, in turn, echoes (retentir) them.

著者

遠藤 太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.73, no.1, pp.37-47, 2022 (Released:2023-09-28)

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Yasuda Yojuro was a Japanese thinker of the Showa period. As earlier studies have demonstrated, early in his career, Yasuda was greatly affected by Marxism, the German Romantics, and Kinsei-kokugaku. However, these studies have not shown the process behind Yasuda’s growing interest in classical Japanese literature. This article aims to fill this gap by examining his early works, which were focused on this genre. First, it is important to note that Yasuda referred not to Japanese classical literature, but to classical Japanese visual artworks when he wrote about premodern Japan in his early works. Further, he associated classical Japanese visual artworks with his hometown, Nara. His major work about classical Japanese literature, Taikanshijinnogoichininsya was influenced by Munakata Shiko’s woodblock print, Yamatoshiuruwashi. This leads to the conclusion that Yasuda’s interest in classical Japanese literature was greatly affected by visual art.

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.85, 2003-12-31 (Released:2017-05-22)

著者

中村 朋子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.95-106, 2013-06-30 (Released:2017-05-22)

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Die geometrische Humanfigur nach Vitruvius ("Vitruvianische Proportionsfigur") faszinierte die Kunstler der Renaissance, wie es die bertihmte Zeichnung des Leonardo da Vinci (1452-1519) archetypisch umsetzt. Auch Albrecht Durer (1471-1528) versuchte, die idealisierte Humanfigur im Buch II der "Vier Bucher von menschlicher Proportion" (1528) zu konstruieren. Deswegen konnen wir eine Figur homo ad quadratum sowie sieben weitere Figuren homo ad circulum finden. Doch mussten einige schwierige mathematische Probleme uberwunden werden, um die "Vitruvianische Proportionsfigur" zu konstruieren. Wie versuchte Durer diese zu losen? Der Essay betrachtet die Beziehungen zwischen Konstruktion und Methodologie des "Messstabsystems". Der Vitruvianische Kanon wurde ursprunglich als Bruch dargestellt. Durer jedoch verwendet ein Instrument, das sich auf einer anderen mathematischen Methode grundet. Eine Verwandtschaft mit der vitruvianischen Methodik besteht folglich eher fur die vorangehende geometrische Konstruktion in seinem ersten Buch. Was bedeutet es, dass Buch II trotzdessen dieses Bild enthalt? Zur Beantwortung dieses Problems sollte man davon ausgehen, dass eine praktische Notwendigkeit existierte. Dieser Aufsatz analysiert die Durerschen Methoden wie die Proportionsfiguren und argumentiert, dass gerade durch die Entstehung der exakten anthropometrischen Methode im II. Buch sich die Moglichkeit der Konstruktion eroffnete. Letztlich verweist er ebenso auf die Problematik der Quantifizierung des Weltverstandnisses in der Renaissance, die diese Methode anspricht.

著者

神部 智

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.114-127, 2008-12-31 (Released:2017-05-22)

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The aim of this paper is to explore the nationalistic and modernistic aspects in the Second Symphony of Jean Sibelius through the examination of its musical expression and reception. By virtue of its historical backdrop, Finnish audiences have considered the symphony to be nationalistic. Sibelius's musical expression such as the insistent repetition of a short melodic phrase, which is related certainly on a Finnish folk ethos, strengthens that viewpoint. On the other hand, English audiences have perceived the Second Symphony to be modernistic and revolutionary because Sibelius succeeded to address the call for new principles of symphonic form. Cecil Gray, for example, believed that Sibelius radically redefined, in the first movement of the symphony, the formal process of the sonata structure. In England, the similar viewpoints were considered authoritative at least until 1960s. The above opinions, which can eventually influence our interpretation of the composition, suggest that the identity of a musical work reflects the historical situation of the pertinent culture.

著者

加藤 隆文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.1, pp.49-60, 2019 (Released:2021-05-08)

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This paper proposes an extended understanding of the discipline called ‘analytic aesthetics’, with reference to analytic pragmatism proposed by a prominent neo- pragmatist, R. Brandom. It is therefore argued that analytic aesthetics should be reconsidered in terms of ‘analytic pragmatist aesthetics’. N. Carroll’s philosophy of criticism is expected to offer an appropriate picture illustrating how the analytic pragmatist aesthetics can be embodied in the actual scene. Carroll argues that (1) ‘reasoned evaluation’ comprises the essential part of criticism, and that (2) ‘success value’ should be considered as more privileged than ‘reception value’. This paper assents to (1): the framework of analytic pragmatism, according to which semantics of certain aspects of natural language is understood in terms of their pragmatics, can be aptly applied into the philosophy of criticism. The claim (2), however, may be in tension with pragmatists’ theory of art. Once the pragmatist concept of experience is accepted, the privileged status of success value over reception value is no longer hard and fast: they are two sides of the same coin. This paper thus revises the philosophy of criticism and represents it as a promising illustration of analytic pragmatism implemented in the context of aesthetics independently of Carroll’s argument.

著者

柴田 康太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.109-120, 2017 (Released:2018-07-01)

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Movie theaters in the silent era had a feature as a concert hall. Especially in Japan in the Taisho era, they were central places where ordinary people heard Western music. Though they are important case for Japanese receptive study of Western music, how film audiences received it had scarcely been investigated. This study, focusing on some theaters in Tokyo especially around 1920 and 1927, tries to show their receptions of Western music. First three sections consider on the audiences’ columns in the pamphlets issued by one of the main movie theaters, Teikokukan in Asakusa. They show that audiences were so interested in Western music which was frequently played as intermission music that, when the same music was used for film accompaniment, it sometimes gained audiences’ attention more than the film it was used for. But until 1927, musical medleys had gradually gained popularity as a new form of intermission music. The popularity was based on each tunes’ associative images which had been formed in audience through their repetitive use in film accompaniment. The peculiar associations formed in the movie theaters gave birth to a unique musical practice.

著者

伊藤 亜紗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.1, 2017 (Released:2019-01-02)

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This paper aims to clarify characteristics of aesthetic experience of blind people. Aesthetics has long treated the blind as people who have extraordinary ability of sense of touch under the strong influence of Molyneux’s problem. As Derrida advocated, sense of touch has played a fundamental role in the tradition of Western metaphysical thought because it can grasp an essence directly without any interference of preconception. This study questions this connection between blind people and sense of touch by conducting field research. The result of interview shows that blind people rather tend to avoid to touch objects by hand so as to follow the code of conduct of sighted people. Instead, they like to use another sense modality such as audition or sense of smell. Of course they sometimes rely on sense of touch too, but the way of using it is completely different from what aesthetics has expected to be. This misunderstanding about blind people was strengthened because aesthetics has referred to them only in the limited context and has paid little attention to their real life. This paper argues the possibility of aesthetical approach to handicapped people and evaluates its significance from the viewpoint of disability studies.

著者

川上 明孝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.41, no.4, pp.22-33, 1991-03-31 (Released:2017-05-22)

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Das literarische Kunstwerk scheint desto mehr uns die Wahrheit zu sagen, als es ein Meisterwerk ist. Die Welt des Werks aber ist nicht eine wirkliche, sondern nur eine von den Wortern erdichtete, also eine fiktionale Welt. Ist es nun moglich, dass eine Fiktion die Wahrheit sage? Und wenn es moglich ist, wie sagt sie die Wahrheit? Ich versuche dieses Problem durch die Kritik an zwei Abhandlungen Ingardens zu losen. Im ersten Kapitel skizziere ich Ingardens Theorie des Quasi-Urteils. Im zweiten korrigiere ich sie vom pragmatischen Gesichtspunkt aus. Im dritten demonstriere ich, wie die fiktionalen Satze die Wahrheit in der Weise sagen konnen, dass sie die wahre Gestalt des dargestellten Gegentandes sehen lassen. Im vierten und funften Kapitel prufe ich den Wahrheitswert allgemeiner Satze, die sich oft im literarischen Kunstwerk finden, im Vergleich mit wissenschaftlichen Satzen. Meine Schlussfolgerung ist, dass die Wahrheit des literarischen Kunstwerks nicht fur die Relationswahrheit, die zwischen dem Satz und dem Realen besteht, sondern fur die Entdeckungswahrheit im heideggerschen Sinne, die die Relationswahrheit begrundet, zu halten ist.

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.70, no.2, pp.13-24, 2019 (Released:2021-05-08)

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Alexander Gottlieb Baumgarten (1714-62) hat mit der „Logik des unteren Erkenntnisvermögens (logica facultatis cognoscitivae inferioris)“ eine Ästhetik in Analogie zur Logik entworfen. Mit Blick auf die formale Logik mag eine solche Analogie heute befremdlich sein. Berücksichtigt man aber die damals vorherrschende „psychologische Logik“, erscheint sie durchaus berechtigt. Um dies zu zeigen, gibt dieser Beitrag eine kurze Übersicht über die wichtigsten Eckpunkte der Entwicklungsgeschichte der psychologischen Logik vom 16. bis zum 18. Jahrhundert: 1.) Die rhetorische Logik (dialectica) des Ramismus und die Logik des Neuaristotelismus des 16. Jahrhunderts, 2.) die gnoseologische Logik von Port-Royal der zweiten Hälfte des 17. Jahrhunderts, 3.) die gesellschaftliche Logik der frühen deutschen Aufklärung (Tschirnhaus, Thomasius) und 4.) die wissenschaftlich und mathematisch begründete Logik von Christian Wolff. Es wird hierbei deutlich, wie die psychologische Logik eine epistemologische Bedingung für Baumgartens Ästhetik wurde und wie sie diese charakterisiert. Baumgartens Ästhetik verdankt der psychologischen Logik 1.) ihre wissenschaftliche Begründung als Teil der empirischen Psychologie, 2.) ihre gnoseologische Konzeption als „gnoseologia inferior“, 3.) ihre „sinnliche“ oder „ästhetische“ Wahrheit und 4.) ihre Eigenschaft als anthropologische Ästhetik.

著者

角田 かるあ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.132, 2019 (Released:2021-05-08)

著者

片山 俊宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.119, 2019 (Released:2021-05-08)

著者

玉村 恭

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.69-81, 2005-06-30 (Released:2017-05-22)

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Mu(nothingness, non-being) is one of the most important topics of Zeami's theory of Noh. It means a kind of excellence whose characters are; it has no tangible charm that makes deep impression; it cannot be performed intentionally; and it is attained only by a prominent actor after lifelong learning. It has been supposed that the Buddhist thought, especially Zen, had a great impact upon Zeami's raw. Yet how Zeami's own way of thinking and its metamorphosis influenced the generation of the idea of mu is still to be investigated. When Zeami contrived the new style of acting, senu-hima (no-acting), he might have found a clue to thinking out mu. However, that style lacks the important element of raw; it does not transcend the dualistic relationship between raw and yu(being). In this regard, Zeami's musical theory is worth consideration. According to Zeami, a prominent actor can sing a sound which cannot be determined whether it belongs to umon(artfulness) or to mumon(non-artfulness). This non-dualistic character of Zeami's musical theory can be seen as a origin of his idea of raw.

著者

佐々木 秀憲

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.85-96, 2011-12-31 (Released:2017-05-22)

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Taro Okamoto, the avant-garde artist, 1911-96, was very active in Japan after World War II. Since his death in 1996, an increasing number of studies about Okamoto have been made. While it has been often mentioned that his philosophical background had some influences from Marcel Mauss, Alexandre Kojeve, Georges Bataille and so forth, with whom Okamoto had acquired during his days in Paris between 1930 and 1940, there has been no study on this matter during the period after World War II. Taro Okamoto Museum of Art, Kawasaki possesses about 400 French books of Okamoto's old stock, which had been previously kept in his bedside bookshelf at his residence (present Taro Okamoto Memorial Museum) in Minami-Aoyama, Tokyo. These books that had been treasured by Okamoto, were all donated to the museum without any volume missing. Among these 400 French books, we can confirm that the six books authored by Mircea Eliade, have a number of Okamoto's own underlines and notes. This article has elucidated the Eliade's influences on Okamoto's creative works.

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.2-15, 2009-06-30 (Released:2017-05-22)

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Ruins are places in which memories have been accumulated. For understanding the aesthetic phenomenon of ruins, we must make it clear what places really are. M. de Certeau considers a place as a configuration of the elements distributed within the relations of coexistence and a space as a crossing of historical subjects and 'a practiced place'. This conception of place is close to Gibson's 'ground theory' of space perception. The environment we perceive is, first of all, not an empty space but a place as a surface of the earth on which we are standing. The perception of the environment as the persisting structure of surfaces accompanies the perception of an instantaneous self, including the head, body, arms, and hands. And the nonperceptual awareness such as memory or expectation is made possible by the fact that the concurrent perception of the persistence of place and that of the change of a moving self are concurrent. Memory and expectation open a space of history. Yet the space turns back to the persisting place of a ruin when the history has come to be forgotten. The poetics of ruins consists not in retelling a history but in the awareness of the persistent linkage between us and the past.