| Project/Area Number |
03301008
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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 | KYOTO UNIVERSITY |
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Principal Investigator |
IWAKI Ken-ichi Kyoto Univ., Faculty of Letters, Assistant Prof., 文学部, 助教授 (40025086)
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| Co-Investigator(Kenkyū-buntansha) |
KANEDA Chiaki Univ.of Tsukuba, Institute of Art and Design, Assistant Prof., 芸術学系, 助教授
UOZUMI Yo-ichi Kyoto City Univ.of Arts, Faculty of Fine Arts, Assistant Prof., 美術学部, 助教授 (10168669)
MURATA Jun-ichi Univ.of Tokyo, College of Arts and Science, Assistant Prof., 教養学部, 助教授 (40134407)
YONEZAWA Aritsune Hyogo Univ.of Teacher Education, Faculty of School Education, Assistant Prof., 学校教育学部, 助教授 (70093341)
OTA Takao Kyoto Institute of Technology, Faculty of Engineering and Design, Prof., 工芸学部, 教授 (30098230)
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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 |
¥9,500,000 (Direct Cost: ¥9,500,000)
Fiscal Year 1992: ¥3,000,000 (Direct Cost: ¥3,000,000)
Fiscal Year 1991: ¥6,500,000 (Direct Cost: ¥6,500,000)
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| Keywords | Image / Information / Mood / Semblance / Perfection / Positive Metaphysics / Gestalt / Sensitive Cognition / 形象認識 / 感性的認識と言語的認識 / M.ハイデッガ-の芸術哲学 / 美の完全性 / 20世紀現象学的美学 / G.ベ-ム / M.イムダ-ル / 様式史 |
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| Research Abstract |
Our research proceeded in the following way ; at each regular meeting (we had fourteen meetings in all during the years 1991-1992), one presenter (a member of our research fellows) made an interim report orally and then we all discussed it. Through this discussion each sharer recongnized the commonness of our research subject, while broadening his own view.
Titles of the reports made by each presenter as follows ; (1)Originality in the Recongnition of Image (IWAKI), (2)Beauty and Perfection (YONEZAWA), (3)Experience of Art in the Theory of G.Boehm (OTA), (4)Image and Intution (INOMO), (5)N.Oresme's aesthetics (O.NAKAMURA -he was an invited presenter), (6)Materiality of Mirrors (YOSHIOKA), (7)Temporality of the aesthetic-H.G.Gadamer and the Problem of Art-reading (KATO)(above 1991), (8)Historical Informationalism (MUROI), (9)W.Benjamin's Theory of aura (MAEKAWA -Dd.), The Application of Bergson's Aesthetics to the Film Theory (AOYAMA -Dd.), (10)On 'Mood (Stimmung)'-Contribution to Aesthe
… More
tics as the Science of aisthesis (KOBAYASHI) (11)Aesthetics as the Science of Sensitive Congnition in R.G.Collingwood (KITAMURA), (12)Reality and Semblance-J.P.Sarte and R.D.Laing (UOZUMI), (13)Sensitive Congnition and Positive Metaphysics (UEMURA), (14)Perception of Form-Psychology and Philosophy concerning Gestalt (MURATA)(above 1992). Through these reports and the discussions about them, we could make clear that aesthetics is the science of sensitive cognition ; -the science asks about the knowledge from ontology in antiquity to the modern information theory which have had the accordance with the experiences of man and about the meaning of the being of man based on these knowledge. So aesthetics should not be restricted within the narrow field such as beauty or art, we must relate it to many other fields. From this point of view, the world of beauty and art (both had been the main subjects of aesthetics), too, is never confined to the specific cultural field isolated from our life ; rather, it is the world which plainly shows the characteristics of the historical being of man because of its own way of being. Less
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