著者

山本 佐恵

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.85-96, 2017 (Released:2018-07-01)

---

Ikko Tanaka (1930-2002) was a distinguished Japanese graphic designer in postwar Japan. Representations of his design works are diverse. However, the theme of “Japanese tradition” or “Japaneseness” is present consistently in Tanaka’s unique expression in his works. This paper examines the representation of “Japaneseness” of Tanaka’s works in the context of postwar graphic design circles. Tanaka’s design for the “Exhibition of Japanese Textiles at Takashimaya in New York (1959),” which utilized only “kanji (Chinese characters) typography,” has been evaluated by a Western sense of modern design as a work that expressed Japanese traditional culture. Without relying on Japanese motifs such as Mt.Fuji, Japanese cherry, or “geisha”, this is an epoch-making work that expresses “Japaneseness” only through kanji; it is one of the masterpieces in Japanese graphic design history. In this work, Tanaka created “the originality of Japanese Design” by a method of constructing into the design while taking advantage of the function of kanji ideograms. In order to shed the imitation of Western design, Tanaka represented “Japaneseness” by adopting the “zure (gap)” and “kasure (scratchiness)”, which departed from modern design theory, and by devising a new color scheme.

著者

小倉 健太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.159, 2015-12-31 (Released:2017-05-22)

著者

福間 加代子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.133, 2015-12-31 (Released:2017-05-22)

著者

外山 悠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.130, 2015-12-31 (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.66, no.2, pp.116, 2015-12-31 (Released:2017-05-22)

著者

井戸 美里

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.73-84, 2015-12-31 (Released:2017-05-22)

---

The late sixteenth to early seventeenth century produced many narrative paintings which based on classical literature such as the Tale of Genji and the Tale of Heike. It should be noted however that the number of folding screens which visualized the Tales of the Soga increased, especially in the early seventeenth century. In this paper, I would like to analyze the motifs of the Soga screens that were said to be taken from the Kowaka version of the Tale of the Soga. The motifs which were selected from the text of Kowaka were elaborately juxtaposed on the screen, representing the originality and authority of the warrior families. I will also consider the space of kaisho where warriors gathered for some rituals with a banquet and newly emerging performing arts such as Noh theatre and Kowaka were often performed, since the emergence of the gathering space of kaisho seemed to cause an increase of the production of these narrative folding screens. Kowaka-mai performances, which often narrated stories from war chronicles, functioned not only as a pacificatory requiem for those who had died in past wars but also as an expression of desire for a more peaceful future.

著者

秋庭 史典

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.197-200, 2015-06-30 (Released:2017-05-22)

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.65, no.2, pp.132, 2014-12-31 (Released:2017-05-22)

著者

桝田 倫広

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.146, 2014-06-30 (Released:2017-05-22)

著者

利根川 由奈

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.132, 2013-12-31 (Released:2017-05-22)

著者

中村 泰士

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.119-130, 2013-06-30 (Released:2017-05-22)

---

Cet article propose d'etudier la methode de visualisation d'Odilon Redon en analysant la tendance de l'association des images dans trois series de La Tentation de Saint Antoine. Redon explique que ses oeuvres sont le fruit <<d'une combinaison de divers elements rapproches, de formes transposees ou transformees>>. Cette citation nous permet d'entrevoir sa methode de combinaison des images par similarite et par contiguite. Aussi, l'analyse des oeuvres d'Odilon Redon par la similarite et la contiguite, que Roman Jakobson presente comme les deux types du developpement d'un discours va-t-elle eclaircir la methode de visualisation symboliste. L'analyse revele, dans la premiere serie, la combinaison par contiguite avec le diable et la combinaison par similarite des dieux paiens et des monstres. On constate egalement dans la deuxieme serie la combinaison par similarite des dieux paiens et des monstres. On peut reconnaitre le caractere dominant de la combinaison par similarite dans les deux oeuvres qui presentent une forte tendance d'association substitutive. A l'inverse, la troisieme serie se caracterise par la superiorite de la description par contiguite et par une forte tendance d'association predicative avec une situation concretisee par l'insertion des paysages. Darts la methode d'Odilon Redon non seulement la substitution par similarite mais aussi la description par contiguite jouent un role important.

著者

王 文萱

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.121, 2012-12-31 (Released:2017-05-22)

著者

早川 恭只

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.97-108, 2012-12-31 (Released:2017-05-22)

---

Many films which take disasters like earthquakes as their subjects are fictional. And life goes on (1992) is a movie about the big 1990 earthquake in Iran. However, fiction and reality are interwoven equivalently by Kiarostami. This truly reflects his own style of making films. The earthquake really hit a place where Kiarostami had shot a previous film, and And life goes on is just a fiction based on reality, in which a cineaste who is an actor travels with his son to ask the safety of previous cast members. This film can pretend to be a documentary, but includes the exposure of being fiction, and its fictional images are contrasted by the views of the devastated area and victims' narration. However, the local children seem to play what they should be beyond themselves and their roles in the film. In such their self-direction, we can recognize a truth about children who have got not only a victims' desire to continue living and their daily lives but also the film makers' desire to expect such a situation. The evidence of a child's life can be brought to such interstice between fiction and reality, where the difference between them melts and fuses.

著者

渡辺 洋平

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.25-36, 2012-12-31 (Released:2017-05-22)

---

Dans Proust et les signes, Gilles Deleuze a defini l'ceuvre d'art comme une machine. C'est la premiere fois que le concept de machine apparait dans ses oeuvres, et selon Deleuze, l'oeuvre de Proust A la recherche du temps perdu est elle-meme une machine. Notre etude est une tentative pour extraire de cette oeuvre sur Proust les conditions necessaires a l'existence de ce concept de machine. Et pour cela, nous confrontons Proust avec Platon selon la demarche de Deleuze. En effet dans ce livre, Deleuze parle souvent du platonisme de Proust, qu'il considere comme le renovateur de la reminiscence de Platon. Il nous semble que le concept de machine est rendu possible par cette renovation. Il existe aussi une autre condition a ce concept: la theorie du temps. Deleuze a deja presente une theorie originale du temps dans Difference et repetition, mais elle se presente sous un nouvel aspect avec l'art comme machine. Ueclairage apporte sur ces questions permet de reveler l'importance primordiale de Proust dans la pensee de Deleuze.

著者

小谷 明

出版者

日本微量元素学会

雑誌

Biomedical Research on Trace Elements (ISSN:0916717X)

巻号頁・発行日

vol.22, no.1, pp.22-26, 2011 (Released:2013-09-09)

参考文献数

13

---

Cisplatin, clinically used anticancer Pt(II) complex, has been believed to attack DNA to form Pt-N7(Guanine) coordination, and Pt-G bond is protected from DNA repair enzyme by the aromatic ring stacking between Pt-G and Phe side chain in Pt-DNA-HMG protein adduct. The adduct mimicked 4N coordinated Pt(II) complexes M(DA)(AtCn) involving with metal coordinated aromatic diamine (DA) and anthracene ring side chain in AtCn, which could not coordinate DNA, showed not only in vitro cytotoxicity for human cancer cell lines but also strong inhibition with protein interaction such as the proteasome. The bio-activity indicated the structural dependence of both DA and AtCn. This should relate with the intramolecular aromatic ring stacking interaction which was evidenced by the X-ray structure in crystal and the H-1 NMR in H2O solution. Importantly the Pt(II) complexes showed similar bioactivity in cisplatin resistance cancer cell. These experimental results showed that the Pt complexes involving stacking structure might be new type anticancer metal compounds.

著者

佐藤 勇二

出版者

公益社団法人 日本薬学会

雑誌

ファルマシア (ISSN:00148601)

巻号頁・発行日

vol.50, no.10, pp.1006-1008, 2014 (Released:2016-09-30)

参考文献数

10

---

一般名:イソソルビド薬価収載日:2005年7月8日

著者

西田 紘子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.153, 2009-12-31 (Released:2017-05-22)

著者

江口 みなみ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.104, 2011-12-31 (Released:2017-05-22)

著者

小川 佐和子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.107, 2011-12-31 (Released:2017-05-22)

著者

増田 哲子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.73-84, 2011-12-31 (Released:2017-05-22)

---

This paper focuses on the image of "eating" in Francisco Goya's Saturn Devouring His Son (1820-23). We aim to grasp the meaning of "eating" in the above and other works of Goya by examining the grotesque body image of Saturn who devours his victim with wide-open mouth and eyes, angular limbs, and disheveled grey hair. As a court painter at the end of the 18^<th> century Spain, Goya was commissioned for works like portraits and tapestry cartoons, where he drew the dignified public body of royalty and nobility, which represented the classical notion of "ideal beauty." However, in a series of works executed after the Peninsular War of 1808-1814, such as the Disasters of War and the Black Paintings, Goya painted distorted and grotesque images of bodies that eat, excrete, grow old, die, and decay. In these images, Goya represented the body as "matter" that was far from the ideal beauty. In this article, we show that the grotesque image of "eating" in Goya's works does not convey the enjoyment and pleasure of life but the insatiable desire to eat, cruelty, and violence in the act of eating, as well as aversion to food.