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Studies on the Historical Contexts of "The End of Art" and its Significance at the Present Day

“艺术终结”的历史语境及其当代意义研究

基本信息

批准号：
16202001
负责人：
KURIHARA Takashi
金额：
$ 18.89万
依托单位：
Niigata University (2005)Tottori University of Environmental Studies (2004)
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (A)
财政年份：
2004
资助国家：
日本
起止时间：
2004 至 2005
项目状态：
已结题

项目摘要

We held three study conferences, i)in Yamagata on August 21/22, 2004, ii)in Niigata on November 20/21, 2004, iii)also in Niigata on August 6/7, 2005 (last two were held as public conferences). They helped the investigators to have common understandings of our themes. Concerning study trips, Hisatake Kato and five investigators studied in New York from February 28 to March 7, 2005 ; Zakota, Kurihara and Kido under Pr.Klaus Dusing at Koln University from July 2 to 10, 2005 ; Kato and six investigators in Germany and Italy from August 27 to September 5, 2005. Jun Yamasaki had several meetings with Pr.Walter Jaeschke who came to Japan in October 2005. Pr.Jaeschke gave us some interesting suggestions and wrote a new article on the End of Art in our report.Takashi Kurihara studied contexts of the themes of the End of Art from the hermeneutical point of view, arguing that, in order to establish the philosophy of art that discussed art, art as its object already had to come to an end. He trans … More lated hermeneutical works of Friedrich Ast into Japanese. Hisatake Kato revealed an archetype of Hegel's Aesthetics, arguing that "the Absolute" of Hegel had been influenced by Spinoza's view of substance, and art was one of the spiritual forms of self-recognition of the Absolute. He also revealed that the Hegelian philosophy of history could not accept the authorization of the past. Yutaka Zakota studied under Pr.Klaus Dusing, a leading Hegelian scholar, and translated an unknown notebook of a student who attended Hegel's Lectures on Aesthetics (1820/21) into Japanese. Seishi Isaka brought notice to the principles of "the darkness" and "the bad" on the paintings of C.D.Friedrich, painter of German Romanticism, and argued that art had to end before philosophy when the roll of painting was to express ideas or emotions. Atsushi Kido studied the Analytic of the Sublime in Kant's Critique of the Power of Judgment and discussed the difference and identity between the Kantian critical sublime and the metaphysical sublime of German Idealism. Kouichi Morimoto examined the present-day significance of the End of Art or its Anti-End, arguing that the thesis of the End of Art means for us that the "discourses" which have supported the idea of art come to end. Less

我们于2004年8月21日/22日在山形、2004年11月20日/21日在新泻、以及2005年8月6日/7日在新泻举行了三次学习会议(最后两次是作为公开会议举行的)。他们帮助调查人员对我们的主题有了共同的理解。关于考察旅行，Hisatake Kato和5名调查人员于2005年2月28日至3月7日在纽约学习；Zakota、栗原和Kido于2005年7月2日至10日在科隆大学Klaus Dsing教授手下学习；加藤和6名调查人员于2005年8月27日至9月5日在德国和意大利学习。山崎骏与2005年10月来到日本的沃尔特·杰施克教授进行了多次会晤。Jeschke教授给了我们一些有趣的建议，并在我们的报告中写了一篇关于艺术的终结的新文章。栗原隆从解释学的角度研究了艺术终结主题的语境，认为为了建立讨论艺术的艺术哲学，作为其对象的艺术已经必须终结。他改变了…更多的弗里德里希·阿斯特的释义著作被翻译成日语。加藤久隆揭示了黑格尔美学的一个原型，认为黑格尔的“绝对”受到了斯宾诺莎物质观的影响，艺术是对绝对的自我认识的精神形式之一。他还透露，黑格尔的历史哲学不能接受过去的授权。Yutaka Zakota师从著名黑格尔学者克劳斯·杜辛教授，并将一位参加黑格尔美学讲座(1820/21)的学生的不为人知的笔记本翻译成日语。Seishi Isaka注意到了德国浪漫主义画家C.D.Friedrich的绘画中的“黑暗”和“坏”的原则，并认为当画卷是为了表达思想或情感时，艺术必须在哲学之前结束。木藤敦研究了康德《判断力批判》中的《崇高分析》，探讨了康德的批判崇高与德国唯心主义的形而上崇高的区别与同一性。森本幸一考察了艺术的终结或其反终结的现实意义，认为艺术的终结这一命题对我们来说意味着支持艺术观念的“话语”的终结。较少