| Co-Investigator(Kenkyū-buntansha) |
ODAKA Naoki Faculty of Human Development Professor, 発達科学部, 教授 (30204217)
UTSUKI Narisuke Faculty of Cross-Cultural Studies Professor, 国際文化学部, 教授 (70283851)
UOZUMI Kazuaki Faculty of Cross-Cultural Studies Professor, 国際文化学部, 教授 (30112072)
KAYA Noriko OSAKA KYOIKU UNIVERSITY Assistant Professor, 教育学部, 助教授 (70314440)
MAIYA Kiyoshi Research Institute for Higher Education Assistant Professor, 大学教育研究センター, 助教授 (70157121)
菊池 雅春 (菊地 雅春) 神戸大学, 発達科学部, 教授 (90283845)
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| Budget Amount *help |
¥2,400,000 (Direct Cost: ¥2,400,000)
Fiscal Year 2002: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2001: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2000: ¥1,300,000 (Direct Cost: ¥1,300,000)
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| Research Abstract |
The affective impressions to the three expression types of art, modern dance, piano music, and writing (Japanese calligraphic art), were analyzed and then compared and contrasted cross culturally. The main aim of the study was to show the basic affective impressions to various art expressions dwell on the fundamentally common structure of art. Also some culture specific affective process might be expected.
First we collected affective words which well describe impressions to various art expressions. Beautiful, pretty, smooth, and strong were extracted as core emotions among the three arts. Modern dance and piano music shared a wide variety of emotions, such as joy, sadness, and fear in common; however, hand writing shared less part of emotional expressions. Specifically writing may not well communicate "pleasure and pain." Even so, sadness expressed with KANA, far modified version of Chinese characters, were better communicated than KANJI, more traditional version of Chinese characters.
Japanese, Chinese, Korean, and some other Asian students observed or listened to short passages of modern dancing and piano plays and then chose letters professionally written by artists to which emotional meaning is the most similar. Cultural differences were observed less in dancing rather than piano playing and in KANAs rather than KANJIs. Since KANA developed solely in Japan, KANJI may work better as a means of communicating emotions expressed by various arts.
Cross cultural comparison of affective impressions evoked by art expressions does not simply aim academic research but is applicable to construction of a common tool to evaluate Japanese arts overseas.
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