Identity and Difference of Poiesis

1988 Fiscal Year Final Research Report Summary

• Project/Area Number: 60301007
• Research Category: Grant-in-Aid for Co-operative Research (A)
• Allocation Type: Single-year Grants
• Research Field: 美学(含芸術諸学)
• Research Institution: The University of Tokyo
• Principal Investigator: FUJITA Kazuyoshi Associate Professor Tokyo University, 文学部, 助教授 (60065480)
• Co-Investigator(Kenkyū-buntansha): ISOYAMA Tadashi Associate Professor Kunitachi College of Music, 助教授 (00118895) ; NISHIMURA Kiyokazu Associate Professor Saitama University, 文学部, 助教授 ; TOZAWA Yoshio Associate Professor Gunma Women's College, 助教授 (50011383) ; MASUBUCHI Soichi Professor Japan Women's University, 文学部, 教授 (70060663) ; SASAKI Ken-ichi Associate Professor Tokyo University, 文学部, 助教授 (80011328)
• Project Period (FY): 1985 – 1987
• Keywords: poiesis / from being to sense shifter / innovation of world view homo opifex / little demiourgi / poiesis of reception / 小さなデミウルゴス / 享受のポイエーシス / 存在の忘却

Research Abstract

It is the aim of our research to view the meaning of the art as 'Poiesis' from various angles, fundamentally freely from a framevork of the classic metaphysical ontological epistemology and aesthetics, which is deeply associated with 'mimesis' as a fundamental doctrine to the classic aesthetics. It is an important change in our times that the meaning of 'Poiesis' turns from the creation of the work of art as an ens which is a beautiful being to the production of a certain way of looking at our 'world', that is to say, to the innovation of a picture of the 'world'. In this perspective the ideas of classic metaphysical aesthetics, i.e.,poiesis as mimesis, the beauty of the being as the purpose of poiesis, the order of the art-being have almost disappeared. In this way the art-work has changed from the art-being to the one meaning as a shifter of the world picture, not in the strict sense of the epistemology, which makes the idea of poiesis of reception possible, which appears at the first glance a contradictory concept. But it is also without doubt remarkable to the modern aesthetics, that the various innovations of the new meanings as shifters are too much overestimated. These meanings freed from the yol of 'esse' or 'ens' seem to float in confusion on the surface of the second degree. In this meaning, in our modern times, various little demiourgi(artists) enumerate each other the performance of the little innovation of the world picture. It is our next problem to consider with attention the reason or justification for being of 'homo opifex' in the present age.