| Project/Area Number |
03301006
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| Research Category |
Grant-in-Aid for Co-operative Research (A)
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| Allocation Type | Single-year Grants |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | The University of Tokyo |
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Principal Investigator |
FUJITA Kazuyoshi The University of Tokyo, Professor, 文学部, 教授 (60065480)
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| Co-Investigator(Kenkyū-buntansha) |
ASAI Kenjiro The University of Tokyo, Assistant Professor, 文学部, 助教授 (30092117)
NISHIMURA Kiyokazu Saitama University, Professor, 教養学部, 教授
NEGISHI Kazumi Osaka University of Education, Professor, 教育学部, 教授
YAMAGATA Hiroshi Kobe University, Professor, 文学部, 教授
TOSHIMITSU Isao Tamagawa University, Professor, 文学部, 教授
佐々木 健一 東京大学, 文学部, 教授 (80011328)
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| Project Period (FY) |
1991 – 1992
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| Project Status |
Completed (Fiscal Year 1992)
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| Budget Amount *help |
¥7,500,000 (Direct Cost: ¥7,500,000)
Fiscal Year 1992: ¥3,000,000 (Direct Cost: ¥3,000,000)
Fiscal Year 1991: ¥4,500,000 (Direct Cost: ¥4,500,000)
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| Keywords | today / ethos / artistic experience / postmodern / modern / freedom / method / academic correctness / エートス / トポス / ポスト・モダン / メディア / コミュニケーション / モダニズム / 複製 / 原体験 / ニヒリズム / 理解 / 共存 |
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| Research Abstract |
From 1991 to 1992 we have investigated one of the most issued problem, i.e.the meaning and the significance of the aesthetic or artistic experience in the topos of <to-day>, which is essentially concerned with the traditional problems (aesthetic value, imagination, creation, interest, social or educational function etc.) and however demands the radical reconsideration of us in the postmodern times.
The Members of this project have tried multidimensional approaches : philosophical examination of the most fundamental motives of the socalled deconstruction-theory from the point of view of historical (geschichtlich) explication, philosophical reduction of the art as phenomena of various meaning of the humanity to its origin, philosophical reconstruction of the new ontology of the socalled art-work with the reflecion of the understanding itself in the braditional relations with art-work, etc.
Indeed there are so many padigms concerning to the artphenomena, which are not so easy to be systematically ordered, because the various art-phenomena result from various historical necessities.
Therefore we need nowadays multidimensional and multicultural ethike, in order to hold on the tensional and policentric relativity with academic correctness, for which the Pathos of distance, freedom and methodological strictness are essentially indispensable.
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