文献一覧: 美学会 (出版者)

What I try to indicate in this paper is that what Paul Valery called 'pure poetry' concerns the 'physiological' sensation of the body that cannot be conveyed by prose. Curiously Valery found the ideal type of art experience in the physiological phenomena due to the nature of retina-that is to say perception of complementary colors. Complementary colors produced by the eye as antidote against colors that stimulate itself are certainly subjective impressions and imply fear of disturbing objective recognitions. However, Valery regards this pure sensation which is set free from external objects to refer, as a perception of our own body whose functions are normally imperceptible to us. We directly find out about our body only when it doesn't function properly. By using means such as rhythm, rhyme, inversion and surprise, poetry captures and restrains the reader's body and interferes its smooth and automatic that is to say prosaic activity. This is the point where pure poetry and the physiology intersect. Both, guiding our attention to physical disorder, help us to gain the representation of our body, which, according to Valery's idea, is a system consisting of various functions.

2021-01-27 15:19:00
1 はてなブックマーク

1 0 0 0 OA フーゴ・フォン・チューディとフランス近代美術

著者: 斎藤郁夫
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.29-42, 2007-03-31 (Released:2017-05-22)

Als Direktor der Nationalgarelie in Berlin erwarb Hugo von Tschudi Werke des Impressionismus, auch des Neo- und Postimpressionismus, die bisher in keinem Museum vertreten waren. Seine Kunstanschauung uber die modernen Kunst wurde in seinem Festvortrag "Kunst und Publikum" am kaiserlichen Geburtstag 1899 in der Berliner Akademie der Kunste dargestellt. Seiner Meinung nach vollzieht sich der erhoffte kunstlerische Aufschwung in der Richtung der naturalistischen Entwicklung, und fur die Kunstler steht die Gestaltungskraft als die personliche schopferische Kraft an erster Stelle. Seine Ansicht ist von Abhandlungen Konrad Fidlers gepragt, worin die eigentliche Bedeutung der naturalistischen Bewegungn gegen die alten idealistischen Anschauungen dargestellt wird, und neue kunstlerische Begabungen erwartet werden, die die Natur und die Wirklichkeit nicht nachahmen, sondern produzieren konnen. Fiedler, der theoretische Vorlaufer der modernen Kunst, muB Tschudi mit seiner Theorie einen Ausblick auf die spateren Kunstrichtungen eroffnet haben. Dadurch hat er ungeachtet der Giebelinschrift "Der Deutschen Kunst MDCCCLXXI" des nationalen Tempels deutscher Kunst Hauputwerke moderner franzosischer Kunstrichtungen erworben und auch Kandinskys "Zukunftsmalerei" entdecken konnen.

2021-01-27 15:19:00
1 はてなブックマーク

1 0 0 0 OA ケプラーにおける協和音の問題

著者: 大愛崇晴
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.4, pp.55-68, 2007-03-31 (Released:2017-05-22)

Johannes Kepler, one of the most famous astronomers during the period of scientific revolution, illustrates a unique view on consonance in Harmonice mundi (1619). First, Kepler rejects the Pythagoreans' symbolism of numbers (discrete quantity) that defines their concept of harmony and consonance. Instead, he defines consonance using geometrical figures that consist of concrete lengths (continuous quantity), treating numbers only as the values of the lengths. For explaining the concept of consonance, Kepler underlines the function of human soul to recognize harmony. He classifies harmony into two types: "sensible" and "pure." Sensible harmony (i.e., consonance) is realized by the human soul while comparing things that are perceived by sense (i.e., sounds). Pure harmony, on the other hand, functions as the archetype of sensible harmonies. It is an abstract mathematical idea, inherent in the human soul, and it certifies sensible harmonies as such. Moreover, this archetypal harmony is associated with God himself. Thus, Kepler hypothesizes on consonance based on his own metaphysics, which differs from the Pythagoreans' reflections on the subject.