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Title: <論文>ルイジ・パレイゾン「形成性の理論」にみられる形の支配の様相 --能産的形(forma formans)と所産的形(forma formata)、概念構造の成立と意義
Other Titles: A Study of the Theoretical Concept of 'Formative Inducement of Forma Formata by Forma Formans' Presented by Luigi Pareyson
Authors: 片桐, 亜古  KAKEN_name
Author's alias: KATAGIRI, Ako
Issue Date: 30-Mar-2018
Publisher: 京都大学大学院人間・環境学研究科岡田温司研究室
Journal title: ディアファネース -- 芸術と思想 = Diaphanes: Art and Philosophy
Volume: 5
Start page: 89
End page: 105
Abstract: Italian philosopher Luigi Pareyson presented the theoretical concept of formative inducement of forma formata by forma formans in his collected papers, Estetetica. Teoria della formatività (1954) and Ploblemi dell'estetica I.Teoria (1974.) Several philosophers such as G.Vattimo and U.Eco, his pupils, or F.P.Ciglia and C.Caneva had studied this concept, however, no one yet to give clear explanation on how and in what line of thoughts could this inducement be justified on his otherwise firm theoretical grounds. This paper attempts to examine hypothesis as follows; Pareyson first paid attention to formative inducement on concept of natura naturans and natura naturata through the philosophy of J.W.Goethe, then he eventually reached to present the theoretical concept of formative inducement of forma formata by forma formans through the search of the aspect of forming art works beyond the schema of subject-object or active-passive. As he deepened his research on the practical aspect of the art, Pareyson reached the concept of the formatività (formativity). He described a significance of the verb formare as proceeding an act finding the exactly mode of acting. He also explained that the formativity was a sort of character which exists in one's every act. According to him, this characteristic can be observed in its most pure state in the act of forming art works. On the practice of forming works, the artists have no rules for acting ought to respect, nor model of acting mode ought to follow. They find the acting way as they practice forming works. Nevertheless, the forming act converges into an art work. Thus, we suspect something works as an incentive for the act leads into the works. Pareyson studied the aspect of forming works with two points of view: the act of interpretation by the artists and the forming forms. He then tried to clarify the incentive for the act, and the process of the forming forms with the incentive. The theoretical core in this study with the second point of view was formative inducement of forma formata by forma formans.
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