著者

浅井 佑太

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.114, 2013-12-31 (Released:2017-05-22)

著者

甲斐 義明

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

浅井 佑太

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.133-144, 2014-06-30 (Released:2017-05-22)

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Dieser Beitrag beschaftigt sich mit der freien Atonalitat Schonbergs. Seine zwischen 1908 und 1916 komponierten Werke wurden bisher immer wieder als expressionistisch bezeichnet und nehmen eine besondere Stellung in seinem Oeuvre ein. Dennoch wurden in dieser Hinsicht Spezifika in Schonbergs freier Atonalitat bis jetzt kaum in konkreten Analysen nachgewiesen. Manche Untersuchungen betrachten sogar die freie Atonalitat ohne Rucksicht auf diese Aspekte lediglich als Vorstufe der Zwolftonmusik. Dieser Aufsatz ist ein Versuch, Momente in Schonbergs freier Atonalitat zu beleuchten, durch die sie sich von der Zwolftonmusik unterscheiden lasst. In der Periode, in der er Stiicke in freier Atonalitat komponierte, hatte er eigentumliche Gedanken uber Musik, die eng mit dem Expressionismus verwandt waren und sich von jenen nach der Zwolftonmusik klar unterschieden. Hierzu werden Schonbergs Werke unter Berucksichtigung seiner musik-asthetischen Gedanken analysiert, und schliesslich wird die Beziehungen zwischen den kompositorischen Techniken und seinen Gedanken zu erlautern versucht.

著者

鈴木 亘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.13, 2017 (Released:2019-01-02)

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One of Jacques Rancière’s contributions to aesthetics is his re-reading of the history of aesthetics. Rancière refers to the regime that has identified art as “art” since the end of the 18th century as “the aesthetic regime of art.” Against the short divisions of art history by modernism or postmodernism, he seeks to describe the long term. For Rancière, ideas of “modernism” and “postmodernism” need critique because the two cannot treat general transformations in the aesthetic regime of art. We will explain how his thinking can renew the discourses of modernism and postmodernism. This essay first examines the pre-existing modernist and postmodernist thinking that Rancière criticizes. It then deals with his view of the history of art history by reading Le partage du sensible. This reading aims to emphasize the work’s originality with regard to modernist and postmodernist thinking. We finally investigate his analysis of political art in Malaise dans l’esthétique, whose arguments offer us a new point of view fot reconsidering contemporary political art. We conclude this essay by stating that Rancière recognizes the political effectiveness of the “mixtures” of the heterogeneous that fundamentally characterize the aesthetic regime.

著者

井奥 陽子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.146, 2018 (Released:2019-06-01)

著者

居村 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.85, 2017 (Released:2019-01-02)

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This paper clarified the significance of ‘Philosophy of Anthropophagy’ by a Brazilian artist Hélio Oiticica (1937-1980) in Tropicália, his work of art in 1967. He was one of the most representative artists of Brazil. His works were characterized by spatial involvement with a viewer or a viewer’s active participation. Tropicália might be one of the most important things in his works and was considered to be a ‘cannibalistic’ work affected by Oswald de Andrade, a Brazilian critic and poet. Oiticica accepted this opinion too. On Tropicália, however, Oiticica described that he was devoured by this work, while Andrade as an ideal ‘cannibal’ attempted to devour and absorb the western culture. This study started with this problem. At first, I overviewed Oiticica’s career and Tropicália and showed a problem with this work. Oiticica wrote his experience with a television set in Tropicália. This experience was problematic for ‘Philosophy of Anthropophagy’. Second, I analysed the experience from the point of view of “invasiveness”. Finally, I clarified the significance of the result caused by that invasiveness in terms of “Aesthetics of the devoured”.

著者

小野寺 奈津

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.61-72, 2017 (Released:2018-07-01)

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In the early 1960s, Fluxus, an art movement organized by George Maciunas (1931- 1978), an art historian and designer, performed “Event” based on the instruction called “Score.” Their central activity was holding the concert consisted of “Event.” “Event” was performed under avant-garde interpretation in the concert and it emphasized the anti-artistic aspect of Fluxus. On the other hand, George Brecht (1926-2008) who wrote “Score” intensively and developed “Event” into concept, thought “Event” did not need to be performed. It was intended as a means of drawing the perceptual experience. I would like to pay attention to the gap between the two and how to perform the “Event” in this thesis. When looking at the idea that Maciunas aimed at Fluxus, it turns out that he requested the viewers to experience the “Event” subjectively, but in the concert actually, the viewers were passive. Therefore, through reconsideration of the “Event” by Brecht, I intend to present the viewpoint that the very “Event” which Brecht attempted embodied the ideal that Maciunas envisioned in Fluxus.

著者

守谷 広子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.77-88, 2015-06-30 (Released:2017-05-22)

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Cet article propose de presenter une premisse du concept du ≪Texte≫, examinant la discussion sur la ≪forme litteraire≫ chez Roland Barthes (1915-80). Dans les annees 1960, avec l'acceptation de la semiologie, Barthes affirme l'importance de la ≪ forme ≫ dans la litterature. Le langage qui est une matiere de l'oeuvre litteraire est un systeme de generation semantique en soi. II est donc impossible de distinguer le discours litteraire et les autres discours selon le signifie. C'est pour cela que Barthes affirme que ce qui distingue la litterature et les autres langages est bien l'≪originalite de la forme≫. En raison de l'implication de sa forme, l'oeuvre n'est pas equivalente au produit donne par la generation semantique du langage. La forme influencant le processus meme de la generation semantique, elle rend l'oeuvre intentionnelle, et de plus, ≪humaine≫. L'originalite de la forme litteraire, donnant un decalage entre le signifiant et le signifie, porte une sorte de ≪vide≫ dans l'oeuvre. En offrant cette forme a l'oeuvre, l'auteur evoque des questions du lecteur, et le lecteur chercherait le sens de l'oeuvre lui-meme. Cet echange entre l'auteur et le lecteur, transforme l'oeuvre, qui est une construction linguistique, en un ≪Texte≫. Si le concept du Texte de Barthes se situe dans le prolongement de la discussion de la forme precitee, l'importance de l'auteur est prouvee meme dans le traite du Texte qui est generalement interprete comme une theorie qui donne un role privilegie au lecteur.

著者

中藤 有希

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.147, 2011-12-31 (Released:2017-05-22)

著者

古川 裕朗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.43-56, 2008-06-30 (Released:2017-05-22)

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Hermann Schmitzs Asthetik ist zunachst praktische Asthetik, da seine Phanomenologie, die die Asthetik einschliesst, eine praktische Aufgabe hat. Diese Aufgabe ist, die Introjektion, bei der die Stimmungen einer Landschaft als Projektionen aus der Innenwelt eines Subjekts betrachtet werden, zu uberwinden, und die rezessive Entfremdung der Subjektivitat, bei der das menschliche Subjekt an den Rand der Welt verbannt wird, zu kurieren, und den Menschen mitten in seine Umgebung einzuordnen. Diese Aufgabe versucht Schmitz mit der kritischen Ubernahme der Asthetik Moritz Geigers, vor allem dessen Landschaftsansicht, zu bewaltigen. Schmitz meint, dass die Heiterkeit der Landschaft das uberpersonliche und praobjektive, ganzheitlich-atmospharische Gefuhl ist, das weder aus dem Subjekt noch aus den Objekten entspringt. Und er bestimmt aufs Neue asthetischen Genuss als lustvolles Sicheinlassen auf eine von asthetischer Andacht hervorgebrachte, gluckliche Mitte zwischen Distanz und Ergriffenheit. Schmitzs Asthetik ist auch eine Asthetik von der Praxis, die, aristotelisch verstanden, Lebensfuhrung im Gegensatz zur Fertigung eines objektivierten Werkes (Poiesis) ist. Bei seiner Asthetik besteht die Moglichkeit, Landschaft als Praxis zu argumentieren, denn Landschaft wird durch rahmendes, und damit zugleich filterndes Sehen als umfriedete Wohnung angesehen, in der sich der Mensch mit den abgrundigen Gefuhlen so arrangiert, dass er zu ihnen ein harmonisches Verhaltnis findet.

著者

深谷 訓子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.41-54, 2005-06-30 (Released:2017-05-22)

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It's often been suggested that paintings of "Cimon and Pero" must have evoked erotic sensation in the beholder of that time and the moral message was merely a pretext. This article tries to prove if it really was the case in seventeenth-century Netherlands. Both virtuous and erotic aspects are inherent in the story itself. Some representations of the theme were used for the promotion of charitable institutes, and some of them have been accused as being an erotic pin-up. Even the strict theologian such as Molanus, however, approved some kinds of paintings that derived from pagan antiquity as "moral images", and it is plausible that "Cimon and Pero" was seen as such. To see the actual situation, inventory documents are consulted. Some documents indicate that the paintings of Cimon and Pero were hung in voorhuys, the room almost public as the first room in which man received every guest. It is likely that Cimon and Pero could have been accepted not as a pretext but as the exemplum of piety at its face value.

著者

小田部 胤久

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.1, pp.15-27, 2006-06-30

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Die sich ihrer Modernitat bewussten Fruhromantiker, vor allem Fr. Schlegel, haben Fragmente mit Absicht verwendet, wie es sich aus einem Fragment von Fr. Schlegel ergibt: "Viele Werke der Alten sind Fragmente geworden. Viele Werke der Neuern sind es gleich bei der Entstehung." Im vorliegenden Aufsatz versucht der Verfasser nicht, das Fragment als eine literarische Gattung zu behandeln, sondern es geht darum, zu zeigen, dass der Geist des Fragments dem Gedanken Schlegels zugrunde liegt. Im Studium-Aufsatz von 1795 stellt Schlegel die vollendete Schonheit der alten Kunstwerke dem Fragmentarischen der modemen Kunstwerke gegeniiber. Ab 1797 leugnet er einen solchen Dualismus. Schlegels neue Auffassung des Fragments lasst sich in seiner Behauptung erkennen, dass das "Reifste und Vollendetste" "Bruchstucke von Bruchstucken" seien. Fragmente konnen "vollendet" sein, sofern sie "Winke und Andeutungen" sind. In diesem Sinne sind Fragmente Projekten gleichgesetzt. Und Fragmente als Winke und Andeutungen mussen mit der sie erganzenden bzw. verwirklichenden "Kritik", die selbst nicht anders als fragmentarisch sein kann, verbunden werden. Aufgrund einer solchen Erganzung vermitteln die Fragmente das Einzelne mit dem Ganzen, das Endliche mit dem Unendlichen, die Wirklichkeit mit der Moglichkeit und die Gegenwart mit der Zukunft.

著者

奥井 素子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.85-96, 2010-06-30

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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

皆川 達夫

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.20, no.2, pp.54-74, 1969-09-30

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In this article formation and chronology of the Cyclic Mass are discussed : according to the present writer's terminology of a Cyclic Mass, the five sections of Ordinarium Missae are unified by the use of same Cantus Firmus and the Motto (Kopfmotiv). The writer tries to conclude that the Cyclic Mass-form can be one of the criteria of the Renaissance music, that the groping of the Cyclic Mass-form on the 14th century can be regarded as the "proto-Renaissance, " the end of the Medieval music, the formation of the form on the middle of the 15th century as the commencent of the Renaissance music, and the decline of the form on the middle of the 16th century as the fall of the Renaissance music and that the Masses after that period, including the works of Lassus, Palestrina and Victoria should be rather classified as the works of Manierism.

著者

深谷 訓子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.41-54, 2005-06-30

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It's often been suggested that paintings of "Cimon and Pero" must have evoked erotic sensation in the beholder of that time and the moral message was merely a pretext. This article tries to prove if it really was the case in seventeenth-century Netherlands. Both virtuous and erotic aspects are inherent in the story itself. Some representations of the theme were used for the promotion of charitable institutes, and some of them have been accused as being an erotic pin-up. Even the strict theologian such as Molanus, however, approved some kinds of paintings that derived from pagan antiquity as "moral images", and it is plausible that "Cimon and Pero" was seen as such. To see the actual situation, inventory documents are consulted. Some documents indicate that the paintings of Cimon and Pero were hung in voorhuys, the room almost public as the first room in which man received every guest. It is likely that Cimon and Pero could have been accepted not as a pretext but as the exemplum of piety at its face value.

著者

春木 有亮

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.29-42, 2007-06-30

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L'objet de cet article est d'eclairer la notion de la raison chez Etienne Souriau afm de valoriser des pensees qui depassent le simple rationalisme. Souriau dit que l'on ne peut realiser ≪la vie vivante≫ que par la raison, celle-ci permettant au sujet du raisonnement d'utiliser des formes parfaites au moyen de l'ideation. La forme parfaite est un ≪objet-chose≫ qui est a la fois la contrepartie du sujet et egalement transcende le sujet-objet. C'est la forme parfaite qui permet au sujet de realiser la vie vivante a travers l'unification des deux elements incompatibles : ≪la Ferveur≫ du sujet constituant sa propre vie et ≪la Lucidite≫ de la realite que le sujet sent comme autrui. L'art ainsi que le raisonnement tendent vers l'objet-chose. L'art designant, pour Souriau, un paradigme de la vie. On peut considerer la fonction de la raison comme une sorte de perception puisque le sujet raisonnant touche une chose exterieure a lui par la forme. La raison a done ≪une sensibilite≫. Souriau va meme plus loin en affirmant que la sensibilite est l'origine de la raison. Finalement, il conclut d'une maniere paradoxale que ≪les aspects esthetiques de la Raison≫ en font les fondations. La raison chez Souriau est done, pour ainsi dire, la raison esthetique.

著者

富士栄 厚

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.55, no.1, pp.56-69, 2004-06-30

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I analyze the environmental sculpture of Michael Heizer's "trace" by his action in the desert and create the connection between Art and Archeology. The "Trace" has multiple meanings. The notion of "Displacement" which is related to "Trace", is defined as the displacement of the people, objects and matter. "Displacement" denotes the replacement or transfer. 1) I situate the historic context which has made the foundation for the interdisciplinary theory between actual art and archeology through the exchange of information of American art historians and anthropologists.2) I analyze the relation of the contemporary Land art and the notion of "Colossal", which also has multiple meanings, issued from 18th century philosophy of the Sublime, as evidence of connection between art and archeology. I also analyze "Diffracted Gestalt", the key concept in understanding the works of M. Heizer 3) I analyze the notion of "Displacement", in three cases: (1)Monument, (2)Connection of art and archeology, and (3)Copy. 4) 1 consider the actions of M. Heizer as ritual and analyze the meaning of his individual ritualistic action, referring the American Indian's ritual in the art context.

著者

長田 年弘

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.4, pp.13-24, 2000-03-31

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Im Fachgebiet der Altegeschichte wurde bis heute heftig diskutiert, wie die Griechen archaischer und klassischer Zeit die Barbaren erkannt und geschatzt haben. Zu dieser Frage scheinen die Analyse der erhaltenen athenischen Vasenmalerei auch einen wichtigen Beitrag leisten zu konnen. Die Skythendarstellungen scheinen uns die Barbaren-Anschauung der zeitgenossischen athenischen Burger wissen zu lassen. In dieser Arbeit wird das Flucht-Motiv der Skythen erwahnt. Die Darstellung der Skythenbogenschutze, der vom Kampf der Hopliten zuruckzieht und die Flucht ergreift, ist bei den zwolf Beispiele zu finden. Ausser diesen Skythendarstellungen wurde das Flucht-Motiv in der athenischen Vasenmalerei nur fur die folgenden funf Themen benutzt : die feigen trojanischen Heroen, wie Paris, die Giganten, die Amazonen, die Agypter und die Neger. Aus diesem Sachverhalt ist klar zu entnehmen, dass die damaligen Athener die Antithese, die tapferen Griechen und die furchtsamen Barbaren, in sich beibehalten haben. Es ergibt sich, dass sich die Verachtung der Barbaren bereits vor dem Perserkrieg bei der athenischen Gesellschaft entwickelt hat.

著者

赤塚 健太郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.69-82, 2005-09-30

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In the baroque period, the body of French courtiers was educated in dance lessons. Therefore the most basic motion in the dance of that time, which was called mouvement, dominated rhythmic character of their bodies. Mouvement is a bending of the knees followed by a rise of the body and a straightening of the knees. The energy of the rise from the sink stresses the measure, but these motions are executed quite fluently and have no instant that divide time into beats. Because of these characters, the dancer count beats upward. Music has to cooperate with this bodily feeling in some ways, and notes inegales is one of them. Notes inegales is a convention in which notes with equal written values are performed with alternation of long and short durations. This convention has some characters in common with mouvement. For example, it conceals gaps between beats and makes the performance more graceful. Still more, the duration of the sound has great importance under this convention. Experience of this duration requires concentration on the progress of the sound. Here it builds up the mutual relationship with the rhythmic character of the body.

著者

植野 健造

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.43, no.2, pp.59-69, 1992-09-30

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AOKI Shigeru's "Umi-no-sachi (Gifts of Sea)" (1904, Ishibashi Museum of Art) is regarded as one of the most important works not only in his artistic career but also in the history of modern western-style paintings in Japan. The unfinished aspect and the solemn atmosphere this work shows absorb our attention. In this article, the author discusses the problems in the following order ; analysis of the conditions and process in producing this work ; analysis of the concept of this work and lastly discussion of the meaning and place of this work in the history of western-style paintings of Meiji period. As a conclusion, the author proposes thus : this work was left unfinished intentionally by the artist for the purpose of heightening it's expressional effects, the core of the concept of this work was the artist's yearning for ancient worlds, this concept brought this work to show a solemn atomosphere and this work was placed at the important changing point from academically compositive paintings into expressionally imaginary paintings in the history of western-style paintings of Meiji period.