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)

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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.

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.97-108, 2011-06-30 (Released:2017-05-22)

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INA Nobuo is known as the photo critic who emphasized the medium specificity of photography in his essay "Return to the Photography" in 1932 and who theorized and encouraged the reportage-photography. So researchers regarded his concept of reportage-photography as the consequence of pursuing the nature of photography. But it's a little known fact that he edited the graph-montage entitled "Scoping out the Crisis" on the magazine Hanzai-Kagaku in 1932. Interestingly, he used not only photographs but also some illustrations in his work. The aim of this paper is to re-examine his concept of reportage-photography through discussing the reason why he used some illustrations. In the era of "Ero-Gro-Nonsense" not a few books insert some erotic and exotic images to gratify the reader's desire. In response, rendering the exploring, consuming or looking people by caricatures, and the explored, consumed or looked people by photographs, his graph-montage represents class confrontation and the photography as spectacle negatively, because he assumed that photographs has to be used to convey "thought and emotion" clearly through the printed media. In this way he valued the editing on the printed media more than the property of automatic recording.

著者

高久 馨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.126, 2010-12-31 (Released:2017-05-22)

著者

蘆田 裕史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.113, 2010-12-31 (Released:2017-05-22)

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.163, 2009-12-31 (Released:2017-05-22)

著者

森 功次

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.16-29, 2009-12-31 (Released:2017-05-22)

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Dans la pensee de l'art chez le premier Sartre, l'image et le reel sont-ils distinctement separes? Sartre a-t-il meconnu la materialite de l'oeuvre d'art? Il serait excessif d'affirmer cela. Premierement, si l'on examine les concepts de <<spontaneite pre-volontaire>>, de <<degradation>>, et de <<motivation>> dans la theorie de l'image de Sartre, il apparait clairement que dans l'experience de l'oeuvre, le reel se maintient derriere l'imaginaire. La negation de l'existence de l'objet d'appreciations esthetiques ne signifie pas ne pas voir l'oeuvre. Deuxiemement, par comparaison avec le reve, l'experience de l'oeuvre d'art maintient des relations plus etroites avec le reel. Certes, le reve et l'experience esthetique constituent pareillement une experience de la conscience captive et concernent l'imaginaire, et Sartre lui-meme a d'ailleurs souvent decrit la ressemblance entre les deux. Mais dans L'imaginaire, a certains egards-notamment la distance vis-a-vis du reel, la facilite de la reflexion, et la nature du sentiment-, Sartre a clairement distingue l'experience esthetique de celle du reve. De ce point de vue, dans la theorie sartrienne, la realite de l'oeuvre, elle aussi, joue un role efficace.

著者

栗原 詩子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.71-84, 2007-06-30 (Released:2017-05-22)

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Although expression in films includes temporal and aural content, film study has attached much more importance to spatial and visual components in films. In an attempt to correct for this indifference towards temporal and aural content in film study, this paper analyzes Rythmetic (1956), an animated film of Norman McLaren (1914-1987), from the perspective of music analysis. In Rythmetic, wherein numerical characters engage in arithmetical operations on the screen, six kinds of scratched sound on the film are the main part of aural expression. The cut-paper animation for mathematical activity on the film frame results in an innovative rhythm structure that is quite different from traditional notation. That is where we realize the ingenuity of McLaren who defined animation as "the art of manipulating the invisible interstices that lie between the frames." Not a few appreciative of Rythmetic ranked this animated film "First Prize of Abstract Films" (in Rapallo), or "Diploma of Merit" (in Edinburgh). This film, however, has been often described only as a work "for education" because of its visual impression of chalkboard in the class of arithmetic. This paper threads out the seesaw between the arithmetical regularity and the aesthetical joke of the numbers, and reveals the process from the stark contrast into cross-fertilization of them.

著者

伊藤 政志

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.1-14, 2007-03-31 (Released:2017-05-22)

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In §15 der Kritik der Urteilskraft fragt Kant: ≫ob sich auch die Schonheit wirklich in den Begriff der Vollkommenheit auflosen lasse≪. Kant kritisiert Baumgartens und Meiers Asthetik, welche die Schonheit als die nur in verworrener Weise vorgestellte Vollkommenheit begreift, und baut auf der Grundlage des ZweckmaBigkeitbegriffs seine eigene Asthetik auf. Freilich ubernimmt Kant verschiedene Begriffe aus Baumgarten und Meier. Vor allem der Begriff ≫Lebhaftigkeit≪ ist ein ihnen gemeinsames Merkmal der asthetischen Erfahrung, der eine wichtige Roll in ihren Theorien spielt. Baumgarten und Meier gebrauchen diesen Begriff als Metapher, um eine Erfulltheit der asthetischen Erkenntnis zu kennzeichnen, die durch die Abstraktion der Vernunft nicht beschadigt wird. Dagegen wirkt der Begriff ≫Lebhaftigkeit≪ bei Kant nicht mehr metaphorisch. Denn fur Kant bedeutet die Schonheit zuerst die Naturschb'nheit, die man in der lebendigen und organischen Natur wahrnehmen kann. Also liegt zwischen leibnizwolffischen und kantischen Asthetik eine Wende, die dieser Aufsatz die teleologische Wende vom Schonen nennt. Dieser Aufsatz geht dem Weg Kants zu dieser Wende nach und versucht zu zeigen, welche neuen Moglichkeiten Kants Asthetik dadurch eroffnet hat, dass sie die ZweckmaBigkeit anstelle der Vollkommenheit als Leitfaden des Gadankens uber die Schonheit auffaBt.

著者

渡辺 勇士 井上 愉可里 原田 康徳

出版者

情報処理学会 ; 1960-

雑誌

情報処理 (ISSN:04478053)

巻号頁・発行日

vol.58, no.6, pp.468-473, 2017-05-15

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ビスケットはコンピュータの専門家ではない人でもプログラミングを楽しく理解できるツールである.2016年にアプリ版がリリースされ,タブレットで使えることによって,指で操作できるため,ペンを使うことに慣れていない児童でも,ストレスを感じずにプログラムをつくることができる.ビスケットは開発されてから,言語の進化と同時にビスケットの教え方も進化してきた.根底にある原理は「子供たちの驚きと喜びを最大化する」ように情報を提示することである.本稿では,実際の子供たちへの教え方になぞって,我々がどのように子供たちに教えているのか解説する.

著者

小松 健一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.3, pp.15-28, 2006-12-31 (Released:2017-05-22)

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L'opera del Correggio, Venere e cupido con satiro, e generalmente accomunata a l'Educazione di Cupido, conservata alia National Gallery di Londra. Le dimensioni dei due dipinti, tuttavia, non corrispondono ed inoltre gli studiosi ritengono che il quadro di Londra sia stato dipinto prima di quello del Louvre. Le iconografie dei due dipinti, l'Educazione di Cupido e Venere svelata da satiro, ignote al mondo antico, sono invenzione degli umanisti rinascimentali. Si trovano questi due motivi "pseudo-antichi" nell'Hypnerotomachia Poliphili, pubblicato nel 1499 a Venezia, una probabile fonte iconografica delle opere correggesche. Basate sulle descrizioni di Polifilo, le due scene furono adattate facendo riferimento alle sculture mantovane ed alle incisioni degli Amori degli Dei di Caraglio. La sensualita di Venere del Louvre e derivata dalla descrizione fatta da Polifilo di una scultura di ninfa. Queste due "donne dormienti", che hanno sostanzialmente l'ambiguita dell'identita, rappresentano la bellezza di nudita come opere "pseudo-antiche". Tale relazione con l'antichita rappresenta il gusto del committente Nicola Maffei, famoso collezionista di sculture antiche.

著者

新田 博衛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.84-86, 2006-09-30 (Released:2017-05-22)

著者

瀧 一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.4, pp.15-26, 2006-03-31 (Released:2017-05-22)

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L'examen critique des cours de Bergson, surtout celui des theories des rapports de l'ame et du corps, nous fait remarquer l'importance des problemes de l'imagination et de l'analogie. En effet, le philosophe essaie dans ses cours de trouver, d'une autre maniere que la dialectique hegelienne, une nouvelle vision du dualisme en comparant l'imagination qui represente par analogic et Fentendement qui raisonne par deduction. Une lecture nouvelle des oeuvres de Bergson par ce biais confirme que l'analogie bergsonienne dans l'imagination n'est pas seulement celle de la proportionnalite, qui renvoie a la ressemblance entre deux rapports d'images, mais aussi celle d'attribution intrinseque, analogic metaphysique des degres du reel. Ainsi l'analogie de l'art, qui se trouve partout dans le bergsonisme, n'est pas simplement un art de persuasion, mais un art d'invention. Allant au-dela des images infra-intellectuelles et retournant des hauteurs supra-intellectuelles pour creer des nouvelles images ici-bas, l'intuition bergsonienne a comme logique Vana-logos qui consiste a separer pour reunir en remontant a la source. On pourrait l'appeler, en tant qu'alternative au logos de l'intelligence moderne, un logos esthetique au sens ravaissonnien du mot: ≪ le flambeau de la science ≫.

著者

蘆田 裕史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.28-40, 2005-09-30 (Released:2017-05-22)

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The Italian Futurists participated actively in the areas of applied arts. However, due to the variety of their activities, each area has not been explored equally. The purpose of this study is to reveal the significance of clothes and fashion in the Futurism. The Futurists showed interest in fashion embodying the concept of speed, for they regarded the velocity as sacred. They had interest in clothes themselves as well. Giacomo Balla presented the new Futurist clothes in his manifestoes. The clothes are characterized by three concepts; "change", "functionality" and "influence upon spirit". For Balla, clothes were not works of art, but in fact were tools. His idea of clothes had importance for the Futurists in this respect, because the arts were tools to inform or realize their ideas. Only from this point of view, however, it is impossible to find differences between clothes and other applied arts. For this reason, it is necessary to consider the fact that Balla started with textile design when he made clothes. As understood from the discourses of the Futurists, they emphasized the significance of the Italian textile industry. Because of this industrial characteristic, the Futirists regarded the fashion as a priviledged domain.

著者

安井 修二

出版者

尾道大学経済情報学部

雑誌

尾道大学経済情報論集 (ISSN:13469991)

巻号頁・発行日

vol.2, no.2, pp.1-14, 2002-12

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バブル崩壊のあと日本経済は1990年代から現在まで10年余りにわたる長期不況を経験してきた。途中、景気の立ち直りかと思わせる局面が3度ほどあったが、その都度「失速」を繰り返し、安定上昇軌道に戻れなかった。この間、マクロ経済政策としての財政政策と金融政策が大規模に実行されたにもかかわらずである。こうした長期停滞の経験は第2次大戦後の日本で初めてであり、また1929年の株価暴落に始まる米合衆国の大不況とも違ったものである。本稿は生産物市場、資産市場、労働市場の状況の過去の不況と比較しての違った様相を概観しつつ、大蔵省(現、財務省)、日本銀行、金融庁(大蔵省から銀行部門が分離)、与党議員間の相互不信と際限のない批判のやり取りが市場の期待を冷やし続けてきたことを最も重要な要因として指摘した。問題そのものの難しさは認めつつも、日本の政治システムの混迷に根ざす政策策定・実行能力の無さが顕著であったことを強調した。尾道大学経済情報学部論文

著者

中園 篤典

出版者

日本リメディアル教育学会

雑誌

リメディアル教育研究 (ISSN:18810470)

巻号頁・発行日

vol.11, no.1, pp.76-90, 2016-03-31 (Released:2017-02-08)

参考文献数

14

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When assigning reports in a “Japanese Linguistics” liberal arts course, the author explains and demonstrates to students the format of a thesis paper and instructs them to write reports according to this format. It was found that 12.1% of reports submitted in 2007 lacked thesis-paper structure and were similar to essays. The author hypothesized that those students who were able to properly write a problem proposal as a result of instruction conducted in 2007 would be able to write reports with structures similar to thesis papers. Therefore, in instruction from 2008 to 2010, the author limited all students to a single problem proposal and had them write reports. In 2008, 6.7% of reports lacked an adequate thesis-paper structure. In 2009, the percentage dropped to 6.5%, and to 5.7% in 2010. In order to confirm that this decrease did not occur by chance, the changes in percentages were tested by normal distribution. Comparing 2007 and 2008, the test statistic was Z≒1.79. For 2007 and 2009, it was Z≒2.01. For 2007 and 2010, it was Z≒2.32. In all cases, the values exceeded the one-tailed 5% test index of 1.65 and did not exceed the one-tailed 1% test index of 2.33. Therefore, we can roughly characterize the effects by saying that the percentage of reports lacking structure decreased as a result of the author’s instructional approach.

著者

池田 浩子 今井 昇 井川 雅子 岩井 謙 道端 彩 高森 康次

出版者

日本口腔顔面痛学会

雑誌

日本口腔顔面痛学会雑誌 (ISSN:1883308X)

巻号頁・発行日

vol.10, no.1, pp.55-63, 2017 (Released:2019-04-24)

参考文献数

34

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症例の概要:72歳男性.咀嚼時の両側咬筋の疲労感・開口障害による咀嚼困難を主訴に口腔外科を受診した.顎跛行,開口障害,複視,めまい,体重減少,間歇的な頭皮の痛みなどの症状が認められたため,精査目的に専門施設(神経内科)を紹介した.頸動脈エコー,側頭動脈生検の結果,巨細胞性動脈炎と診断された.ステロイド治療が施行され,速やかに症状の改善が認められた.考察:巨細胞性動脈炎は頭痛以外にも多彩な症状を呈する.顎顔面領域にも顎跛行や開口障害など様々な症状が発現するため歯科を受診する可能性も高いと考えられる.巨細胞性動脈炎が呈する症状のうち,顎跛行,複視,側頭動脈の拡大・圧痛・拍動消失は陽性尤度比の高い症状とされており,そのような症状が認められた場合は速やかに専門施設へ紹介することが重要である.そのためには歯科医師も巨細胞性動脈炎の病態を正確に理解しておく必要性があると考えた.結論:顎跛行および開口障害を主訴に口腔外科を受診し複視,めまい,体重減少,間歇的な頭皮の痛みおよびリウマチ性多発筋痛症の合併も考慮された巨細胞性動脈炎の症例を経験した.

出版者

成田図書館

巻号頁・発行日

1910