美学

表紙

原稿種別: 表紙
1968 年 19 巻 3 号 p. Cover1-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_Cover1

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目次

原稿種別: 表紙
1968 年 19 巻 3 号 p. Cover2-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_Cover2

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芸術の純粋性について

藤繩千艸

原稿種別: 本文
1968 年 19 巻 3 号 p. 1-11
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_1

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Der hauptsachliche Charakter der modernen Malerei besteht darin, eine neue Schonheit der Farbe und Form als solche zu erwerben. Ein solcher Weg zur reinen Malerei ist durch Kandinsky und die andere Maler im Anfang des 20. Jahrhunderts gebahnt. Was ist aber die Reinheit der Kunst? Nach meiner Meinung bedeutet sie die reine geistige Beziehung zwischen der Kunst und dem Menschen, und sie grundet sich auf die Daseinsweise des Menschen in der Natur. Der Mensch muss nicht im Daseinsbezirk, wo er die Natur zum Gegenstand seiner Vorstellung nimmt, sondern in der ganzen Natur sein, die Alle des Seienden enthalt. Wenn sich der Mensch am naivsten an die Natur angleicht, kann die Kunst am reinsten sein. Hierher hat man sich bestrebt, durch den Verzicht des Leibs, des Menschen und der Natur selbst die Reinheit zu gewinnen. Jetzt aber streben wir nach der Reinheit der Kunst, um den Menschen zu erlosen und die Natur auferstehen zu lassen.

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美学会第十九回全国大会報告

原稿種別: 付録等
1968 年 19 巻 3 号 p. 32-33
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_32

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作品の存在(大会報告)

新田博衞

原稿種別: 本文
1968 年 19 巻 3 号 p. 34-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_34

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Im Kunstwerk sind Wesen und Existenz immer aufeinander bezogen, sind korrelativ. Ein Musikwerk ist z.B. von seinen einzelnen Ausfuhrungen verschieden. Trotzdem ist das Werk selbst von den Ausfuhrungen jedoch nicht trennbar. Das Wesen eines Musikwerkes erscheint uns nur durch seine Ausfuhrung ; die Existenz desselben besteht erst als eine Ausfuhrung dieses Werkes selbst. In einem Bild sehen wir nichts anders als das Verhaltnis von Wesen und Existenz, von dem Werk selbst und seiner einmaligen Ausfuhrung durch den Maler. Das kunstlerische Sehen bedeutet, dass man ein wesenhaftes Unsichtbaren durch eine sichtbare Existenz erschaut.

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芸術作品成立の記号場的構造(大会報告)

平野重光

原稿種別: 本文
1968 年 19 巻 3 号 p. 35-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_35

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When we ask "What is art?", it appears the problem of the "situation". The situation is a field that Subject and Object confront each other under the regulations of time and space. From the semiotic point of view, the most fundamental model of the situation is organized as schema I (see p.35). But when a sign (including signal, simpton and symbol) is realized, it refers to always variable referents. For, there are the operations of three moments, i.e. the Given of object, the Intention of subject and the Place of both confronting. The three moments, in a word, are the "circumstance". In fact, under the circumstance we receive every object as signal, simpton or symbol. So that schema I should be evolved to the developmental model schena II & III. It follows that os and sR hold the connection with a functional relation, and os<sR tends to more signal sign, os>sR tends to more symbolic sign. Now works of art are the signs of emotional things and their correlations, and are composed of not yet commonly articulated colour, shape, word, sound or movement. The compositions are the symbols of feeling that can never be exchanged, and so the objective forms have the analogies to those of the import. In other words, the every element has a character not of a simile but of a metaphor. Hence the situation shifts from schema III to IV. In this case, the chain of sign-situations is abridged, but really the very abridgment helps to turn the relative present to the absolute present. Thus the "situation" of works of art afresh evolves to the schema V.

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世阿弥の能楽思想と美的実存(大会報告)

成川武夫

原稿種別: 本文
1968 年 19 巻 3 号 p. 38-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_38

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This report aims at characterizing Ze-ami, the founder of Noh-Play, as a kind of aesthetic existence in view of comparative aesthetics. For this purpose I have chiefly paid my attention to Kadensho and Kakyo among his many treatises on Noh-Play, because the former contains the thought of Noh in his earlier days and the latter represents one in his later days. The most important subject of Kadensho is explanation of 'hana' (flower) which is regarded as a stage effect. Various meanings are given by the author to 'hana', bu three conspicuous features will be found therein-'yugen' (graceful beauty), 'omoshirosa' (amusingness) and 'mezurashisa' (novelty). Some of the treatises of performance in Kadensho tell that the author did his best to enact 'hana', especially 'omoshirosa' and 'mezurashisa' on the stage of contest, which shows that Ze-ami's aesthetic existence is basically conditioned by a kind of 'being-for others' in Sartre. As he gets older, however, there appears remarkable change in his aesthetic consciousness which is clearly shown in Kakyo where 'yugen' is explained as another characteristics of beauty, i.e., 'hie' or 'sabi' (profound beauty as oxidized silver), permeating deep into the world of emptiness. This change of aesthetic consciousness is regarded as basically conditioned by the awareness of 'absolute nothingness' in Zen which is simillar to, Transcending to Being' or 'Standing in the openness of Being' in Heidegger. Therefore 'being-for transcendence' is regarded as the core of the aesthetic existence in his later days.

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伝ロンギノス作『崇高について』 : に於けるψν^^′σισとτε^^′χνηの概念について(大会報告, 美学会第十九回全国大会研究発表)

森谷宇一

原稿種別: 本文
1968 年 19 巻 3 号 p. 39-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_39

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Longins "das Erhabene" (νψο〓) bedeutet keine bestimmte Stilgattung in der spatantiken Rhetorik, sondern vielmehr die absolute oder ekstatische Wirkung, die die wahrhaft grosse Literatur auf den Horer (d.h. Loser) ausubt. 1) Die Begriffe Physis und Techne sind zuerst als beide Momente (Naturanlange und Technik) betrachtet, die Schaffenstatigkeit bedingen. Die Physis ist mehr ursprunglich und zu bevorzugen. Sie hat auch die eigene Gesetz- oder Zweckmassigkeit, die dem Schopfer Erfolg verspricht. Aber es gibt verschiedene praktische Schwierigkeiten, die sich mit der inhaltlichen und sprachlichen Gestaltung verbinden, und es ist die Techne, die diese Aufgabe zu losen vermag. Daraus folgt, dass "es ist recht, dass die Techne der Physis Hilfe leistet." 2) Die Begriffe Physis und Techne sind auch auf die Dartellungsweise eines literarischen Kunstwerks angewandt. "Die Techne ist vollkommen, wenn sie Physis zu sein scheint. Die Physis ist dagegen zutreffend, wenn sie die verborgene Techne umringt." Daraus darf man folgern, dass Longin sowohl als auch Kant (vgl. Kritik der Urteilskraft §45) das Vorbild der Techne (Kunst) an der Ungezwungenheit der Physis (objektiven Natur) findet.

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デカルトにおける快の理論(大会報告)

佐々木健一

原稿種別: 本文
1968 年 19 巻 3 号 p. 40-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_40

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Descartes est le philosophe qui a fait l'analyse physiologico-psychologique du phenomene du plaisir pour la premiere fois. 1) Voici la position du plaisir dans son monde : par le plaisir on devine l'utilite de divers mouvements qui viennent des objets d'alentour, ainsi il sert a supporter notre corps et notre vie. Dans l'Homme, Descartes pose le principe de la moderation : on sent l'ex- citation agreable, quand elle n'est pas insuffisante ni excessive mais moderee. Sauf son imparfait, il y a deux phenomenes du plaisir auxquels on ne peut pas l'appliquer validement. 2) L'un est celui qui concerne la sensation du cote qualitatif du sensible qualitatif (ex. couleur de la lumiere) ; laquelle est expliquee par la diversite des facon du mouvement et n'a aucun element quantitatif. L'autre est celui que le Compendium Musicae pose dans le II^e chapitre : ce plaisir n'est pas notre reaction immediate, mais vient de l'activite de l'ame. 3) En echouant physiologiquement, l'explication est transferee au domaine de la psychologie : la theorie de la joie intellectuelle principalement dans les Passions de l'ame. En l'interpretant, on conclut la theorie cartesienne du plaisir sous le point de vue de l'esthetique comme suit : la jouissance artistique, accompagnee de divers sentiments et passions, a dans son trefond la joie intellectuelle.

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ヘーゲル美学における芸術的認識の問題(大会報告)

熊田真幸

原稿種別: 本文
1968 年 19 巻 3 号 p. 41-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_41

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Die Kunst gehort nach Hegel als eine der vernunftigen Erkenntnisse des Absoluten (der Idee) zu dem absoluten Geist, und zugleich unterscheidet sie sich als die anschauliche Form von andern (Religion und Philosophie). Sie findet ihren eigentlichen Gegenstand in den handelnden Individuum, und zwar in seinem Charakter, der die Form der individuellen Selbstandigkeit hat. So wird die Kunst fur eine relativ eigene Erkenntnis anerkennt, die durch ihre Form sowie ihren Inhalt von andern verschieden ist. Hegel nimmt das kunstlerische Wahre fur das echt "Poetische", d.h. das Ideal, das durch die "Reinigung" hervorgebracht wird, und die Originalitat der Darstellung fur die Identitat der Subjektivitat des Kunstlers mit der wahren Objektivitat. Hieraus konnen wir finden, dass sich diese Konzeption Hegels gewissermassen dem Begriff "Muster" als dem Kriterium des kunstlerischen Wahren und der Realismus-Kunstanschauung nahert. Dennoch konnte Hegel weder die Stellung der Kunst in der wirklichen Beziehungen richtig erkennen, noch die Besonderheit der kunstlerischen Erkenntnis wirklich beweisen. Denn er identifizierte die ganze Tatigkeiten des Menschen, wenn sie auch praktisch oder theoretisch seien, lediglich mit der geistigen Tatigkeit, ausserdem hielt er jede geistige Tatigkeit, jede Form des Bewusstseins und der Erkenntnis fur eine vorbereitende Form des philosophischen Denkens.

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ティーノ・ディ・カマイーノのフィレンツェ時代(大会報告)

上平貢

原稿種別: 本文
1968 年 19 巻 3 号 p. 45-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_45

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Le opere di Tino del tempo del suo soggiorno a Firenze hanno molta importanza nella sua vita di scultore. E anche si puo considerare che queste sue opere affiano esercitato non poca influenza sulla storia della scultura fiorentina del Trecento. Il soggiorno di Tino in Firenze fu assai breve. Ma ne affiamo tanti problemi da risolvere : 1) Quando ha visitato Firenze per la prima volta? 2) I caratteristici dello stile della tomba di Gastone della Torre in Santa Croce rappresentano un cambiamento di Tino stesso? o questa tomba e l'opera di bottega? 3) L'opinione di W.R. Valentiner sul restauro della tomba di Antonio degli Orsi del Duomo e perfetto? 4) Dove sono adesso le opere nel Battistero di San Giovanni che devono essere creazione di Tino? Ho pubblicato in questo articolo alcuni opinioni su questi problemi. Fra questi il piu importante e il mio piano di restauro. Ho messo, al lato sinistro, <<un uomo che accompagna un ragazzo che prega>> che e conservato nel Palazzo Vecchio di Firenze, e ho corretto la scala. La ragione e che il catalogo dell'eredita dell' 8 dicembre 1322 dice di fare l'elemosina ai poveri, e percio ho considerato che l'esecutore testamentario avesse ordinato la rappresentazione concreta. Inoltre ho insistito che il suo soggiorno a Firenze e il periodo della sua maggior attivita creativa in cui Tino stabili la sua originalita.

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ロシア・東欧の中世建築について(大会報告)

高橋栄一

原稿種別: 本文
1968 年 19 巻 3 号 p. 47-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_47

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To make an exact definition of the "Non-Byzantine" character is an important problem for the study of religious architecture in Balkan and Russian area. In spite of general adoption of the so-called Greek-cross plan for the central part in the church, the styles of the most of these buildings which belong to the end of the 11th century on, seem to have other essential characteristics than those of the typical "Later-Byzantine". Such a distinctive feature, the native aspect in a sense, which appears on every part of these buildings, should be recognized only through the detailed analysis of following elements and factors : the general project of plan closely related with the local ceremony or riturgy, technical condition, cohice and usage of material, dimension and the formal unity as the reflection of specific condition such as the climate etc. According to these close investigations, it is possible to define the various Non-Byzantine phases of the Serbian and Russian churches and their creative intention to develop their paticular tradition.

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リラとその図像について(大会報告)

鹿島享

原稿種別: 本文
1968 年 19 巻 3 号 p. 48-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_48

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The ancient Greek lyre which had a shell- or box-type sound box, two arms and a yoke, can be classified in several kinds : Phorminx, Cithara, Lyra, Barbitos and others. Phorminx is a four-string lyre and we find its figures on geometric style vases. Cithara, a box-type lyre, is represented by Greek painters mainly on blackfigured style vases, while Lyra, a shell-type lyre, on redfigured style vases. We know that the blackfigured style precedes the redfigured, so I suppose that Cithara was made earlier than Lyra. The ancient Roman lyre seems to be one of the variations of Greek Cithara, though its sound box is represented as quadrilateral or round in Roman painting and sculpture. In Italian Renaissance, many artists painted "lira da braccio" bowed instrument, as ancient lyre. For example, Apollo in Raphael's Parnassos is playing the lira da braccio. On the other hand the lyre, with curving arms and strings, was painted as ancient lyre. But the figure itself represents a mere musical instrument as symbol. Such an instrument cannot exist.

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電子計算機による楽曲分析の諸問題(大会報告)

徳丸吉彦

原稿種別: 本文
1968 年 19 巻 3 号 p. 49-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_49

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The aim of this project is to analyse melody stochastically and to examine the validity of information theory in the field of musical analysis. We started from the melodic analysis of simple German folksongs which were common in range, key and meter. We got the statistical data from these models about the following aspects. 1) the first-order Markoff chain about pitch and rhythmic pattern (a quater-note duration). 2) the frequency of each rhythmic pattern in the x-th measure. 3) the first-order Markoff chain between the first note of measures. 4) the formal structure of melody, ex. gr. ABA. Augmenting the number of data (conditions) gradually, we tried to simulate melodies. The similarity between models and simulated melodies becomes great when the set of the 3rd data (Markoff chain between downbeats) is added. But in this set the essential idea of information theory that treats all notes as equivalent is neglected. Moreover we found sometimes two different melodies which had but the equal amount of redundancy. From these results we think that information theory is useful to some extent, but in order to pursue stylistic studies we had better take the idea of generative grammar.

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演技観照について(大会報告)

毛利三弥

原稿種別: 本文
1968 年 19 巻 3 号 p. 50-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_50

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Our watching an actor, his outer form actualizes there his very existence and since his outer form is shown as that of the character he is playing, it also actualizes the character's existence for our consciousness. Then, is there no imagination working in our consciousness of seeing acting? In acting the outer form is a moving object. The movement itself cannot be perceived through our sence-organs. It is grasped by virtue of the inner unification of our time-consciousness. We sense at each moment of perceiving the object that it is moving from some place to some place, and in sensing that we know the object is moving. In our perception of a man this moving distance is his life and the character's life is his story, that is, his plot ; which is grasped only in our imaginative consciousness.

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サハラにおける先史岩壁面(大会報告)

木村重信

原稿種別: 本文
1968 年 19 巻 3 号 p. 51-52
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_51

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From Nobember in 1967 to April in 1968, I investigated thousands of the prehistoric rock paintings and engravings in the chains of mountains of Adrar des Iforas (Mali), Ennedi (Chad) and Tassili n'Ajjer (Algeria). I classified them by subjects, faunas, styles, alphabets and neighbouring cultures. Details are given as under. [table] (I). Period of the Archaic, (II) Period of the Hunter, (III) Period of the Cattle-breeder, (IV) Period of the Horse, (V) Period of the Camel (or Period of the Libyco-Berber), (VI) Period of the Arabo-Berber.

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Courbet の解釈について(大会報告)

原田平作

原稿種別: 本文
1968 年 19 巻 3 号 p. 52-53
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_52

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Tthe nature of Courbet's art can be considered analytical-psychological in the history of the western art after the Romanesque. At the same time we can find something ambivalent in his attitude towards his subject, while we find something harmonious in the Impressionists, though of "a precarious, unstable balance in the play of contending forces", which is based on the same analytical-psychological tendency. For example, see l'Atelier du Peintre and un Enterrement a Ornans. This may be accounted from the standpoint of his personality. Moreover, we can regard his interest in the vulgar. His deep interest in the lower classes with their naked humanity and the patriotism, with which he himself painted many kind of paintings and especially beautiful French landscapes, can be associated with this analytical-psychological tendency.

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映像と記録(大会報告)

小山義美

原稿種別: 本文
1968 年 19 巻 3 号 p. 53-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_53

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The motion picture, the art of the movies or cinema shares with photography its prevailing character as an art of creating images by the use of machines. Every artist has to depend on machines when he creates cinema or photography. The nature of photography, a recording, is at heart representational. Since cinematography is in reality an extension of photography, cinema functions largely like photography in realm of representational subject matter. But creative use of time is its own distinctive element of expression. If the artist combines use of the techniques of montage peculiar to cinema with the documentary and representational nature of photographic images, he gains the power to give the film image its own aesthetic qualities.

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第六回国際美学会議

今道友信

原稿種別: 本文
1968 年 19 巻 3 号 p. 54-61
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_54

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ランソン, 文学史論集, Gustave Lanson, Essais de methode, de critique et d'histoire litteraire, Rassembles et presentes par Henri Peyre, Paris, Hachette, 1965, 479p.

T. Fukuda

原稿種別: 本文
1968 年 19 巻 3 号 p. 72-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_72

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お知らせ

原稿種別: 付録等
1968 年 19 巻 3 号 p. 73-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_73_1

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学会消息

原稿種別: 付録等
1968 年 19 巻 3 号 p. 73-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_73_2

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欧文要旨

原稿種別: 文献目録等
1968 年 19 巻 3 号 p. 74-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_74_1

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The Bigaku (Aesthetics)

原稿種別: 文献目録等
1968 年 19 巻 3 号 p. 74-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_74_2

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学会消息

原稿種別: 文献目録等
1968 年 19 巻 3 号 p. 74-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_74_3

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編集後記

原稿種別: 文献目録等
1968 年 19 巻 3 号 p. 74-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_74_4

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奥付

原稿種別: 文献目録等
1968 年 19 巻 3 号 p. 74-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_74_5

ジャーナルフリー

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欧文要旨

原稿種別: 文献目録等
1968 年 19 巻 3 号 p. 75-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_75

ジャーナルフリー

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裏表紙

原稿種別: 表紙
1968 年 19 巻 3 号 p. Cover3-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_Cover3

ジャーナルフリー

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欧文要旨

原稿種別: 表紙
1968 年 19 巻 3 号 p. Cover4-
発行日: 1968/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.19.3_Cover4

ジャーナルフリー

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