Aesthetics of Cultural Chiasm

文化交叉美学

• 批准号: 16320016
• 负责人: OTABE Tanehisa
• 金额: $ 9.55万
• 依托单位: The University of Tokyo
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (B)
• 财政年份: 2004
• 资助国家: 日本
• 起止时间: 2004 至 2007
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-16320016/
• 关键词: acculturation; cultural chiasm; Europe-Asiaas Ideas; Kata as form; action and reaction of culture; copyright as culture; cross-cultural; habitus; 立化触変; 断片; 都市と大学; 無框性; 日独精神史; ピアノの成立; 鼓常良; クリスティアン・ヴォルフ; 自然と先入見; 中心と周縁; 批判的地域主義; 民謡; さすらい

Tanehsia Otabe, the head investigator, was invited to the symposium "Diversified Aesthetics in Asia" organized by Prof. Gao Jianping (China) at the XVIIth International Conference of Aesthetics (Ankara, Turkey) and presented a paper entitled "To What Extent Are Japanese Aesthetics Asian? On the Self-Images of Modern Japan". The aim of the paper was to show from an aesthetic point of view how the ideas "Europe" and "Asia" were established in Europe and how they were received and criticized in Asia. This presentation is one of the main results of this project and also a precursor of the next project. Otabe was also invited to the Humboldt-Kolleg 2008 at the Rikkyo University to present a paper in which he dealt with the concept of `kata' of Soetsu Yanagi. He clarified that the concept of `kata' can be grasped as a sort of `habitus' and posed a hypothesis that Japanese modern aesthetics is a product of cultural chiasm.Hiroshi Watanabe, another investigator, published as a coeditor "Dictionary of World Music" in which he argued that the contemporary culture in the world must be considered from a view point of such mechanism of action and reaction that accompanies the acculturation between the west and the east; and he succeeded in positioning Japanese modern music in a globalized situation. In his article "Copyright as Culture", taking modern Japanese music into consideration as an example, he clarified that the European idea of copyright, once adopted by non-European regions, tends to degenerate their local culture.

课题组长Tanehsia Otabe受邀参加第十七届国际美学大会（土耳其安卡拉）高建平教授（中国）组织的“亚洲多元化美学”研讨会，并发表题为“日本美学亚洲化程度如何？论现代日本的自我形象”的论文。本文的目的是从美学的角度展示“欧洲”和“亚洲”的观念是如何在欧洲确立的，以及它们在亚洲是如何被接受和批评的。本演示是该项目的主要成果之一，也是下一个项目的先驱。 Otabe 还受邀参加立教大学举办的 2008 年 Humboldt-Kolleg 会议，发表了一篇论文，其中讨论了柳宗悦 (Soetsu Yanagi) 的“型”概念。他澄清了“型”的概念可以被理解为一种“惯习”，并提出了一种假设，即日本现代美学是文化交叉的产物。另一位研究者渡边浩在与人合编的《世界音乐词典》中指出，必须从这种伴随着文化间文化融合的作用和反应机制的角度来考虑世界当代文化。 西方和东方；他成功地将日本现代音乐置于全球化的境地。他在《作为文化的版权》一文中，以日本现代音乐为例，阐明欧洲的版权观念一旦被非欧洲地区采用，往往会导致当地文化的退化。

项目成果

Tsuneyoshi Ysuzumi, a Pioneer in Comparative Aesthetics. And His Theory of Framelessness of Japanese artistic Style'

比较美学的先驱者安住常吉。

• 发表时间: 2007
• 期刊: International Yearbook of Aesthetics 11
• 作者: Otabe;Tanehisa;並木 誠士;岸 和郎;三島憲一;小田部 胤久;Wolfgang Schwentker;太田 喬夫;小田部 胤久;Wolfgang Schwentker;三木順子;Wolfgang Schwentker;Tanehisa Otabe
• 通讯作者: Tanehisa Otabe

芸術終焉論の諸類型-ヘーゲル理解のための-座標-

艺术中的末世论类型 -理解黑格尔的坐标-

• 发表时间: 2007
• 期刊: ヘーゲル哲学研究 13
• 作者: Otabe;Tanehisa;並木 誠士;岸 和郎;三島憲一;小田部 胤久;Wolfgang Schwentker;太田 喬夫;小田部 胤久;Wolfgang Schwentker;三木順子;Wolfgang Schwentker;Tanehisa Otabe;石田潤一郎;Wolfgang Schwentker;小田部 胤久
• 通讯作者: 小田部 胤久

ベートーヴェンのもう一つの顔

贝多芬的另一张脸

• 发表时间: 2007
• 期刊: ピアノはいつピアノになったか(伊東信宏 編)(大阪大学出版会)
• 作者: Kenichi;Mishima;小田部 胤久;市川靖史;渡辺 裕
• 通讯作者: 渡辺 裕

「研究成果報告書概要(和文)」より

摘自《研究结果报告摘要（日文）》

• 发表时间: 2005
• 作者: Kawauchi;et. al.;Nishimura et al.;Dezawa et al.;Yoshizawa et al.;星野 幹雄;星野 幹雄
• 通讯作者: 星野 幹雄

「芸術終焉論を読み解く」

“解读艺术终结的理论”

• 发表时间: 2006
• 作者: 矢内義顕;(神崎忠昭との共訳);Tanehisa Otabe;Tanehisa Otabe;Tanehisa Otabe;Tanehisa Otabe;小田部 胤久;渡辺 裕;渡辺 裕;渡辺 裕;渡辺 裕;渡辺 裕;木岡 伸夫;木岡 伸夫;渡辺 裕;品川 哲彦;渡辺 裕;中澤 務;伊藤 徹;小田部 胤久;桑子 敏雄;小田部 胤久;Nobuo KIOKA;Tanehisa Otabe;Nobuo KIOKA;小田部 胤久;Tetsuhiko SHINAGAWA;Tanehisa Otabe;Tsutomu NAKAZAWA;Toru ITO;小田部 胤久
• 通讯作者: 小田部 胤久