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全文: "マン・レイ"
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  • 木水 千里
    美学
    2018年 69 巻 2 号 109-
    発行日: 2018年
    公開日: 2020/03/23
    ジャーナル オープンアクセス
  • 木水 千里
    美学
    2013年 64 巻 2 号 125-
    発行日: 2013/12/31
    公開日: 2017/05/22
    ジャーナル フリー
  • 田中 正之
    美学
    1999年 50 巻 3 号 25-36
    発行日: 1999/12/31
    公開日: 2017/05/22
    ジャーナル フリー
    Woman's eye is one of the most important motives in Man Ray's works. However, in his images of woman's eye, the organ of sight is quite often manipulated, sometimes even violently, and the images acquire a very uncanny nature. This uncanny manipulation of woman's eye in Man Ray's oeuvre, both in photographs and objects, can be divided into four categories : "the Gazing Monster or Surrealist Medusa, " "the Enucleated Eye, " "the Closed Eye, " "Beheading." The last can be regarded as the manipulation of woman's eye, because it is a way of punishing a woman with evil eyes like Medusa, who is exterminated by Perseus through decapitation. The uncanny nature created by these manipulations squarely corresponds to the Freudian concept of the Uncanny. In his analysis of uncanny effects in E, T, A, Hoffmann's novel, The Sand-Man, Freud defines the source of the uncanny as the castration anxiety symbolized by the eye torn out. All the four types of manipulations in Man Ray's images of woman's eye can be found in this or other Freud's essays on the castration anxiety. By visualizing this anxiety repressed in the unconscious or "the return of the repressed, " Man Ray created the true Surrealist image of the emancipation from the reason and order through the direct manifestation of the unconscious.
  • 木水 千里
    美学
    2014年 65 巻 2 号 61-72
    発行日: 2014/12/31
    公開日: 2017/05/22
    ジャーナル フリー
    La photographie est un indice. Apres la presentation de ce concept sur la base de la semiotique de Pierce par Rosalind Krauss dans son article <<Notes on the Index>>, ce concept a tout a fait fini par penetrer dans le champ photographique et artistique. Cependant, la photographie n'est-elle qu'un indice ? Notre etude a pour but d'examiner cette question avec l'aide des deux aspects de la ressemblance chez Pierce indiques par Dominique Chateau : il existe la ressemblance indicielle et la ressemblance iconique dans la photographie. A travers cette theorie, nous confirmons que dans l'article <<Photographie et surrealisme>>, ou il est essentiellement question de l'indicialite de la photographie, cette theoricienne presente inconsciemment, en tant que caracteristique des photographies surrealistes, l'iconicite de la photographie. Et puis, on analyse a nouveau la rayographie de Man Ray traitee comme le modele d'indice. Cette tentative de comprendre que la photographie n'est plus seulement considered en tant qu'indice, mais en tant qu'icone, nous permettra de discuter de la facon globale divers interpretations sur la photographie, de mettre en lumiere des idees artistiques qui les produisent.
  • 調 文明
    美学
    2010年 61 巻 2 号 123-
    発行日: 2010/12/31
    公開日: 2017/05/22
    ジャーナル フリー
  • 繊維製品消費科学
    2009年 50 巻 11 号 1027
    発行日: 2009/11/20
    公開日: 2016/07/01
    ジャーナル 認証あり
  • ル・コルビュジエの芸術思想の源流
    白石 哲雄, 山田 浩史, 藤井 由理, 古谷 誠章
    日本建築学会計画系論文集
    2019年 84 巻 759 号 1289-1297
    発行日: 2019年
    公開日: 2019/05/30
    ジャーナル フリー

     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.

  • 石川 洵
    精密工学会誌
    1990年 56 巻 10 号 1808-1811
    発行日: 1990年
    公開日: 2009/06/30
    ジャーナル フリー
    ディスプレイ用途, 芸術用途とも, ホログラフィの応用は, まだその緒についたぽかりと言って良い段階で, 技術面の改良も大切であるが, むしろソフト面でより多くの感性により磨かれた多くの作例が生まれることが何よりも求められている.
    そのためには, 創り手であるデザイナー, 作家はもっと多く登場してほしいし, それを可能にするためにも色々な所でぜひホログラムをご採用しただきたいと願う次第である.
  • 関 英夫
    高分子
    1988年 37 巻 5 号 391
    発行日: 1988/05/01
    公開日: 2011/10/14
    ジャーナル フリー
  • 白地社、一九九二年二月
    小田 基
    比較文学
    1993年 35 巻 209-213
    発行日: 1993/03/31
    公開日: 2017/07/31
    ジャーナル フリー
  • (特集=現実感の変容)
    關次 和子
    映像学
    1994年 52 巻 18-24,115-6
    発行日: 1994/05/25
    公開日: 2019/07/23
    ジャーナル フリー

      Photographs change our sense of reality. In addressing that statement, we should reflect upon where problems arise from the nature of the photograph itself: the intertwining of the camera, a piece of mechanical equipment, with the actions of the photographer. We are dealing with an image apportioned and equalized over a flat surface, a restricted reality. In considering it, our biased feelings, to which we have an almost religious attachment, call into question the act of seeing through the intervention of the camera, and ambiguity sets in at the point at which one takes a stance of probing the relationship between self and reality.

      Today, when sophisticated information exchanges are the core of life and the exchange value of objects is stressed more than their material value, photographs acquire meaning through their use as a medium for communicating information. The repetitions of information-carrying media that necessarily develop in an information - intensive society act upon those on the receiving end through optical illusions and psychological effects - powerful afterimage effects and surrogate experiences. That process engenders a bias towards photographic images.

  • 谷本 尚子
    美学
    2000年 51 巻 2 号 61-72
    発行日: 2000/09/30
    公開日: 2017/05/22
    ジャーナル フリー
    Man darf sagen, dass Moholy-Nagy als Konstruktivist, im Zusammenhang mit dem Begriff wie "Neues Sehen" oder "Neue Fotografie", zu dem Kreis der modernen Formalisten in der Fotogeschichte gehort hat. Es hat sich immer um den abstrakt-bildenden Stil seiner Werken gehandelt, wie z.B. F. Roh und B. Newhall darauf hingewiesen hat. Neue Forschungen in den letzten zehn Jahren haben aber versucht, eine solche formalistische Moholy - Rezeptionsgeschichte zu uberwinden und das, was Moholys Fotografie auch heute aktuell und diskussionswurdig macht, klarzumachen. Mein Aufsatz gehort zu dieser Forschungsrichtung und hat die Absicht, Moholys Fotogramme, Fotomontage und Kamera-foto in der Weimarer Zeit unter dem Gesichtspunkt der "Lichtgestaltung" und im Zusammenhang mit dem damaligen Internationalen Konstruktivismus zu betrachten. Daraus ergibt sich ; Moholys Komposition entpuppt sich als erfullt von dynamischen Vorgangen, raumlichen Bewegungen und schwebenden Beziehungen. Man kann in seinen Fotos Dynamismus der grossen Stadt oder etwas Kosmisches erkennen. Neben die Kontemplation stellte er die Aktivitat des Betrachters oder die Konstruktion der Subjektivitat, welche von der Lichtgestaltung stimuliert werden sollte. Dabei hat die Kategorie "das Haptische" oder "das Kinasthetische" eine zentrale Bedeutung fur seine konstruktivistische Kunst. Moholys Kunstdenken hat also wesentliche A hnlichkeiten mit der Kunstlehre A. Riegls, der Rezeptionsasthetik W. Isers, und dem Versuch M. R. Deppners, den Konstruktivismus zu dekonstruieren.
  • 澤本 徳美
    日本写真学会誌
    1989年 52 巻 6 号 572-581
    発行日: 1989/12/28
    公開日: 2011/08/11
    ジャーナル フリー
  • ―驚きは常に美しい―
    元井 めぐみ
    繊維製品消費科学
    2001年 42 巻 8 号 518-519
    発行日: 2001/08/25
    公開日: 2010/09/30
    ジャーナル フリー
  • 石井 祐子
    美学
    2013年 64 巻 1 号 143-154
    発行日: 2013/06/30
    公開日: 2017/05/22
    ジャーナル フリー
    In June 1936, a large international surrealist exhibition was held in London at the New Burlington Galleries. Although this exhibition did not have strategy to produce "marvellous" exhibition space, it still reflected surrealistic method in some ways. Its method was "the juxtaposition of mutually distant objects" which was related to the idea of collage cultivated in surrealism especially in 1930's. This paper, therefore, analyses the process of organizing the London exhibition, and makes it clear how this collage related method was expanded in the exhibition. In the mid-1930s, surrealist ideas as well as "semantic collage" crossed the international borders and spread to various media including exhibition. In the London exhibition, there are some examples based on this idea; a way of display and a catchphrase planned for its advertisement. These cases showed this method had been diversified through expansion and internationalisation of surrealist movement in this period, while they also revealed slight differences from the original idea. In this way, the London exhibition is not only one of the milestones in the history of international surrealist exhibitions, but also an early example concerning the issue of diffusion and reception of surrealism.
  • レジェの映像製作とその表現
    井口 壽乃
    映像学
    1993年 49 巻 86-100,113-2
    発行日: 1993/03/31
    公開日: 2019/07/23
    ジャーナル フリー

      Fernand Léger's film "Ballet Mécanique" (1923 - 24) is one of the most important avant-garde film of the 1920's. It is a film in which we find only the moving images and fragments of machines. In this paper, I attempt to reveal the production process of the film, and consider Léger's concepts of art through analysis of the elements of its motifs.

      It is clear that Léger made this film under the influence of the Ballets Suédois and Abel Gance's film "The Wheel". The art scene in the early 1920's was leaning toward image arts, and Léger experimented visually on screen by using contrasts-abstractions composed of natural elements in mechanical environments. He insisted that the subject of pictorial works were "the ambiguity" between them.

  • (特集=写真の原形質)
    森永 純
    映像学
    1994年 53 巻 95-103,149
    発行日: 1994/11/25
    公開日: 2019/07/25
    ジャーナル フリー

      Photograph composed of functions brought about by three factors, such as Optics, Chemistry and Time. Vision to invade into human brain without one's knowledge. This tenor of this statement is whether it is possible for these two ever to melt together inside the picture. This writer, being a photographer, is to give its report on…thinking of every shooting theme from the scene.

      Its contents are described in the five items coverring <Of Sea-on the Waves>, <Of White Human Shadow>, <Of Subjects>, <Of Paintings by Monet>, <Of Details and Content of Photographs>.

  • 横山 智也
    デザイン学研究
    1973年 1973 巻 17 号 41-53
    発行日: 1973/03/30
    公開日: 2017/07/25
    ジャーナル フリー
    Thoughthere was a break in the post-war period, Kinetic Art has made a marked progress since it was linked to electronics and mechanical engineering. As forerunners in Kinetic Art, Marcel Duchamp, Alexander Calder, Laszlo Moholy Nagy, and Man Lye have been eager to make use of technology to represent a high achievement in formative art of light and movement. The trend of Kinetic Art after the World War II has been represented by Bruno Munari, Lucio Fontana, Nicolas Schoffer. Kinetic Art has dynamics as its common subject and it is roughly divided into three groups according to the kinds of their movements: 1.formative works like Mobile which are driven by such natural forces as torces as the wind and water 2.relief works, such as Agam's works, which vary themselves in accordance with the viewer's movements. 3.self-moving pieces operased by motors or other powers. This paper is chiefly concerned with thethird type…the self-moving one. With the remarkable development of technology, Kinetic Art has grown into Kinetic Art as an environmental formative art as Sibanetics has been introduced (as by Schoffer) into this field to make more complexed movements possible, light, colour and sound being coordinated. We here try to getat the dynamics of formative art visually instead of digging into its mechanism.
  • 岩本 巌, 生井 英孝, 小林 剛, 今橋 映子, 清水 知子
    英文学研究
    2003年 80 巻 2 号 197-199
    発行日: 2003/12/20
    公開日: 2017/04/10
    ジャーナル フリー
  • 小林 洋
    日本デザイン学会研究発表大会概要集
    1998年 45 巻
    発行日: 1998/10/30
    公開日: 2017/11/08
    会議録・要旨集 フリー
    This Research Is A Study On The Involvement Between Bauhaus And Music. 1. Johannes Itten's And Wassily Kandinsky's Basic Design Education And Music 2. Oskar Schlemmer's Experimental Ballet And Music 3. The Significance Of "Bauhaus Concert" (1923) 4. The "Bauhaus Band" And jazz A Verification Of The Above Four Categories Based On Historical Facts.
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