著者

太田 喬夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.26, no.1, pp.60-66, 1975-06-30 (Released:2017-05-22)

著者

K. Miyoshi

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.24, no.1, pp.78, 1973-06-30 (Released:2017-05-22)

著者

藤縄 千艸

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.24, no.1, pp.39-50, 1973-06-30 (Released:2017-05-22)

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Ich finde in der deutschen romantischen Malerei zwei Richtungen. Eine war die Runges und Friedrichs, Eine war die der Nazarener. Um den Menschen, der nicht mehr nach Arkadien zuruck kann, auch Elysium zu fuhren wie Schiller sagte, versuchte Runge mit dem Blick auf das Hochstmogliche, die Einheit von Natur und Kreatur zu veranschaulichen, Friedrich, die Natur selbst als Gottes Sprache zu malen. Die Nazarener dachten, dass nur der christliche Geist wahrhaft reine Kunst hervorbringen konne, wie F. Schlegel sagte, und arbeiteten in Ruckbesinnung auf die fruhe italienische und deutsche im Kloster St. Isidoro in Rom. So trug die deutsche Romantik auch im Gebiet der Malerei geistige Fruchte ; dies kann man beispielsweise bei den Linien und Farben feststellen. Die deutsche Romantik war nicht so realistisch wie die franzosische, sondern idealistisch. Sie fand dann die ihr eigene fantastische Schonheit als Gegensatz zu der klaren griechischen Schonheit.

著者

D. Satake

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.17, no.3, pp.72-73, 1966-12-31 (Released:2017-05-22)

著者

植村 耕三

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.16, no.2, pp.42-53, 1965-09-30 (Released:2017-05-22)

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Die in J. G. Sulzers "Allgemeiner Theorie der schonen Kunste" dargestellte Musikanschauung ist von der Musikwissenschaft bisher wenig beachtet und sogar, wie das Problem der Bewertung der Instrumentalmusik zeigt, falsch erfasst worden. Dass dieser Musikanschauung eine bedeutende Stellung innerhalb der Geschichte der Musikasthetik im 18. Jahrhundert zukommt, will diese Studie aufzeigen. In vielen Einzelheiten zeigt sich in dieser Musikauffassung ein Schwanken zwischen Altem und Neuem. Freilich deckt sich das, was die Romantiker unter dem unmittelbaren Ausdruck der Kunst verstehen, so wenig mit Sulzers Forderung des Ausdrucks eigener, das heiβt echter moralischer Empfindungen, als das Pochen der Dichter des Sturms und Drangs auf die Ursprunglichkeit des Empfindens sich mit Sulzers Glaube an die Notwendigkeit einer Lenkung der Empfindungen durch die Vernunft deckt ; bezuglich der Schatzung der Instrumentalmusik, ist Sulzers Auβerung auffallend : Sonaten, Symphonien sind "ein nicht unangenehmes Gerausch, bloβ zum Zeitvertreib und etwa zur Ubung des Spielers". Aber statt der engen Verwandtschaft zwischen Ton und Redekunst, statt der musikalischen Klangrede mit rednerischen Vorschriften "als ob die Musik eine wirkliche Rede ware" (Mattheson), wird der Gegensatz zur Sprachrede von Sulzer betont. Ubrigens entsprechen Sulzers Abweichung von der Forderung nach Einheit des Affekts und die positive Wertung der Instrumentalmusik in den von J. A. P. Schulz verfassten Artikeln der neuen, kontrastreichen Tonsprache in der Entstehungszeit der musikalischen Klassik. Gerade in diesem Schwanken sehen wir ein Bild von der lebensvollen Mannigfaltigkeit des musikasthetischen Nachdenkens jener Zeit, ein Bild des Uberganges von der rationalistischen zur romantischen Musikauffassung.

著者

山川 淳次郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.9, no.1, pp.57-60, 1958-06-30 (Released:2017-05-22)

著者

利光 功

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.19, no.1, pp.37-49, 1968-06-30 (Released:2017-05-22)

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Is photography an art? This is the long argued problem since the invention of photography. Even now, it seems the argument does not come to an end. For example, L. Munford maintains that the photography is the mechanical development of the techniques of painting, H. Laval insists the creative process of photographic techniques, and S. Kracauer asserts the functional beauty of photography. Then we here start from some basic reflections. The photography is first of all an technique, and this technique can be divided into two main heterogeneous processes, the one is the optical process or the camera, the other is the chemical process by which the light is fixed on a paper and so on. The essential process of photographic technique is the latter. Accordingly photography, in a broad and fundamental sense, can be difined as the technique to fix the phenomena of light. This technique is applied to various uses, and by it we can also make the work of art as autonomous aesthetic forms. The many abstract and surrealistic photographies are the examples of this photographic art. Photography, next in a narrow and practical sense, is interpreted as the technique of record of external image. Here there are three possible courses : (1) record is not an art, (2) photography is both record and art, that is, a sort of useful art, (3) visual record can be an art. So we must discuss generally the affinity and divergency between art and record, and reveal the artistic potentiality and the limitation of visual record or document.

著者

岡本 重温

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.14, no.2, pp.57-60, 1963-09-30 (Released:2017-05-22)

著者

鮫島 正安

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.63, 2003-12-31 (Released:2017-05-22)

著者

橋本 淳

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.87-88, 2007-03-31

著者

石田 美紀

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.41-54, 2005-09-30

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From the beginning of the 1940s, Italian cinema critics have called the commercial films produced under the fascist regime "white telephones". This specific term indicates the white and brilliant visual texture many popular films shared in those days. This visual texture originated in the Hollywood cinema, which dominated the world market including Italian one. Italian cinema industries tried to assimilate a Hollywood-like production to overcome the long-lasting crisis from the 1920s. As a result, Italian screens were covered with white shining lights. This paper aims to reveal the significance of the "white" vision in the Italian cotemporary culture, focusing on the properties of cinema, namely the expressive medium of light and the most powerful economic system of the last century. From this point of view, we can discover another aspect of the first talky colonial film, Lo squadrone bianco, which is renowned for a fascist propaganda.

著者

馬場 朗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.43, no.1, pp.74, 1992-06-30 (Released:2017-05-22)

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, 2017

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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 senseof touch under the strong influence of Molyneux's problem. As Derrida advocated, senseof touch has played a fundamental role in the tradition of Western metaphysical thoughtbecause it can grasp an essence directly without any interference of preconception. Thisstudy questions this connection between blind people and sense of touch by conductingfield research.The result of interview shows that blind people rather tend to avoid to touch objectsby hand so as to follow the code of conduct of sighted people. Instead, they like to useanother sense modality such as audition or sense of smell. Of course they sometimesrely on sense of touch too, but the way of using it is completely different from whataesthetics has expected to be.This misunderstanding about blind people was strengthened because aesthetics hasreferred 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 andevaluates its significance from the viewpoint of disability studies.

著者

岩山 三郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.25, no.1, pp.41-60, 1974-06-30

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Dans l'article precedent on a traite les mumeinportraits du 1^<er> au 2^e siecle, tandis que dans celui-ci, on parlera de leur style du 3^e au 4^e siecle : les considerations sur le style expressionniste et le style abstractif apparus a la fin de l'antiquite, de point de vue de l'histoire d'esprit. Le style artistique de la periode de transition du monde polytheiste a celui de chretien trouve son analogue surtout dans l'art moderne, ainsi seront necessaire ces recherches pour l'interpretation de l'art moderne.

著者

岩山 三郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.24, no.4, pp.43-58, 1974-03-30

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Les mumienportraits qui faisaient leur apparition du 1^<er> au 4^e siecle en Egypte sous la domination romaine peuvent etre consideres comme une sorte de l'art grec, l'encaustique qui transmet la tradition de la peinture greque. On constate le fait que leur style s'est developpe historiquement a la meme maniere que celui de la peinture moderne depuis la seconde moitie du 19^e siecle, ce qui nous donne une vue importante pour l'interpretation de cette derniere. On parle dans cet article des mumienportraits comme tels qui sont tres suggestifs pour les etudes de la peinture moderne.

著者

上倉 庸敬

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.28, no.1, pp.1-11, 1977-06-30

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Gilson definit les beaux-arts comme arts poietiques. Ceux-ci incluent l'ordre entier de la factivite qui se propose la production du beau. En cela cet ordre est distinct de celui de la connaissance et de l'activite. Il distingue la fonction poietique de l'entendement, de sa fonction noetique. En effet toute la contribution de l'entendement aux arts poietiques se trouve incluse dans la fonction poietique et integree a la fonction poietique. Cette definition de la poietique peut se considerer comme justifiee pour trois raisons. D'abord, elle ne se perd pas dans les apories des doctrines qui reduisent les arts a une espece de connaissance. Puis, elle empeche les arts comme la poietique d'envahir l'ordre de la connaissance. Enfin, elle pretend conduire la philosophie de l'art a la metaphysique chretienne, qui, d'apres lui, a decouvert l'acte d'etre a la fecondite auquel se rattache la notion des arts poietiques.

著者

Ebisawa B.

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.11, no.3, pp.75-76, 1960

著者

加藤 素明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.4, pp.12-22, 1995

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In Plato's Hippias Major 292e6-7, we can find a self-predication sentence ; "The fine is always fine." (We have similar expressions in Protagoras 330c4-6, 330d8-e1, Lysis 220b6-7.) How should we interpret this sentence? We cannot give it any metaphysical meaning drawn from Plato's own theory of Form, which is explicit in his middle dialogues. "The fine" here should be the logical cause, not the one of the metaphysical essentials (cf. Paul Woodruff's Plato Hippias Major, p.150). So taking a sentence like "parthenos kale kalon" (287e4), we can safely paraphrase it in Woodruff's manner : "a fine girl is a fine thing." This can avoid reading the metaphysical meaning into the text. And I would like to make a new proposal for reading of 292e6-7 : "the fine thing is what is to be called fine." This is to emphasize the unique character of the self-predication sentences in the early dialogues. In the Socratic way of discourse, Socrates and his partner get involved into "trial and error" during their pursuit of the knowledge. What they can do then is to give their opinions which seem to them true (so-called "alethes doxa", cf. Meno 85c), and to get close examinations of them. And in this way they are getting closer to the knowledge. My interpretation well describes these activities.

著者

天内 大樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, 2005

著者

天内 大樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.69-82, 2007

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The author examines architectural theories that lead to the founding of Bunriha Kenchiku Kai (Secessionist Architectural Group) in 1920, in line with four phases focusing on the understandings of "expression". First of all, the notion of architecture was divided into "art" and "science/utility" when it was introduced to Japan from the West. Secondly, the "art" was relegated to a lower importance through Sano Toshikata's nationalistic view of architecture. Sano's follower Noda Toshihiko subordinates architectural design only to the theory of structural mechanics. Their understandings of "expression" were unilinear. Thirdly, Goto Keiji, Noda's adversary in study, believed that principles of architectural design are to be rediscovered within architects' self: he became an predecessor of Bunriha. Moreover, a Bunriha architect Horiguchi Sutemi insisted on "life" and "faith" within one's instinct. But their discussions deemed architecture only as reflections of the "self/life". Finally, the integration of self and architecture took place when another Bunriha architect Morita Keiichi discovered "inner demand" in the "beauty of dynamics" of the building. However, his understanding of "expression" remained unargued by the surrounding architects due to the theoretical constraints. This has affected our view of Bunriha.