| Project/Area Number |
14510065
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | OKAYAMA UNIVERSITY |
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Principal Investigator |
YAMAGUCHI Kazuko Okayama University, Faculty of Letters, Professor, 文学部, 教授 (90093476)
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| Project Period (FY) |
2002 – 2005
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| Project Status |
Completed (Fiscal Year 2005)
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| Budget Amount *help |
¥2,600,000 (Direct Cost: ¥2,600,000)
Fiscal Year 2005: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 2004: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2003: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2002: ¥700,000 (Direct Cost: ¥700,000)
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| Keywords | Disturbation / Sublime / Dionysus / Coloring / Drawing / Landscape / Formless / Romanticism / グロテスク / エロチシズム / 絶対者 / カオス / メタファー / 抽象表現主義 / シュールレアリズム / ニーチェ / 悲劇 / ロスコー / シェリング / カント / ヘーゲル / ゲーテ / 色彩 / 素描 / 芸術の終焉 / 無限性 / 自由美 / 想像力の自由 / ジャン・パウル |
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| Research Abstract |
In this research serves Danto's concept of the "disturbation" as a key word. The coinage of "disturbation", which consists of meanings of masturbation and disturbance, means a power of art which breaks through the boundary between the audience and the art to shock him. Danto thinks of the "disturbational art" as an attempt to recover the power of art which got the audience at the Dionysian fest. It seems that the experience of the disturbational art has the same structure as the experience of the sublime which consists in the encounter of the Another through the negation of the self. This correspondence between the structure of experience of the sublime and the "disturbational art" means that the sublime has its origin in the primitive world and has expressed the radical desire of the human which has sought to break through the harmonious formation of the beautiful. Therefore, the concept of the sublime has its actuality yet in performance art and art which seeks the same working as it.
The romanticism has begun putting the coloring above the drawing, related to the landscape which has a potential spatial expanse. It thinks of the color as the metamorphosis of the light which also has a potentially unlimited expanse, a tendency to negate the formation.
The change in the norm of painting from the portrait and the historical painting to the landscape foretells the change from the art, which regards the figurative beautifulness as the norm, to the art which is beyond all description, concept and frame. So leads the concept of the sublime to the coloring, the formless and the performative. We can in modern art different practices of the concept of the sublime.
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