美学

表紙

原稿種別: 表紙
2007 年 58 巻 2 号 p. Cover1-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_Cover1

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目次

原稿種別: 表紙
2007 年 58 巻 2 号 p. Cover2-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_Cover2

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投稿規定

原稿種別: 付録等
2007 年 58 巻 2 号 p. App1-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_App1

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『美学』編集委員会規定

原稿種別: 付録等
2007 年 58 巻 2 号 p. App2-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_App2

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フリードリヒ・シュレーゲル『ルツィンデ』における恋愛と芸術

田中均

原稿種別: 本文
2007 年 58 巻 2 号 p. 1-14
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_1

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In this paper, I investigate the relationship between love and art in the novel Lucinde. First, I analyse two cases of disappointments in love experienced by the young painter-and protagonist-Julius, which are symbolised by certain aesthetic defects:Lisette could not respond to Julius' love because of her life as a prostitute, which corresponds to her sensualistic tastes. Likewise, Julius' fruitless love for a married woman gave rise to a strained style to his painting. Second, I focus on his relationship with Lucinde, in which they completely affirmed each other's individuality. The reconciliation with his own life through love brought grace and maturity to his art. This should be interpreted as the realisation of 'the romantic', which is defined in Schlegel's essay 'Dialogue on Poetry' as a combination of 'the sentimental' and 'the fantastic'. Third, I turn my attention to the distinction by Julius between male and female love. He believes that, in contrast to female love which is concentrated only towards one object, a man can develop friendships between multiplicities of mature spirits and thus complement his own individuality. From this, I draw the conclusion that, in this novel, a female artist is excluded from the artistic cooperation.

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遁世と詩歌 : 鴨長明『方丈記』『発心集』の遁世観と詩歌観

玉村恭

原稿種別: 本文
2007 年 58 巻 2 号 p. 15-28
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_15

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Kamo no Chomei is well known as a Japanese medieval recluse. This paper is aimed at reading his essays "Hojoki" and "Hosshinshu", and tries to rethink the relation between his reclusive life and poetry. The concept of reclusion for him was not necessarily related to how far he was removed from the capital nor what he did in his hermitage. Rather, the question was his state of mind, the extent to which his mind was detached from the usual worldly context and interest (kyokai or kyogai) such as social, political, and economical, of which people's circumstances consist and by which their daily cognitions are led. On the other hand, according to his notion of transience (mujo), nothing is certain other than the fact that people sense and feel various things and move their hearts variously. Thus, what was crucial in his reclusive life was how he could deal with his mind and heart. In those respects, poetry was for him one of the most important elements on which to base his reclusive life, because poetry, it has been admitted, does not have any worldly purpose nor interest at all; it is barely to express how people's hearts are moved.

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オリジナリティと複製 : J・E・ミレイの《シャボン玉》とペアーズ石鹸の広告

金光陽子

原稿種別: 本文
2007 年 58 巻 2 号 p. 29-42
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_29

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This paper examines John Everett Millais's painting Bubbles, 1886, and associated reproduction. The Victorian era saw a flowering of reproduced images of paintings in parallel with the spread of photography and illustrated journals. Bubbles, showing a boy with a pipe blowing soap bubbles, was particularly disseminated as an iconic image of Victorian 'childhood' or 'cleanliness' through reproductions for Pears Soap advertisements. The aim of this paper is to situate Bubbles in diverse contexts of new and old print-making technologies and copyright, disentangling the complex interrelationships between painters, print-sellers and owners of paintings. In Britain, it was not until 1862 that a Copyright Act appeared to protect paintings. Through an examination of the historical and legal contexts surrounding the Fine Arts Copyright Act, this paper clarifies the reason that Bubbles was placed 'automatically' in the so-called 'public domain'. To date, particular emphasis has been put on the fact that Millais was outraged by the unofficial addition of a bar of Pears Soap to Bubbles. Yet in fact, Millais did not at all object to the appropriation of the painting for advertising purposes, so that it enabled numerous lower-middle class and working-class people to enjoy the image of Bubbles for free.

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バルテュス《山(夏)》(一九三七)における身体と風景の描写 : 「稚拙さ」という見地から

松野敬文

原稿種別: 本文
2007 年 58 巻 2 号 p. 43-56
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_43

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Balthus' admirers often maintain that the artistic quality of his works originates not only from his association with the iconographies of Western classical paintings but also from his depiction of human figures in the old masters' style. This paper, however, tries somewhat conversely to put forward as a hypothesis that their uniqueness lies rather in their lack of naturalism. Through the stylistic analysis of La Montague (L'Ete), one of his actual works as a material, it will be shown here that his anatomically inaccurate treatment of human figures and his trick of making up for this have actually made his artistic characteristics. As it can be easily seen from this large-sized work, many formal problems arise when Balthus composes human figures: improbable centre line of the body of the half sitting man, unnatural connection at the invisible neck of the standing woman, the wrong position, on the ground, of the legs of the sleeping woman, and totally, the unnaturalness of all standing figures. Characteristically, these deficiencies are concealed by various techniques such as the strict formation of the picture plane, the accurate arrangement of colours, and the magnificent depiction of a landscape as well as the topographical revisions and the handling of the light source. La Montague (L'Ete) can be accordingly considered as a suitable guide to study how his figures relate to landscape, and what influence the painter's technical poverty brings to his works.

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韓国と日本の八景障屏画における景の順序の成立とその背景

呉永三

原稿種別: 本文
2007 年 58 巻 2 号 p. 57-69
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_57

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The purpose of this study is to contribute to the research on the development of the Eight Views of Hsiao-Hsiang in terms of the sequence appeared in Korea and Japan since it had been introduced from China each around 12^<th> and 13^<th> century. The sequence of the Eight Views in these two countries had changed in order of four seasons, due to various reasons. Within this study touching subjects here, suggested reasons are two, which are derived from the change of form and content of the painting. First, the change of form is that hand scrolls on which the Eight Views were represented in china become to be painted on folding screen as the Eight Views spreads over Korea and Japan, which means they need the model of more sophisticated composition for this new theme. Through from 14^<th> to 15^<th> century, models for the composition of the Eight Views in folding screen seem borrowed from four season landscape painting. As a natural result, the sequence of folding screen was arranged in order of four seasons. Second, there was also a change of the content of the Eight Views. On the one hand, criticism against government and personal sadness originated in Hsiao-Hsiang literature having long demotion history was replaced by applause for good government and ideal nature particularly in Korean and Japanese Eight Views in relation to the development of folding screen, which is more official form to the public and person of power. On the other hand, seasonal color of Mountain Market in poetry had been fixed into spring, which gave the Eight Views of Hsiao-Hsiang more seasonal characteristics with Evening Snow and Autumn Moon.

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ダリウス・ミヨーの弦楽四重奏曲 : 一九三〇、四〇年代の作品を中心に

長谷規子

原稿種別: 本文
2007 年 58 巻 2 号 p. 70-83
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_70

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Les dix-huit quatuors a cordes de Darius Milhaud (1892-1974) tiennent une place particuliere non seulement dans toutes ses ceuvres mais aussi dans toute la musique de chambre du XX^e siecle. Du fait que Milhaud s'explique sur le quatuor a cordes comme un genre musical representant le mieux ses intentions profondes et que lui et ce genre allaient cote a cote pendant quarante ans, nous pouvons considerer que le quatuor a corde est un genre intime pour le compositeur. Dans cet article, nous allons examiner ses quatuors a cordes des annees 1930 et 1940 de point de vue technique et stylistique pour mettre en evidence leur importance. L'etude d'un ensemble de quatuors a cordes de Milhaud nous a permis de montrer une evolution considerable : il emploie assez souvent des passages empechant la continuite de la piece au niveau melodique, rythmique et harmonique. Ce serait une des techniques musicales de Milhaud propres a cette epoque. D'ailleurs, la technique ellememe evoluera peu a peu la forme musicale et deviendra un element imposant dans sa musique. Elle s'appliquera plus tard a des autres pieces de sa musique de chambre.

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大橋良介著, 『阪大講義プロトコル美のゆくえ』, 燈影舎, 二〇〇七年刊, 序文・目次一〇頁、本文二九二頁

大石昌史

原稿種別: 本文
2007 年 58 巻 2 号 p. 84-86
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_84

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ヴォルフガング・ケンプ, 『形象から形象への高揚-北斎の『富嶽百景』-』(論文・新刊紹介)

加藤哲弘

原稿種別: 本文
2007 年 58 巻 2 号 p. 87-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_87

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第一七回国際美学会議報告

小田部胤久

原稿種別: 本文
2007 年 58 巻 2 号 p. 88-93
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_88

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バタイユの芸術観における「喚起」 : 「死の影」を連れ戻すことについて(東部会平成十八年度第五回例会,例会・研究発表会要旨)

柳沢史明

原稿種別: 本文
2007 年 58 巻 2 号 p. 94-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_94

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プロティノスにおけるパンカリアの概念(東部会平成十八年度第五回例会,例会・研究発表会要旨)

樋笠勝士

原稿種別: 本文
2007 年 58 巻 2 号 p. 95-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_95_1

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カンタベリー大聖堂 : 1174年の火災以後の建築(西部会第二六二回研究発表会,例会・研究発表会要旨)

愛宕出

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2007 年 58 巻 2 号 p. 95-96
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_95_2

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アジア美学の可能性(西部会第二六二回研究発表会,例会・研究発表会要旨)

神林恒道

原稿種別: 本文
2007 年 58 巻 2 号 p. 96-97
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_96

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学会の諸連絡先

原稿種別: 付録等
2007 年 58 巻 2 号 p. 98-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_98

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『美学』第57巻第1号〜第4号(通号第225号〜228号)総目次

原稿種別: 目次
2007 年 58 巻 2 号 p. 99-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_99

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学会消息

原稿種別: 付録等
2007 年 58 巻 2 号 p. 100-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_100

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編集後記

原稿種別: 付録等
2007 年 58 巻 2 号 p. 101-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_101_1

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奥付

原稿種別: 付録等
2007 年 58 巻 2 号 p. 101-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_101_2

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欧文要旨

原稿種別: 文献目録等
2007 年 58 巻 2 号 p. 104-102
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_104

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裏表紙

原稿種別: 表紙
2007 年 58 巻 2 号 p. Cover3-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_Cover3

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CONTENTS

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2007 年 58 巻 2 号 p. Cover4-
発行日: 2007/09/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.58.2_Cover4

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