資料公開

資料公開

タイトル 2009 critique of art interpretation
カテゴリ 研究論文
概要 critique of art interpretation:the possibility of art-science
Do we need Art-Science that interprets art with word? Art should be by nature self-evident. However, in the face of an artwork that does not belong to us, we began to use Iconography to translate it into our culture. Such an interpretation depends on Structuralism. Although the Enlightenment believed the universality of human Reason, after the Revolution and Napoleonic hegemony we had to admit the relativistic schemes to each personality and nationality. However, as Hegelianism without the Progressivism, Iconology has divested authors of their prerogatives in interpretation and has reduced all to the Reception Theory of our culture-code. In the meantime, Freudianism developed Aristotle’s Catharsis Theory into the Repression Theory. Although Structuralist claimes artists create only what is beforehand immanent in our culture-code, Foucault thought the very culture-code is the repression for us. It hides the thing itself. Nevertheless, we can see it by chance as something aweful. It exceeds our culture-code. Art does not show “sign” of our culture-code but such “shadow” of the truth. Indeed, Bricolage manages the thing itself regardless of the original purpose in order to make a new tool; but art has no purpose. It is an activity to show the awful existence with a unique exception and it breaks the repression of the dogmatic culture-code. Interpretation of an old artwork asserts its status as science and struggles against each other; however, it is by nature not science but artistic Bricolage with word; nevertheless, gathering and examining various interpretations will rather enable us to establish Art-Science.
タイトル 2011 the invisible beauty of cinema
カテゴリ 研究論文
概要 The beauty of cinema consists not in the Physical image, but on a Metaphysical level in the story. By the Paragone problem, Aesthetic Metaphysics was lost, while the Stimulus Theory became superior instead. Especially Metz, denying Typage and Langue, reduced cinema to the enumeration of images. However, the meanings of images postulate the Genre as Cinema Langue in advance. After that, it is modified by the audience’s Doxa and at last corrected by
the film story itself. Although we cannot see the Practical Idea directly, we catch the glimpse of the beauty negatively, refutatively or ontologically. The moved cinema experience not only clarifies the true meaning of things in the film, but also crushes down our distorted prejudice in the Reason, so that it is able to convert even our whole daily life.
タイトル 2005 isagogics for cinema-aesthtics
カテゴリ 研究論文
概要 Isagogics for Cinema-Aesthetics: Beauty as Argumentum ad Hominem
In this essay, we try to clear the way to the general aesthetic theory of film with the hint by Baumgarten. To review the antecedent researches, although Eisenstein and the French Nouvelle Vague challenged the theoretical artificiality in their making films, the audience rejected such works and the attempt itself to make a general aesthetic theory of cinema has abandoned now. Their defeat is caused by their way to take shots one by one according to the script words. We name it 'Articulativist Fallacy'. It lacks betweenness or movements, the most important essence for movie. In this background, there is Structuralism that analyses all things to the single function and tries to create a new mechanism by the combination. Additionally, Eisenstein and FNV were under the affection of the Hegel-Marx Dialectics; however, it is Plato who established Dialectics and the Hollywood learns it without intent. They developed the film-taking method by the multi-coverage with the huge budget as the Hollywood Griffith Style. However, his theme montage is more important. While the outside expressions are only able to mean the seeming, the various touchstone situations test the truth of the concept in the story. In addition to this Dialectics in the screen, there is another one between the screen and the audience, so we call this 'Grand T-Structure' of cinema. Here the audience is able to discover and moved by the beauty of the universal truth in the specific story. Therefore, poetical Aesthetics of cinemabeauty is determined by the fineness of the sensibilitive argumentum about the theme.
タイトル 1999 the concept of justice
カテゴリ 研究論文
概要 https://books.rakuten.co.jp/rk/c020264f8ad233409f9c7cb790f4cfe1/

Reviving the “Methodical Contract Theory”, Rawls conceptualized ‘justice’ with “the ‘Fairness Principle”. It is valuable as a lodestar to solve our problem of the present age, namely the compatibility of contradicting liberty and equality. However, we cannot actually derive ‘justice’ from it because we have also the liberty not to comply it. Therefore, Rawls says that we need sanctions and compulsions against an ‘egoist’. However, if we do something under menace, is it able to be ‘justice’? Contrarily, if someone is not an ‘egoist’, namely if he/she does a ‘justice’, ignoring his/her own interest, then it is rather unnatural and irrational folly. There is “the Courage Principle” here that makes us true social-comrades. For this “Practical Contract”, people have to gamble themselves. Nevertheless, we do it because ‘justice’ is necessary for our own happiness.
タイトル 2009 film als business 01
カテゴリ 研究論文
概要 Wintersemester 2008-09, Filmwissenschaft, JOGU

Vorlesung 01: Prepro für Film
タイトル 2009 film als business 02
カテゴリ 研究論文
概要 Wintersemester 2008-09, Filmwissenschaft, JOGU

Vorlesung 02: Budgetmanagement
タイトル 2009 film als business 03
カテゴリ 研究論文
概要 Wintersemester 2008-09, Filmwissenschaft, JOGU

Vorlesung 03: Struktur der Story 1
タイトル 2009 film als business 04
カテゴリ 研究論文
概要 Wintersemester 2008-09, Filmwissenschaft, JOGU

Vorlesung 04: Struktur der Story 2
タイトル 2009 film als business 05
カテゴリ 研究論文
概要 Wintersemester 2008-09, Filmwissenschaft, JOGU

Vorlesung 05: Struktur der Story 3
タイトル 2009 film als business 06
カテゴリ 研究論文
概要 Wintersemester 2008-09, Filmwissenschaft, JOGU

Vorlesung 06: Spiegel und Touchstone