抄録
In this paper, I shall examine Michael Fried’s approach to Caspar David Friedrich’s paintings and its significance in his study of art history. First, I clarify Fried’s theoretical framework, focusing on the concept of "absorption." Second, I explore how he proposes a type of subject distinct from the absorptive subject––called the "cognizer"––through his reading of Friedrich’s "Rückenfiguren" and Immanuel Kant’s philosophical texts. Finally, I contrast Fried’s interpretation of Friedrich’s Paintings with Robert Rosenblum’s reading, and situate the mode of experience of what Fried calls the "cognizer," between two kinds of aesthetic attitudes, "absorption" and "contemplation."
