著者

中間 志織

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

藤枝 晃雄

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.30, no.4, pp.49-58, 1980-03-30

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Modern art can be classified into two forms : art as art and antithetical art. The latter, which appeared for the first time in this century, is discussed in this paper. It has at times been regarded as modern art. Antithetical art, however, as the term suggests, is not self-sufficient but rather resultant from the preceding art. Marcel Duchamp, one of the first antithetical artists, has denied the possibility of defining art, but Joseph Kosuth in recent years takes an afirmative atittude and even demands to define it. In which points are these two proposals different from or similar to each other? We try to clarify the genetic conditions of antithetical art.

著者

藤枝 晃雄

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.22, no.3, 1971-12-30

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One of the particularities of modern art is the trend that art exists not as art per se but as art about art. One example of this is "Urinal". which is comprehensible even if not seen. The recent trend, however, demands that the work which is made by the artist himself has to be seen and to be conceptualized later. The trend appears to have had its derivation in the virtual desintegration of space intrinsic to positive expression. Not having any purpose, it might be called "objective contradiction." The work finds its expression in space as a portion rather than a unified entity.

著者

小林 利延

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.29, no.4, pp.58-71, 1979-03-30

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Owing to its unique construction, Botticelli's "Adoration of the Magi" in the Uffizi is distinguished from his other works of the same theme. Five of his "Adoration" paintings still survive, and they consist of various pictorial elements-Holly Family, three Magi, "a great multitude and a noble following" after Pseudo-Bonaventura's <Meditations>, horses, trees, ruins, buildings and so on. Among his "Adoration"s, the work in the Uffiizi has smaller number of horses than others and lacks "a great multitude", trees and buildings (see Table 1). Although the works in The National Gallery, London, and in National Gallery of Art, Washington, have the similar construction, "Adoration" in the Uffizi, which was painted between those two, has a considerable difference in construction. Besides, the composition of "Adoration" in the Uffizi is compressed in both sides. And again, one of the several vanishing points of its own linear perspective falls below the lower side of the picture. These mentioned facts lead us to assume that the sides of "Adoration" in the Uffizi were probably cut off from the original picture. The lost parts must have contained all those pictorial elements lacking in the present "Adoration" in the Uffizi.

著者

石田 圭子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.2-15, 2008-12-31

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T. E. Hulme, an aesthetician and a critic, is famous for his contribution to Imagism, one of the most important movements of Anglo-American Modernism. This leading figure of Modernism is also notorious as a sympathizer of protofascism who celebrates Charles Maurras and Georges Sorel. In this paper, I try to analyze the relation between Hulme's aesthetics and the ideology of protofascism. In his essays, rejecting the sensibility of Romanticism, Hulme insists on the superiority of Classicism, which is, actually, deeply affected by the political and literary view of Maurras who regards Classicism as 'anti' to liberalism and democracy. Moreover his keen interest in geometric-abstract art reflects his worldview - reactionary modernism whose core is 'the religious attitude'. In this view, he supports Sorel's political theory in which he finds Classicism and the religious attitude. Finally I point out the homogeneity between Hulme's idea and protofascistic Weltanschauung by taking an overview on the rise of irrationalism and the vulgarized Lebensphilosophie. This close relationship between aesthetics and protofascism in Hulme's thought suggests that Modernism and fascism, the two concepts that are widely assumed to be antithetical, might partly have an profound kinship.

著者

橋爪 恵子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.13-24, 2011-06-30

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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

三上 真理子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.49, no.3, 1998-12-31

著者

庄野 進

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.37, no.2, pp.58-69, 1986-09-30

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"Electronic Music" has three origins : elektronische Musik, musique concrete and tape music. Though these origins have been integrated from the mid fifties into "Electronic Music", we can still classify this music according to three electronically determined aspects of generating, transforming and restoring or composing sounds. Electronic music does not represent a new (avant-gardistic) style as once insisted by German composers, but a genre, and can be characterized by its use of a variety of musical elements : various sound materials, which have new timbres, "imagery space" and movement of sounds in space as materials of composition. But the most important influence of electronics on music is the change of fundamental characteristics in each process of musical communication : 1) the immediate feedback of sound results as essential part of composing, 2) absence of performer or interpreter, 3) emergence of discursive type of listening.

著者

佐々木 健一

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.41, no.1, 1990-06-30

著者

荻野 厚志

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.15-28, 2008-06-30

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Dans Lascaux ou la naissance de l'art (1955), Georges Bataille se heurte a une aporie de l'art prehistorique, en y trouvant l'essence de magie: il lui fallut admettre son cote utile, alors qu'il considerait l'art en general comme inutile. Cette aporie tient a l'ambiguite meme de l'<<art magique>>, ambiguite qui caracterise l'esthetique anthro-pologique de Bataille, dont la naissance releve du travail qui se lie a calcul interesse et a l'intention efficace. Mais, pour Bataille, l'intention magique doit etre depassee par l'operation qui fait participer les hommes a la realite sensible ou bien au sacre par le jeu. Bataille trouve les signes de l'operation dans l'<<aveugle surete>> qui compose l'ensemble magnifique de la frise de Lascaux, et dans l'expression de l'<<enchevetrement>>. Il nous amene a ignorer la necessite materielle au milieu de cette realite sensible, a la faveur de la volonte de merveille qui communique avec nous. Etrangere a l'intention prealable et efficace, cette realite se caracterise par l'essence ephemere: l'operation qui ouvre cette realite veut dire la creation d'un monde, il s'agit de chaque geste recommence au moment de <<genie>>. Ce que Bataille presente est l'oeuvre d'art qui n'a pas de sens de decoration durable. Nous pouvons conclure donc que l'<<art magique>> est la survivance miraculeuse des gestes ephemeres.

著者

乾 由明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.10, no.1, pp.48-52, 1959-06-30

著者

Fukuda T.

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.11, no.2, pp.78-77, 1960-09-30

著者

白石 恵理

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.3, 2001

著者

川瀬 智之

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.43-56, 2007-06-30

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Merleau-Ponty, dans la Phenomenologie de la perception (1945), dit que, dans 1'experience de la profondeur, deux vues incompatibles de la meme chose, par exem-ple la vue frontale et la vue laterale, coexistent simultanement. Et il identifie la dis-tance entre le percevant et la chose percue avec la profondeur. Et dans ≪L'Oeil et 1'e-sprit≫(1961), il dit que, dans la peinture par Rembrandt, par la coexistence simultanee des vues incompossibles, le spectateur reconnait la profondeur de l'espace. Mais, en meme temps, il dit que la distance est, ainsi que la hauteur et la largeur, l'abstraction sur la profondeur. Que signifie cette difference des deux propositions sur le rapportde la distance et de la profondeur? Dans Le visible et l'invisible, ecrit de 1959 a 1961,il s'agit de la profondeur de la chair a laquelle appartient communement et le voyant etle visible. Ici, la profondeur n'est pas la distance entre le voyant et la chose percue, mais elle inclut le voyant meme. Cette transformation de la notion de la profondeurdesigne le detachement de la pensee de Merleau-Ponty de la philosophic de la conscience sur laquelle celle-ci s'etait fondee dans sa premiere periode.

著者

吉村 稔子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.40, no.3, 1989-12-31

著者

河本 真理

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.48, no.2, pp.49-60, 1997-09-30

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La peinture classique, qui se fonde sur la ressemblance, tente d'exclure, dans la mesure du possible, de son champ l'ecriture. Cependant, la deconstruction des lois de la perspective classique a entraine la reintroduction de l'ecriture dans l'espace pictural au moment du cubisme. Cela a permis a Kurt Schwitters de tenter de reunir les genres artistiques, et tout d'abord la peinture et la poesie, pour qu'ils se fondent dans le Merzgesamtkunstwerk. L'ecriture de Schwitters ne constitue pas un message clair ; fragmentee, elle reste subordonnee a l'esthetique. Elle se libere de la notion de langue-nomenclature, ou l'on nomme des objets qui existent en-dehors de la langue, et devient "materiau" en soi. Cette opacite de l'ecriture chez Schwitters designe une affinite avec l'ecriture cubiste. Dans le cas des inscriptions politiques, la fragmentation et l'illisibilite de l'ecriture sont le signe de son refus absolu d'un "art au service de l'ideologie" ; il se distingue ainsi de la propagande politique de Dada-Berlin. D'ailleurs, Schwitters recherche l'arbitraire du signe linguistique de facon plus radicale que les cubistes qui restent representatifs. Le signifiant du titre=ecriture ("und"), qui entre dans ses images non-representatives, ne se refere plus qu'au signifiant lui-meme comme dans Das Undbild. Cette absence de referent derange avec ironie notre code de lecture. A travers "Merz", Schwitters articule le monde et cree continuellement un nouveau sens.

著者

河合 大介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, 2004-12-31

著者

辻 智美

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.3, 1999-12-31

著者

森 功次

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, 2008-12-31

著者

河合 正朝

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.25, no.3, pp.25-37, 1974-12-31

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In this paper, at first, I try to re-examine the traditional view about the biography of Unkoku TOGAN (1547-1618). For we know little about the reason why and sources from which that traditional view is admitted so widely and the dates of his works are, in most cases, merely deduced from the dates of edifices where his works exist now. The second step of this paper is the stylistic examination to make clearer the development of his works than before. The author is happy if this paper might be the preparation for a further systematic study of Togan.