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After that \u00d5mori Ichu (1844\u20131908) translated the English of his speech into Japanese and published the book entitled Bijyutusinsetu in November of Meiji year 15. \u201cMy\u00f5s\u00f5\u201d written in this book is an important term in the theory of fine arts and literature. For example, in fine arts theory, this term was used by Okakura Tensin among others, and in the theory of the literature, the term was used by Tubouchi Sh\u00f5y\u00f5, Isibasi Ningetu, Mori \u00d5gai, Kitamura T\u00f5koku, and others. But because \u00d5mori Ichu first translated \u201cidea\u201d into \u201cmy\u00f5s\u00f5\u201d in that book, earlier scholars have written treatises on this subject and they all have come to a conclusion that \u201cmy\u00f5s\u00f5\u201d is \u201cidea.\u201d But having investigated the meaning of my\u00f5s\u00f5 by comparison with Bijyutusinsetu and \u201cLecture\u201d etc. or notes referring to Fenollosa\u2019s speech owned by the Houghton library, Harvard University, I have reached a conclusion that my\u00f5s\u00f5 is not only \u201cidea\u201d but also \u201cthe artistic creation\u201d, \u201cideal(s),\u201d \u201cwh. its ideality is to be realized,\u201d \u201cideality (idealities),\u201d \u201cthe artistic quality.\u201d That is to say, the Japanese translation of my\u00f5s\u00f5 means not only the original artistic idea by artists but also a chain of the concepts that have been idealized in artistic creations. 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『美術真説』における「妙想」訳 : フェノロサ草稿演説資料を手がかりに
https://doi.org/10.18999/juncture.10.112
336cb48d-cc32-4336-8512-35ac0273b565
名前 / ファイル | ライセンス | アクション | |
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2019-03-28 | |||||
タイトル | ||||||
タイトル | 『美術真説』における「妙想」訳 : フェノロサ草稿演説資料を手がかりに | |||||
その他のタイトル | ||||||
その他のタイトル | On the Study of “Myõsõ” in Bijyutusinsetu Translated from the English of Ernest F. Fenollosa’s speech into Japanese: with the Clue to the Notes Referring to His Speech | |||||
著者 |
清水, 徹
× 清水, 徹× SHIMIZU, Tooru |
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キーワード | ||||||
主題Scheme | Other | |||||
主題 | Bijyutusinsetu | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Idea | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Notes referring to Fenollosa’s speech | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | “Lecture” | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | “My state of mind stood aloof from worldly things” | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Oriental artistic point of view | |||||
抄録 | ||||||
内容記述 | Ernest F. Fenollosa (1853–1908) made a speech on the artistic theory under the auspices of Ryuchikai in May of Meiji year 15. After that Õmori Ichu (1844–1908) translated the English of his speech into Japanese and published the book entitled Bijyutusinsetu in November of Meiji year 15. “Myõsõ” written in this book is an important term in the theory of fine arts and literature. For example, in fine arts theory, this term was used by Okakura Tensin among others, and in the theory of the literature, the term was used by Tubouchi Shõyõ, Isibasi Ningetu, Mori Õgai, Kitamura Tõkoku, and others. But because Õmori Ichu first translated “idea” into “myõsõ” in that book, earlier scholars have written treatises on this subject and they all have come to a conclusion that “myõsõ” is “idea.” But having investigated the meaning of myõsõ by comparison with Bijyutusinsetu and “Lecture” etc. or notes referring to Fenollosa’s speech owned by the Houghton library, Harvard University, I have reached a conclusion that myõsõ is not only “idea” but also “the artistic creation”, “ideal(s),” “wh. its ideality is to be realized,” “ideality (idealities),” “the artistic quality.” That is to say, the Japanese translation of myõsõ means not only the original artistic idea by artists but also a chain of the concepts that have been idealized in artistic creations. The reason why Õmori added the concept of the others besides idea on myõsõ is that myõsõ as used in So Shoku’s poems in the Edo Era means “my state of mind stood aloof from worldly things” from the Oriental artistic point of view, and from that myõsõ came to imply an appreciative observer’s mind impressed by artistic creations. As a result, Õmori, who was well versed in the study of the Chinese classics, would think that myõsõ not only meant “idea” but also meant “the artistic creation,” “ideal(s),” “wh. its ideality is to be realized,” “ideality (idealities),” or “the artistic quality.” For that reason, in the modern artistic theory in Japan, myõsõ has come to mean not only the original artistic idea by artists but also artistic works and the artistic mindset in which appreciators are impressed by artistic creations. | |||||
内容記述タイプ | Abstract | |||||
出版者 | ||||||
出版者 | 名古屋大学大学院人文学研究科附属超域文化社会センター | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源 | http://purl.org/coar/resource_type/c_6501 | |||||
タイプ | departmental bulletin paper | |||||
ID登録 | ||||||
ID登録 | 10.18999/juncture.10.112 | |||||
ID登録タイプ | JaLC | |||||
ISSN(print) | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 1884-4766 | |||||
書誌情報 |
JunCture : 超域的日本文化研究 巻 10, p. 112-127, 発行日 2019-03-25 |
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著者版フラグ | ||||||
値 | publisher |