This paper is about Le Corbusier being in possession of some of photographer Eugène Atget's photos. Le Corbusier used them to illustrate urban planning concepts in his books. The focus is on the period between 1931 and 1945, roughly corresponding to the time between the two world wars. It is a period of major changes in principles of the European art world. This paper chronicles how Le Corbusier's writings and his outlook on Paris, the people, and living conditions had evolved.

 First, I clarified the points of contact between Le Corbusier and the Surrealists. Then, I investigated the chronology of how Le Corbusier could have acquired Atget's photos. Atget died in 1927. Three years after that, in 1930, Atget's first photo album was released. The very same year, Le Corbusier worked with the Surrealists, such as André Breton, on the avant-garde magazine Minotaure. Two of Atget's photos were found in Le Corbusier's collection, to which I present two possible ways in which they might have been acquired:

 1: Le Corbusier might have purchased the photos at Atget’s atelier while Atget was still alive.

 2: Le Corbusier might have gotten the photos from the artists working on the aforementioned "Minotaure" in 1930.

 I have found a reference to "Jeannuot of Dessinateurs Industrielles" on Atget's list of clients, but it is yet to be confirmed whether this person is Charles Edouard Jeanneret or Pierre Jeanneret.

 Subsequently, I have verified that Le Corbusier used Atget's photos in three of his books. In "Plans No. 2" (1931), "Le Ville Radieuse" (1935), and "Le Lyrisme des Temps Nouveaux et L’Urbanisme (1939), he used some of those pictures in the chapter called “Menace sur Paris”, where he expressed his concern over the situation in Paris and described his vision of an ideal city. The pictures were combined with a sketch of “Plan Voisin”, and it can be said that they were a part of Le Corbusier's city planning concepts. In 1931, three of Atget's photos were used. I found that in 1939 only one of his photos was used, together with Le Corbusier's sketch. On the other hand, in "Précisions" (1930), only the sketch of the Plan Voisin was used, while none of Atget's photos was included. Hence, this leads me to conclude that Le Corbusier changed the attitude towards Atget's photos during this decade.

 Finally, I have presented a description of the situation in Paris from 1930 to 1940, and the subsequent period until the beginning of the Second World War in France. In Paris of 1932, infectious diseases - such as cholera and tuberculosis - spread mainly around unsanitary environments, and an adjustment - based on modern ways of thinking - was necessary. Le Corbusier immersed himself in research actively and searched for a new vision for Paris. Le Corbusier aimed at an environment where humans can live healthier and more sanitary lives, and in his vision of the future there was no place for the old Paris present in Atget's photos.

　近年の分析美学の領域では，理想的批評家や美的価値についての伝統的理論を再考しようという動きが高まっている．本論では，伝統的理論を批判的に再検討するその近年の動向を紹介し，その理論進展をふまえるとわれわれは専門家の意見にどのように耳を傾けるべきなのか，という問題を考察する．

　本論はまず，伝統的な議論として，ヒュームが「趣味の標準について」で提示した論点を紹介し，次に最近の議論として，理想的批評家について検討しているジェロルド・レヴィンソンの議論を紹介する．その後，美的価値の快楽主義に対する近年の批判について検討する．本論ではとりわけ，ドミニク・ロペスが提示しているネットワーク説に焦点を当て，その利点と動機を明らかにする．最後に，そこまでの考察を元に，われわれ凡人は芸術批評をどのように読むべきか，という問題に答える．われわれは，批評家がそこで何を達成しているか，そして批評家がそこでどのような能力を発揮しているか，といった点に着目しながら批評文を読むべきである．