| Project/Area Number |
19320025
|
|---|
| Research Category |
Grant-in-Aid for Scientific Research (B)
|
| Allocation Type | Single-year Grants |
|---|
| Section | 一般 |
|---|
| Research Field |
Aesthetics/Art history
|
|---|
| Research Institution | Kyoto University |
|---|
Principal Investigator |
OKADA Atsushi 京都大学, 大学院・人間・環境学研究科, 教授 (50177044)
|
|---|
| Co-Investigator(Kenkyū-buntansha) |
SHINOHARA Motoaki 京都大学, 大学院・人間・環境学研究科, 教授 (60135499)
SUZUKI Masayuki 宮城学院女子大学, 学芸学部, 教授 (50091195)
OGURA Kousei 慶應義塾大学, 文学部, 教授 (60204161)
NMIKI Seisi 京都工芸繊維大学, 大学院・工芸科学研究科, 教授 (50211446)
KITAMURA Akari 兵庫教育大学, 学校教育研究科, 教授 (90294264)
MIZUNO Tiyori 京都造形芸術大学, 芸術学部, 教授 (40330055)
YANAGISAWA Tami 南山大学, 人文学部, 准教授 (20407620)
MATUBARA Tomoo 西南大学, 国際文化学部, 准教授 (20412546)
|
|---|
| Project Period (FY) |
2007 – 2011
|
| Project Status |
Completed (Fiscal Year 2011)
|
| Budget Amount *help |
¥19,240,000 (Direct Cost: ¥14,800,000、Indirect Cost: ¥4,440,000)
Fiscal Year 2010: ¥3,770,000 (Direct Cost: ¥2,900,000、Indirect Cost: ¥870,000)
Fiscal Year 2009: ¥3,770,000 (Direct Cost: ¥2,900,000、Indirect Cost: ¥870,000)
Fiscal Year 2008: ¥5,590,000 (Direct Cost: ¥4,300,000、Indirect Cost: ¥1,290,000)
Fiscal Year 2007: ¥6,110,000 (Direct Cost: ¥4,700,000、Indirect Cost: ¥1,410,000)
|
|---|
| Keywords | 肖像 / ペルソナ / イコン / 分身 / 主体 / 自己成型 / 模倣 / 歴史人類学 / 自己同一性 / ナルキッソス / 自画像 / 他者 / 眼差し / イメージ人類学 / 神話学 / 呪術 / 類似 / 美学 / アイデンティティ / 偶像崇拝 / 美術史 / 哀悼 / 類似性 / 仮面 / 記念 |
|---|
| Research Abstract |
There are two vectors in the portrait ; one that is brought back to the person portrayed(vector which makes us believe to be resemble to the model), and the other that is drawn from him(vector which makes us believe that should be expressed the interiority of the model). These opposite vectors are symbolically indicated in the word italian "ritratto" and the word frnch"portrait", both of which signify "portrait". "Ritratto" is deived from "re-traho", which means "bring back to". "Portrait", on the othe hand, is derived from "pro-traho", which means "bring forward". This is why the portrait generally speaking between the mimesis and the expression, the presence and the absence, the tangible and the intangible, the "Unverborgenheit" and the "Vorborgenheit", the pysis and the a-leteia.
|
