著者

裾分 一弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.9, no.1, pp.45-51, 1958-06

著者

山下 晃平

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.85-96, 2014-12-31

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This paper takes up "The Japan International Art Exhibition (Tokyo Biennale)", the first international art exhibition in Japan after World War II. In 1952, the first exhibition was held under the auspices of the Mainichi Newspaper Company until 1990, the 18th and last one. During this time, the exhibition was unavoidably changed by the movements of the times, but we still haven't researched the exhibitions as a whole. In this paper, I have collected numerous articles about "The Japan International Art Exhibition" and have inspected the intentions. As a result, we can find that the intentions shifted from the "across-the-board" structure in the situation of "Japan against the World" to "avantgardism". In being avant-garde, on the other hand, the exhibition had the condition of a conservative bias against the West's sense of values or systematized "Art". With the end of the binomial opposition of "Japan and the World", "simultaneity" was then pursued, but the "Japanese originality" in the "simultaneity" wasn't pursued carefully enough. Japan has continually been involved with the problem of institutionalizing "Art" and the context peculiar to Japan since modern times. After WW II it was again expressed in this international exhibition. Thus, "The Japan International Art Exhibition" formed an important stage for criticism in Japan after WW II and has always relativized the position of "Japan".

著者

小川 光

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.44, no.3, 1993-12-31

著者

外山 紀久子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.51, no.2, pp.1-12, 2000-09-30

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Disengagement with painting, recurrent throughout the avantgarde art history, find its various manifestations in the 1960s American art. They allegedly attempt to restore the corporeal dimensions of aesthetic experience, questioning the idea of modernist pure opticality. The body itself, however, goes through curious changes. In the practices of minimal art that expel illusionism and anthropomorphic naturalism, a physical experience of the viewer becomes essential to the theatrical presence of the art object, whereas the body to be represented or projected in the work must disappear. And it does so more thoroughly with raw, unformed, mutable materiality in post-minimal art. The performance art of the same period places emphasis on one's experience of one's own body, rather than the body as a visible form/spectacle. The role of the artist's body also changes, as the discourse of technology enters into art-making. The body trained and structured as an expert within a certain tradition is no longer valued ; instead, the artist's body internalizes more and more technological prostheses, thus approximating the status as the cyborg.

著者

前田 茂

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.2, pp.57-70, 2001-09-30

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Gilles Deleuze determine ses considerations sur le cinema, Cinema 1-L'image-mouvement : "[c] ette etude n'est pas une histoire du cinema. C'est une taxinomie, un essai de classification des images et des signes." C'est-a-dire que cette oeuvre n'est pas une pure application de l'epistemologie qui deroule de Matiere et memoire au cinema, mais une "classification" qui consiste d'echelonner des etres divers selon leur evolution. Nous en tirons la question qui oriente notre article : quelle est la liaison dans le cinema entre l'epistemologie des images cinematographiques et l'ontologie de ces images qui expliquerait leur evolution elle-meme? En effet, d'apres la definition de l'image chez Bergson, l'image cinematographique prend sa pleine et propre existence, et dans Cinema 2-L'image-temps qui en traite par rapport a la pensee, l'image-corps n'est pas consideree comme un des objet de la connaissance, ou le scheme qui la conditionne, mais une substance irreductible a la representation, qui nous force la pensee sans representation.

著者

椎原 伸博

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.43, no.1, pp.1-12, 1992-06-30

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Chevalier de Mere est un ecrivain francais du XVII^e siecle. Maintenant, Son nom reste comme l'ami de Pascal, et aussi comme le principal theoricien de l'Honnete Homme (=HH). Mere dit que l'honnetete est "ce n'est autre chose que d'exceller en tout ce qui regarde les agrements et les bienseances de la vie." Dans cette definition, il y a deux concepts esthetiques. Dans une conversation divertissante de HH, le premier <agrement> est des regles de la Rhetorique, sur des bases de la retenue. le second <bienseance> est des regles des relations modestes entre soi et ses semblables. Et, les deux sont le sujet de l'eloquence dans le commerce du monde, se fonde sur l'art de plaire. Par cette eloquence, HH peut vivre heureusement, et rendre heureux des autres. Donc c'est la communication pratique, agreable et rationnelle. Et pour cela, HH a besoin d'avoir le bon gout, qui vient d'une connaissence exquise et juste, c'est-a-dire, la raison. Mais, cette raison n'est pas le sens philosophique, et coincide le "je ne sais quoi". C'est la caractere de l'esthetique de HH. Et, sur ce point, elle a une place dans l'histoire de l'esthetique.

著者

鈴木 恒平

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.121-132, 2010-06-30

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Charles Darwins evolutionstheoretische Werke erhalten viele Abbildungen. Wie eng allerdings seine Theorie mit der bildlichen Darstellung verknupft ist, wurde bisher wenig beachtet. Im Zentrum dieser Arbeit stehen u. a. Illustrationen in The Expression of the Emotions in Man and Animals von 1872. Da finden sich neben 21 Holzschnitten 7 Tafeln, auf denen zwischen zwei und sieben Fotografien gezeigt werden. Der Fotografie wurde in Expression die wichtigste Rolle zugeteilt. Fur Darwin war sie die Bedingung fur Visualisierung des Unsichtbaren der inneren Gemutsbewegungen, die wissenschaftliche objektive Betrachtbarkeit selbst vom Ausdruck der Gemutsbewegungen. Dass die Fotografie, die noch ein junges Medium war und bis dahin kaum Verbreitung in den Wissenschaften gefunden hatte, als wissenschaftliches Hilfsmittel dienen kann, war damals keine Selbstverstandlichkeit wie heute. Daruber hinaus war die Belichtungszeit noch nicht kurz genug, um das fluchtige Mienenspiel scharf aufnehmen zu konnen. Er musste deshalb in Expression nicht nur seine Evolutionstheorie des Ausdrucks der Gemutsbewegungen, sondern auch eine fur sie geeignete Illustrationsstrategie entwickeln: Charles Darwins fotografische Kunst.

著者

平芳 裕子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.84-97, 2009

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The women's magazine Godey's Lady's Book was launched in Philadelphia in 1837 by Louis A. Godey. Although it enjoyed great popularity due to its original fashion plates, the fact that they were a topic of intense discussion is largely unknown. In this paper, I attempt to shed light on how the magazine legitimized the plates by researching distinctive fashion imagery and engaging in ongoing discussions over a ten-year period. In studying the magazine's editorial notes, I discovered that some readers had actually been quite critical of the plates. To counter those who were against fashion, however, the magazine printed positive comments from female readers, and stories depicting virtuous women who remained unaffected by trends. Moreover, as the magazine emphasized the decorative nature of the plates, fashion came to be connected to ornamentation; and as such, an appropriate part of a woman's role as a homemaker. In this era prior to the advent of the fashion magazine in the U.S., by promoting the plates as "authentic fashion," Godey's Lady's Book established the position of the fashion plate in women's magazines.

著者

平塚 弘明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.1-14, 2006-09-30

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Visual Culture Studies, which attaches importance to the sociality or historicality of vision, has revealed the problem of power which underlies "seeing", but on the other hand runs the danger of reducing "seeing" to a mere repetition of social structure or discourse. This paper aims to discover within "seeing" itself a way to break through the constructed nature of it by considering the notion of the Image and its double function in the theory of W. J. T. Mitchell. Mitchell defines the Image as a "natural sign", a sign which represents a resemblance in a given representation system. One of its social functions is to provide in a natural form the basis for "seeing" to those who share the same representation system. This basis is formed and functions not by the power of the Image itself, but through our narrations concerning the Image. However, the Image, as a natural sign, has a further function of making visible the basis itself for "seeing". Such a recognition of the Image is not "seeing" on a particular basis but is itself the basis for "seeing", and thus differs from seeing within "a prescribed set of possibilities". In narrating concerning the Image, we forget what lies outside of the possibilities even though we experience it continually.

著者

柴田 康太郎

出版者

美学会

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.173-184, 2015

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In Japanese film history, the late 1930s was known as a period when interest in filmic "realism" rose. This study examines how this interest in filmic realism influenced musical accompaniment in narrative films in the late 1930s. It mainly focuses on two complementary aspects of filmic realism: one based on naturalist/ socialist realism in literature and the other based on a new conception of filmic representation that emphasized audiovisual realism. This study investigates the contrasting influences of these two aspects. One influence was the decrease in the use of non-diegetic music, a practice reported in contemporary texts that can be confirmed by existing realist films. The first half of the paper analyzes contemporary discourse on filmic realism and anti-musical accompaniment arguments and reveals that musical accompaniment was considered unsuitable for both the above-mentioned aspects of realism. This influence, however, was not restricted to the decrease in use of non-diegetic music. In fact musical accompaniment was not completely abandoned, and some contemporary Japanese film composers sought an effective way of using it in realist films. The latter half of this paper shows the efforts of Fukai Shiro, one such leading Japanese composer, in this regard.

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.45, no.4, pp.23-33, 1995-03-31

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In European aesthetics in the first half of the eighteenth century "illusion theory" was predominant. This was founded on two basic postulates : 1) the copy, namely the work of art, should be 'transparent' in its representation of the original, 2) the 'address (i.e. skill) of the artist' arouses less interest as compared with "original'. The purpose of this paper is to show how Moses Mendelssohn, who had once accepted illusion theory in the Uber die Empfindungen (1755) and the Betrachtungen uber die Quellen...(1757), came to deny it, and what theoretical innovations he thence enabled. Lessing's explanation of the "vermischte Empfindungen" (see the Briefwechsel uber das Trauerspiel in 1757) made Mendelssohn aware of the insufficiency of the first postulate, and his own reflectiont on the sublime, especially on the 'subjective sublime' in the Uber das Erhabene... (1757) led him to deny the second postulate. The late Mendelssohn insisted : 1) the postulate of the transparency of representation is ill-founded because it does not take account of the representing subject, i.e. the recipient, 2) the work of art is a 'stamp of the abilities of the artist'. In conclusion : The traditional dualism 'original-copy' was about to transform itself into the modern scheme 'artist-work of art-recipient'.

著者

桑島 秀樹

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.48, no.4, pp.1-12, 1998-03-31

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The aim of this paper is to make a close analysis of Burke's only work on aesthetics, A Philosophical Enquiry (1757). I will focus upon the idea of 'feeling' or 'touch'. Since the studies of Burke's political philosophy and aesthetics in the past have given little attention to this. The idea of 'feeling' or 'touch' is at the philosophical basis of Burke's aesthetics. It reveals his fundamental confidence in the external world and in the human body system, including its innate mental powers. It also reveals his positive attitude toward 'obscurity' of image and sight. Burke's argument is brought to "anti-ocularcentrism" or "anti-illusionism". This will be demonstrated by making an examination into the ideas of 'danger', 'obscurity' and 'imagination'. The idea of 'feeling' or 'touch' will lead to the core of Burke's aesthetics, particularly to that of his greatly interested subject : the Sublime. It will also be shown to have a connection between the Sublime and the Grace. Reference will be made even to the influence of William Hogarth's aesthetics in his work, The Analysis of Beauty (1753) upon the thinking of Burke.

著者

岡田 三郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.42, no.1, pp.1-11, 1991-06-30

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Sirenes represente un type divin de le chanteur. Elles savent tout ce que voit passer la terre et charment les mortels de leurs fraiches voix qui causent a eux la mort (Odyssee, 12, 39-). Le plan de Sirenes est suivant ; [numerical formula] Hesiode dit que la fonction des Muses est la consolation, c'est-a-dire, l'oubli des malheurs ou la treve au soucis. "La consolation" remplace a "la mort" dans le plan de Sirenes. Ce plan se fondent sur le cadre de la pensee magique chez les Grecs. La poesie est apparue comme une forme de cultus deorum en qualite de louange des dieux, et en meme temps cultura animi ou la consolation pour les hommes. Elle est l'effet culturel. C'est la verite (aletheia) qui nous console le mieux. Je propose de comparer l'activite du poete avec celle du philosophe et l'homme politique sur le plan de Sirenes ou Muses qui est l'archetype culturel.

著者

秋庭 史典

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.46, no.2, 1995-09-30

著者

長尾 天

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.29-42, 2005-12-31

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Yves Tanguy (1900-1955) is one of the most important painters of surrealism. His unique image, however, has never been concretely discussed. The purpose of this paper is to show the characteristic of Tanguy's image in surrealist contexts and to add a new aspect to the discussions about optical images of surrealism. According to Roger Caillois, surrealist image is "an image without assured, perceptible or unitary signification," and has an "infinite" structure which makes viewer's interpretations infinitely. This paper calls this kind of image an "obscure image." Most surrealist images are constructed by signs that have a defined and perceptible signifie, and these signs make gaps of meaning among each other to become an "obscure image" (the principle of "depaysement"). However, in Tanguy's image, signs that form his image do not have a defined and perceptible signifie. Moreover, that image is the perfect representation with three-dimensional illusion. For this reason, the viewer's interpretations caused by "infinite" structure are all nullified. The image of Tanguy is an image that could be resolved into nothing except for image itself. That is an extreme form of the surrealist image.

著者

島本 浣

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.38, no.1, pp.13-25, 1987

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Au XVIII^e siecle le discours de la critique d'art, au sens etroit du terme, semble motive par la connaissance des valeurs plastiques de la representation picturale. On peut donc mettre Chardin au meme niveau que les peintres d'histoire. Avec R. de Piles et son Cours de Peinture nous tentons de montrer un des champs, ou cette valeur est theorisee, en analysant ce traite sur les trois parties principales composant la peinture. A la difference des idealistes classiques qui mettent les parties (composition-dessein-coloris) en rapport hierarchique, R. de Piles, parce qu'il pense qu'un oeuvre pictural, qui doit seduire les yeux, ne se realise qu'a travers un systeme organique des parties, les place dans un rapport d'egalite. Ce systeme, c'est-a-dire celui de la representation, produit une valeur picturale et s'ouvre aussi sur tous les genres de la peinture. Ainsi R. de Piles au XVIII^e siecle ouvre la voie a la critique dite "picturale."

著者

實渊 洋次

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.70-83, 2009-12-31

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This paper examines Trisha Brown's dance in the early 1970s. In the field of dance, Judson Dance Theater was launched in New York in the early 1960s. As one of the members of it, Brown created experimental dance works which broke down the preconceived ideas of dance. The focus of her pieces in the early 1970s, such as Walking on the Wall and Floor of the Forest, is on the relation of body to space. In Walking on the Wall, the performers, suspended in special harnesses from a ceiling, moved at right angles along the vertical wall-face of a gallery; in Floor of the Forest, two people put on clothes which were densely threaded with ropes, while hanging by them in midair. In such pieces, the performers' soles touch the wall, or the ropes are used as ceiling. This changes the relation of body to floor, from vertical to horizontal. In the simple and yet radical transposition, the performers find themselves sensing different kinesthetic movements in each part of the body than usual. Regulating the caused kinesthesia enables them to create new body movements.

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.34, no.3, pp.32-41, 1983-12-31

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Klaudios Ptolemaios's (2nd. century A. D., Alexandria) musical psychology (Harmonika, III/5-7) deserves some attention. In chapter 7 a clear comparison is made between τουοι and psychic conditions (ηηθ), but here are found three peculiarities. 1. A kind of inconsistency-tonos in Harmonika means two separate (though interrelated) things : A) pitch-key and B) mode. Here the text seems to refer to the tonos A, whereas in the Book II it is the tonos B that was postulated. 2. Shift in argumentation-at the beginning of this chapter the correspondence made is between modulation of tonoi and transformation of mind, but later it shifts to the one between tonoi themselves and various states of mind-the idea of variation is absent. 3. The whole description is abstract. Now Ptolemaios's musical psychology and musical cosmology (III/8-16) are symmetrically constructed, in which the analogue to chapter 7 is chapter 12. This chapter, where the seven tonoi are likened to the seven parallels of latitude, contains two peculiarities completely similar to those present in chapter 7 (1 and 2 as above indicated). They were required from the context in which this chapter 12 is situated. Thus in the light of its relationship to chapter 12, the structure of chapter 7 can be fully explained, together with the inconsistency of its tonos idea. The basic character which penetrates the entire Harmonika, that is Ptolemaios's strong inclination for system, will account for the abstract nature of the chapter.

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.2, pp.24-36, 1987-09-30

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Die Impulse, die Mei fur die Entstehung des musikalischen Barockstils gab, gingen originar von seinem Musiktraktat, De modis musicis in vier Buchern aus. Es handelt sich dabei um eine rein philologische Untersuchung, in der die antiken Tonoslehren und ihre Anwendung im allgemeinen Musikleben erortert werden. Mei machte darin zwei musikgeschichtlich folgenschwere Fehler. Einmal nahm er das ptolemaische Tonossystem nicht als Problem der Oktavgattung ohne bestimmte Tonhohe an, sondern als eine Mischung der Oktavgattung und Tonhohe (2. Buch). Diese Missinterpretation fuhrte direkt zu seiner Auffassung von der antiken Ethoslehre (3. und 4. Buch), daher zur Kritik der zeitgenossischen Polyphoniepraxis (3. Buch), und zur Idee der Monodie (3. Buch). Zum andern glaubte Mei, die griechische Tragodie wurde immer gesungen (3. Buch), was die Geburt der modernen Oper zur Folge hat. Hier kann man zwar mit Recht von kreativen Missverstandnissen sprechen, aber warum konnten sie dann kreativ sein? Zu erwahnen sind : der philologische Trend der Aristoteles-Kommentare, die eine Ubersicht uber das antike Musikwesen benotigten, die geistige Atmosphare der italienischen Akademien, in der die Musik der klassischen Philologie begegnete, der Ubergang von Modalitat nach Tonalitat, wodurch eine neue Systematisierung zu erwarten war, und schliesslich die Schwierigkeit des Zugangs zum antiken Musikschrifttum. Mit Rucksicht auf diese geschichtlichen Situationen scheint nun die Kreativitat dieser Missverstandnisse nicht immer zufallig gewesen zu sein, sondern mindestens einigermassen notwendig. Mit anderen Worten erfullte Mei mehr oder weniger unbewusst eine geschichtliche Notwendigkeit.

著者

田中(鈴木) 裕子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.37-48, 2010-06-30

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Denis Diderot examined the notation of the cylinders that were used in barrel organs and explored the possibilities of these instruments in his 'Quatrieme Memoire-Projet d'un nouvel orgue' <<Memoires sur differents sujets de mathematiques>> (1748). His Projet was not regarded as being particularly important at the time and his suggestions were probably never put into practice; they might be dismissed as just another technical proposal in the long history of automatic musical instruments. However, the Projet is important as a documentation of Diderot's attitude towards music and musicians. Diderot criticized those musicians who were satisfied with the status quo and pointed out the advantages of developing automatic instruments which they might have perceived as a threat. On the other hand, he insisted that musicians should not be required to keep rigidly accurate time like a machine or chronometre. Although we see that an analogy is being drawn between musicians and machines, it is clear that he did not believe that one was a substitute for the other. Studying his text, we see that he neither rejected machines nor regarded them with blind admiration.