美学

表紙

原稿種別: 表紙
2012 年 63 巻 1 号 p. Cover1-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_Cover1

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目次

原稿種別: 表紙
2012 年 63 巻 1 号 p. Cover2-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_Cover2

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投稿規定

原稿種別: 付録等
2012 年 63 巻 1 号 p. App1-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_App1

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『美学』編集委員会規定

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2012 年 63 巻 1 号 p. App2-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_App2

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生と美学 : フーコーの主体論をめぐって

武田宙也

原稿種別: 本文
2012 年 63 巻 1 号 p. 1-12
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_1

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Ce texte analyse le concept d'<<esthetique de l'existence>> que Michel Foucault presente dans ses derniers travaux. On entend par ce terme un mode de vie qui se construit elle-meme comme <<oeuvre>>. Il s'agit de la transformation de soi a travers le travail sur le soi : la <<poetique>> de soi. Or, dans la pensee foucaldienne, cette pratique du <<souci de soi>> a un rapport etroit avec le probleme de la verite, car selon lui <<le lien entre l'acces a la verite et le travail d'elaboration de soi par soi est essentiel dans la pensee ancienne et dans la pensee esthetique>>. C'est ce lien essentiel qui fait de la verite un grand probleme de la vie. Dans ses dernieres annees, Foucault traite d'une pratique qui s'appelle parresia en grec. Bien que la parresia designe d'abord l'acte linguistique de <<dire le vrai>>, la supposition foucaldienne du lien entre la connaissance de la verite et la pratique du soi y suggere de plus un point d'intersection entre la verite et le sujet. C'est en ce sens que la pratique de la parresia serait un enjeu de l'<<esthetique de l'existence>>.

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ヴィーナスとルシファー : ベンヤミンの仮象概念についての一考察

村上真樹

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2012 年 63 巻 1 号 p. 13-24
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_13

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In Goethes Wahlverwandtschaften (1920/21) betrachtet Walter Benjamin das Problem der Schonheit und des Scheins. Und dann beabsichitigt er sie zu uberwinden. Benjamin unterscheidet zwei Formen des Scheins; "Venus" und "Lucifer". Der Schein als Venus ist der "Schein hinter dem sich etwas verbirgt". Das stimmt mit dem Begriff des Scheins in der idealistischen Asthetik uberein. Der Schein als Lucifer ist der "Schein hinter dem sich Nichts verbirgt". Das stimmt mit dem Schein in Nietzsches Asthetik uberein. Aber betrachtet Benjamin beide Formen des Scheins kritisch. Die Erstere lasst er an ihrem Wert verlieren, indem er sie nicht als die Hulle vor der Wahrheit, sondern als Hulle vor dem "Unscheinbaren" begreift. Die Letztere verneinte er, indem er sie nicht als Schein, sondern als Allegorie begreift. Ferrier weist Benjamin auf ein Moment von Unterbrechung dieser Formen des Scheins hin, nennt dies "das Ausdruckslose". Meine Arbeit weist darauf hin, dass Benjamin fur die Uberwindung des Scheins drei Methoden vorschlagt; (1) Verminderung des Scheins durch die Beziehung zwischen Schonheit und Wahrheit zu schneiden, (2) Entzauberung des Scheins durch die Allegorie, (3) Unterbrechung des Scheins durch "das Ausdruckslose".

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「感性(sensibilite)」をめぐるベルクソンの思想とその成立の経緯 : 一なるものと多なるものとの関係を軸に

村上龍

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2012 年 63 巻 1 号 p. 25-36
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_25

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Although rarely pointed out, in his The Two Sources of Morality and Religion (1932), Henri Bergson (1859-1941) briefly discusses sensibilite in a very interesting way. The purpose of this paper is to examine minutely the bergsonian notion of sensibilite. In The Two Sources, Bergson analyzes sensibilite into two components; the purely passive one called infra-intellectuel for the one hand, and the passive-active one called supra-intellectuel, which is characterized by unity-multiplicity, on the other. In comparison to his contemporaries, his argument is original to the degree that he pays attention to the supra-intellectuel component. In my opinion, this originality has been fostered around the turn of the century in the course of reorganizing his thought, particularly redefining duree and intuition based on the unity-multiplicity opposition. And again in my opinion, this reorganization or redefinition is nothing but a dialogue with the Kantism. From what is mentioned above, I would like to conclude that Bergson, after tackling the Kantism, has comes to his own notion of sensibilite, firstly characterized by passivity-activity in contrast to the kantian Sinnlichkeit which is solely passive, and secondly characterized by unity-multiplicity in contrast to the kantian Sinnlichkeit which is exclusively multiple.

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サルトル『聖ジュネ』における不道徳作品の「善用」

森功次

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2012 年 63 巻 1 号 p. 37-48
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_37

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In the last section of Saint Genet (1952), Jean-Paul Sartre attempts to vindicate Jean Genet's immoral works. Sartre tries to save Genet from severe moral criticism in French literary world at the time. In this paper, I will organize Sartre's argument and examine his complex defense. According to Sartre, the immorality of Genet's works consists in the veriter's devious intention to invert our values and the bad influence he has on his readers. On the other hand, Sartre claims that Genet's works have some moral merits: to give readers some understanding of what Sartre calls 'solitary' positions such as Genet's, and to impress upon readers an identical possibility for themselves. Moreover, these moral merits are supported by the aesthetic appreciation of his works. The fact that readers could fully appreciate Genet's immoral works irresistibly points out to the readers the relation between themselves and the immorality of the works. It is not, however, clear how these moral merits are able to overcome the criticism against Genet. Moreover, because Sartre's argument presupposes an appreciation that deviates from Genet's own intention, which Sartre himself recognizes, it is not clear whether or not Sartre's attempted vindication can be viewed as a legitimate evaluation of Genet's works.

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ミケランジェロ作サンタ・マリア・ソプラ・ミネルヴァ聖堂の《キリスト》再考 : 再発見されたバッサーノ作品との比較を通じた造形分析

新倉慎右

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2012 年 63 巻 1 号 p. 49-60
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_49

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There was the first version of Michelangelo's Christ in Santa Maria sopra Minerva in Roma which had been abandoned before the completion. In 2000, Baldriga and Squarzina identified the statue of Christ in San Vincenzo Martire at Bassano Romano with the lost first version. Although they argued only about the difference of the posture between two statues of Christ in Roma and in Bassano Romano, the rediscovery is very important for the reconsideration of the shape of Christ in Roma, because being executed under the same condition of the contract the difference makes the progress of Michelangelo's idea from Christ in Bassano Romano to that in Roma clear. This paper examines the importance of Christ in Roma to Michelangelo's transition of the style in statue. The factors (mainly the twist of the body and the position of the arm) that make the apparent difference between two statues of Christ appear on the works that Michelangelo executed after Christ in Roma, and it is this Christ that Michelangelo boldly made at first time under such idea which he would continue to utilize for realizing his statue. Therefore, contrary to the comparatively low evaluation of the modern studies, Christ in Roma occupies fixed position in the stylistic history of Michelangelo's statue.

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リッポ・ディ・ダルマジオからグイド・レーニへ : カルロ・チェーザレ・マルヴァジアの美術史叙述におけるひとつの系譜とその形成のための要因

高橋健一

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2012 年 63 巻 1 号 p. 61-72
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_61

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Felsina Pittrice, written by C.C. Malvasia, contains a chapter that mainly discusses the life of Lippo di Dalmasio. In addition, this chapter briefly mentions the lives of Lippo's "disciples" such as Marco Zoppo and "others who flourished from 1400 to 1500". This chapter can be found between the section on the lives of "Franco Bolognese", Vitale da Bologna, and other artists and the biography of Francesco Francia. This paper considers how this idea of Malvasia was born, principally from the next points of view: (1) Guido Reni's taste, (2) the anti-Vasari context, and (3) the history of the reception of Lippo. Malvasia states that not only Lippo but also Francia was among the "ancient authors" loved by Reni. Recognizing Zoppo, Francia's master, as Lippo's pupil, Malvasia must have emphasized the genealogy of the maniera devota painters, from Lippo to Francia, which he had constructed on the basis of Reni. This understanding of Lippo may seem strange. But in the Bologna Renaissance there were more than a few Lippo-like images updated to the contemporary manner. It will be concluded that this range of impressions about Lippo's works also influenced the structure and accounts presented in Felsina.

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九州派作品の社会的主題 : 交流のあった雑誌の性格から

鄭賢娥

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2012 年 63 巻 1 号 p. 73-84
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_73

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The Kyushuha is known as an avant-garde group active in Japan around 1960. Until now, research in early works of Kyushuha has suggested that certain characteristic societal themes are recognized, but how the artists developed these themes remains unclear. Analysis of works from the Kyushuha's active early period confirms that certain artists were handling societal themes at that time. Those themes were contemporary societal or local issues, especially those concerning coal miners in Kyushu. These thematic characteristics can also be glimpsed particularly in their involvement with poetry journals in Fukuoka, and the magazine Circle MURA. Thus, it is clear that the societal themes seen in the early work of the Kyushuha have some relationship to certain poetry journals in Fukuoka and Circle MURA, which showed similar interest in local issues. Considering the above, I would like to propose the following hypothesis. Instead of considering the Kyushuha's consciousness of societal problems as an isolated phenomenon that developed within the group, it is possible to think of it as a collective consciousness born from a movement that combined the Kyushuha, poetry journals, and Circle MURA. The purpose of this paper is to propose research into the Kyushuha from this perspective.

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明治末期から大正初期の日本における工業意匠概念について : 明治四十二年(一九〇九)意匠法を中心に

天貝義教

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2012 年 63 巻 1 号 p. 85-96
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_85

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In this paper I investigate the concepts of industrial design expressed by the Japanese term Kogyo-teki Isho which appeared in the Design Act of 1909, by focusing on the ideas of two representative industrial design educators Hirayama Eizo and Matsuoka Hisashi in the transition from the Meiji era to the Taisho era. In his articles published in the 1900s, Hirayama pointed out that by designing ornamentation, which was developed by the addition of elements derived from every part of the natural world, the industrial designer should elevate the aesthetic value of industrial products without interfering with their usefulness. In his articles published in the 1910s, criticizing Japanese designers for copying historical and Western style design, Matsuoka stressed that the industrial designer should display his own originality in designing industrial products for daily use, and defined that the aim of industrial design was to beautify all industrial products including daily necessities, common machines and the ditch covers. Their ideas on industrial design showed changes from the early idea of applying art to industry to the new idea of beautifying all industrial products for daily use, on which the establishment of a new institution for industrial design education was based.

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川喜田煉七郎の「型」の概念と「科学」「技術」 : 家具の標準化から

敷田弘子

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2012 年 63 巻 1 号 p. 97-108
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_97

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On the theory of modern architecture, standardization is an important theme to realize rationality and functionality. Kawakita is an architect who studied standardization of furniture on the theoretical basis of modern architecture. As a contemporary issue, it was also an attempt which had been done during the period of Kawakita's "architectural science supremacist". That means it was one of his "scientific" experiments. By investigating the concept of "model" which was a theoretical basis of his standardization of furniture, he interpreted the concept of "model" from the article of Adolf Behne, and put generality and sociality on it as its character. And Kawakita's concept of "model" is his idea on architecture of integration of "sciences" and its generalization, then it got a word and a concept as "model". Also, he reckoned that "technique" would make it possible of integration of "sciences" and creation of generality, which means "model". This relationship between "science" and "technique" continues from architectural theory to koseikyoiku (study of construction). From these investigations, Kawakita's standardization of furniture which started on a theoretical basis of modern architecture and continued to koseikyoiku, could be positioned as a concrete example which shows a continuation of his idea on the activity.

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『ハナコサン』(一九四三年、マキノ正博)の両義性 : 「明朗」な戦争プロパガンダ映画

紙屋牧子

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2012 年 63 巻 1 号 p. 109-120
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_109

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Hanakosan (1943, TOHO, MAKINO Masahiro) was made into a film from comic serials by SUGIURA Yukio published in a magazine, that is, Jugo no Hanakosan (Hanako-san at the Home Front, 1938-1939), Hanayome Hanakosan (Hanako-san, the Bride, 1939-1940), Hanakosan Ikka (Hanako-san and Her Family, 1940-1945). As for the past evaluations of Hanakosan, many critics and researchers have pointed out that it was a thoroughly light and joyful musical comedy, influenced by Busby Berkeley films, against the national policy under the wartime. I would like to send back Hanakosan into the historical context of the politics during the period, and clarify elements of a "superb" war propaganda that were forgotten in a process in which the film became a myth. And I would like to elucidate that this war propaganda is formed in a dimension even beyond a director himself and the state power.

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「装置」としての表現活動 : ラ・ボルド病院、べてるの家を例として

嶋田久美

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2012 年 63 巻 1 号 p. 121-132
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_121

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This article explores expression activities in clinical practices focusing on two cases: La Borde Clinic and Bethel House. The former is a psychiatric clinic in France known as a Psychotherapie institutionnelle and the latter is a community in Japan for people with mental disturbances founded in 1984. Both foster unique activities in ways that challenge the dichotomies in clinical practices such as art/therapy, client/therapist and normal/abnormal. In this article, two aspects of expression and art in these unique activities are verified referring to the concept of 'dispositif' by Michel Foucault, Gilles Deleuze and Giorgio Agamben. First, expression and art may function to analyze the power relations around the clinical site. Next, they function to maintain the dynamism of powers that generate liquidity and porosity among people. However, as Deleuze implies, these functions should be examined using immanent criteria. Therefore, these two cases must not be taken as universal models but should be positioned as nodes or hubs of networks concerning clinical environments. Which is why these two cases also urge us to reconsider the perspectives of disease and disability and the roles of group and community.

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トマス・ウィリスの「音楽的な耳」と音楽の快の知覚 : 科学革命期の英国における神経生理学と聴覚的感性

大愛崇晴

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2012 年 63 巻 1 号 p. 133-144
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_133

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Thomas Willis (1621-1675) was an English physician and anatomist who was famous for pioneering the neuroscience. He worked on the intracerebral causes of musical faculty or the "musical ear" in his book Cerebri anatome ("The Anatomy of the brain," 1664). According to Willis, the musical memory is stored in the cerebellum, which takes charge of the involuntary movements that are indispensable for life support, and is released by singing. A melody that has been heard once can be sung correctly without recalling because of this structure of musical memory. Later, Thomas Salmon, a contemporary musical theorist, asserted that the hearing capable of recognizing musical pleasure was different from the ordinary hearing that perceives general sound. Further, he referred to Willis's theory concerning the cause of that special hearing. In the eighteenth century, Salmon's idea was seconded by Francis Hutcheson, who supposed that it was an "internal sense," not an external sense (i.e., ordinary hearing), that perceived the pleasure of musical beauty. The "internal sense," which was identified with "taste," had a lot in common with Willis's "musical ear" in terms of the immediacy of judgment. Therefore, Willis's view on hearing could be understood as a possible explanation of musical "taste."

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E・クルシェネクによるシューベルトのハ長調ソナタD八四〇補完 : ベルリン・サークルにおけるシューベルト解釈

山口真季子

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2012 年 63 巻 1 号 p. 145-156
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_145

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Der Komponist Ernst Krenek hat mit den Pianisten Artur Schnabel und Eduard Erdmann, die oft in ihren Konzerten Schuberts Klaviermusik spielten, zur Neubewertung der Werke Schuberts beigetragen. Krenek hat mit "dem fanatischen Schubert Verehrer" Erdmann alle Lieder Schuberts durchforscht und ausserdem Schuberts unvollendete Klaviersonate in C-dur auf Anregung von Erdmann erganzt. So zahlt diese Erganzung zu einem der bedeutenden Beispiele ihrer Neubewertung. In dieser Studie mochte ich untersuchen, welche Punkte Krenek an Schuberts Kompositionstechnik schatzte und wie er sie auf seine Erganzung anwendete. Durch die Analyse der erganzten Sonate und den Vergleich mit Kreneks Erklarung seiner Erganzungsidee sowie der Struktur der Sonate (1947) habe ich klar gemacht, was fur Krenek das charakteristische an Schuberts Musik ist. Krenek hat in seiner Erganzung Schuberts feinen Sinn der musikalischen "Ausbalancierung" und seine Technik der vielfaltigen "Varianten" angewendet. Andererseits vermied er ubermassige Umformung der Melodien und harmonische Uppigkeit. Krenek hat in dieser Erganzung eine neue Schubert-Interpretation vorgezeigt.

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平成二十三年度科学研究費補助金採択課題一覧

原稿種別: 付録等
2012 年 63 巻 1 号 p. 157-180
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_157

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工芸美術館の建築デザイン : イタリア・ルネサンス建築の受容と逸脱(東部会平成二三年度第四回美学会例会,例会・研究発表会要旨)

足立純子

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2012 年 63 巻 1 号 p. 181-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_181

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ビザンティン聖堂装飾のイコンとナラティヴ(東部会平成二三年度第四回美学会例会,例会・研究発表会要旨)

益田朋幸

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2012 年 63 巻 1 号 p. 182-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_182

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保存・修復におけるコンテンポラリー・アート : チェーザレ・ブランディの理論とその「現代性」(西部会第二八六回研究発表会,例会・研究発表会要旨)

田口かおり

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2012 年 63 巻 1 号 p. 183-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_183

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人類の誕生とその進化 : 人間と動物の境界をめぐって(西部会第二八六回研究発表会,例会・研究発表会要旨)

唄邦弘

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2012 年 63 巻 1 号 p. 184-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_184

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ガストン・バシュラールにおける詩学の成立 : 時間論、認識論を通して(東部会平成二三年度第五回美学会例会,例会・研究発表会要旨)

橋爪恵子

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2012 年 63 巻 1 号 p. 185-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_185

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『鉄ちゃん』のサウンドスケープ : 音楽の『環境化』再考(東部会平成二三年度第五回美学会例会,例会・研究発表会要旨)

渡辺裕

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2012 年 63 巻 1 号 p. 186-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_186

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ロンドン国際シュルレアリスム展(一九三六年)にみる「相隔たるもの同士の並置」をめぐる諸問題(西部会第二八七回研究発表会,例会・研究発表会要旨)

石井祐子

原稿種別: 本文
2012 年 63 巻 1 号 p. 187-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_187

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アードルフ・ヘルツェルの色彩理論とその位置づけについて(西部会第二八七回研究発表会,例会・研究発表会要旨)

青木加苗

原稿種別: 本文
2012 年 63 巻 1 号 p. 188-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_188

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学会消息

原稿種別: 付録等
2012 年 63 巻 1 号 p. 189-190
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_189

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訂正

原稿種別: 付録等
2012 年 63 巻 1 号 p. 190-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_190

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編集後記

原稿種別: 付録等
2012 年 63 巻 1 号 p. 191-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_191_1

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奥付

原稿種別: 付録等
2012 年 63 巻 1 号 p. 191-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_191_2

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欧文要旨

原稿種別: 文献目録等
2012 年 63 巻 1 号 p. 198-192
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_198

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裏表紙

原稿種別: 表紙
2012 年 63 巻 1 号 p. Cover3-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_Cover3

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CONTENTS

原稿種別: 表紙
2012 年 63 巻 1 号 p. Cover4-
発行日: 2012/06/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.63.1_Cover4

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