49号掲載論文の要旨
国際基督教大学キリスト教と文化研究所発行
国際基督教大学学報 IV-B
『人文科学研究（キリスト教と文化）』
International Christian University Publication IV-B
Humanities: Christianity and Culture
〈講演録〉(Atti del convegno)
イタリアと日本──歴史、文学、食物、モード、美術における影響と交換──
(Italia-Giappone, influenze e scambi dalla storia alla letteratura, dal cibo alla moda e all'arte)
序. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 伊藤 亜紀
[Introduzione. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aki Ito]
日伊国交樹立150周年にあたる2016年は、イタリアと日本双方で数多くのイベントがおこなわれたが、ヨーロッパ最古の大学として名高いボローニャ大学でも、この年を記念する国際会議が、10月24日、25日の2日間にわたって開催された。これは、歴史、政治経済、美術、文学、食物、モードの各分野における日本とイタリアの交流の歴史を、両国の研究者一名ずつが語るというものである（ただし美術に関しては、イタリア人研究者のみ）。講演者はボローニャ大学のマリア・ジュゼッピーナ・ムッツァレッリ（Maria Giuseppina Muzzarelli）氏と大阪市立大学の大黒俊二氏（歴史）、ローマ大学のマルコ・デル・ベーネ（Marco Del Bene）氏と千葉大学の石田憲氏（政治経済）、ボローニャ大学のジョヴァンニ・ペテルノッリ（Giovanni Peternolli）氏（美術）、ボローニャ大学のパオラ・スクロラヴェッツァ（Paola Scrolavezza）氏と東京大学の村松真理子氏（文学）、ボローニャ大学のマッシモ・モンタナーリ（Massimo Montanari）氏と奈良女子大学の山辺規子氏（食物）、そしてボローニャ大学のラウラ・ディミトリオ（Laura Dimitrio）氏と伊藤（モード）である（ただしディミトリオ氏の仕事上の都合により、会議当日は、ムッツァレッリ氏が彼女の原稿を代読した）。
以下に掲載したのは、ムッツァレッリ氏とディミトリオ氏、そして伊藤のおこなった講演の日本語訳、及び伊語原文である。とりわけムッツァレッリ氏の話は、1970年代以降に、ボローニャ大学を訪れた日本のイタリア史研究者の「記録」として貴重である。邦訳にさいしては、ムッツァレッリ氏と長年親交を深め、当時の大学の事情にも詳しい山辺先生と大黒先生から、多くの助言を賜った。厚く感謝申し上げたい。またこの会に先立つ10月21日、来日したディミトリオ氏の講演会（於：お茶の水女子大学。ボローニャでのものとほぼ同内容）を主催したお茶の水女子大学の新實五穂先生、さらには貴重な雑誌資料を閲覧させてくださった文化学園大学図書館にも、心より御礼申し上げる。
18世紀における「生命科学」と音楽の関わり──アルモニカの流行と凋落、B. フランクリンと F. A. メスメルをめぐって──. . . . . . 田村 治美
[The Relationship between "Life Science" and Music in the 18th Century: On the Fashion and Decline of the Armonica, B. Franklin and F. A. Mesmer. . . . . . Harumi Tamura]
18世紀において、「科学」をめぐる諸状況は変化し、宇宙や自然現象、そして身体に対する眼差しが大きく変わってきた。それと共に健康や疾病の観念も変化し、音楽と身体の関わりもまた変化してきた。
これまで自然科学と音楽の関わりについては、主に、音響学理論が直接反映している調律法や和声理論について研究が積み重ねられてきた。近年では生理学や医学、精神医学、電磁気学などもまた音楽観や音楽現象に影響していることが指摘されている。
本稿では、18世紀後半に人々を魅了し大流行したにもかかわらず、健康をそこね死に至らしめるとまで噂されて音楽界から姿を消し、今もなお不思議な伝説の謎から解き放たれていない楽器「アルモニカ」について論述した。
アルモニカは、大きさの異なる複数のガラスの椀の縁をこすって音を発生させ、音楽を奏でる楽器である。この楽器の特異な点の一つは、18世紀、「科学」の転換期に、近代科学に重要な成果を残した二人の人物が、パリの社交界を舞台にそれぞれ独自の科学理論を掲げてその楽器に関わったことである。一人はアルモニカの発明者であり、雷の正体が電気であることを証明したベンジャミン・フランクリン、もう一人は近代力動精神医学の祖とされ、治療プロセスでアルモニカを用いたフランツ・アントン・メスメルである。ところが、二人はメスメルの理論体系をめぐって科学的対立軸に位置することとなり、メスメルの失脚によってアルモニカもその運命を共有することになった。
これらのいきさつについて、本稿では18世紀の神経学や電気の理論の進歩による生命観のパラダイムシフトを主軸に、音楽の心身への影響、フランクリンの電気理論、メスメルの動物磁気理論との関わりを調査し、それらがアルモニカの興亡にどのように影響したのかを分析した。その結果、アルモニカの流行と不名誉な噂の中での凋落が、18世紀の「生命科学」と音楽観との関係の中でうまれた必然的な帰結であることが指摘された。
18世紀以降、科学と音楽は専門分化の道をたどってきたが、共に自然や人間を対象にし、時代思想や社会の産物として照応関係にあると思われる。アルモニカの運命は、音楽が、生命をめぐる諸科学、すなわち医学、生理学、心理学、そして電気・磁気学とも深い相互関係をもっていることを教えてくれる。
Virtuosi of Sound and Light: Wordsworth and William Rowan Hamilton. . . . . . Christopher E. J. Simons
Among the many new friendships that Wordsworth cultivated in his middle age, one of the most remarkable was with the mathematician, astronomer, and poet William Rowan Hamilton (1805-1865). Recent scholarship has investigated the Wordsworth-Hamilton relationship in terms of how Hamilton's friendship regenerated Wordsworth's interest in mathematics, as evidenced by revisions to The Prelude (Owens). This paper supplies further evidence of how these two friends influenced each other's work, by demonstrating the influence of Hamilton on several of Wordsworth's new poems written after 1827. Hamilton's biographer Robert Perceval Graves documents Hamilton's use of Wordsworth's philosophical poetry in his lectures on astronomy. Similarly, evidence from correspondence supports the contention that Hamilton's metaphysics—so strongly influenced by Coleridge—influenced Wordsworth's conception of the imagination in his later years. Yet not only Hamilton's scientific achievements, but the young man's own voluminous, amateur verses, lingering in Wordsworth's mind as he composed new poems after 1827. The linked origins in manuscript of the poems The Triad and The Power of Sound show Wordsworth inspired by classical triadic imagery, associated with music and occult mathematical knowledge, from late 1827. The allegory of The Triad suggests Wordsworth's view of himself as an elder poet inspired by, and inspiring, a young poet-mathematician. On the Power of Sound demonstrates the incorporation of Hamiltonian dynamics into the classical symbol of the music of the spheres; Wordsworth's lines suggest a formal relation between the wave forms of music and the movements of celestial bodies, which the Hamiltonian function accomplished in its conception of phase space (Penrose 226-30). Finally, in Wordsworth's sonnet 'Eagles', an image common to all three poems—The Triad, On the Power of Sound, and 'Eagles'—gains symbolic association with Hamilton. The image of the eagle in these three poems may not originate with Wordsworth, but in Hamilton's poem 'It Haunts Me Yet'—the first poem he sent to Wordsworth for critical appraisal. In the reciprocal influences between three poems by Wordsworth and one by Hamilton, the beauty of a friendship of two virtuosi, in which each person's secondary passion is the other's profession, becomes apparent. Through his friendship with Hamilton, Wordsworth finds not only a metempsychosis of his friendship with Coleridge, but also the inspiration to acknowledge that his ever-audible, never-failing principle of joy, derived from nature, gives access to 'a world of Spirit | By tones and numbers guided and controll'd'. This representation of a dialectic of imagination and empirical reasoning shows Wordsworth accomplishing something of what Coleridge wanted from a Wordsworthian philosophical epic, but did not think The Excursion delivered: 'true Idealism necessarily perfecting itself in Realism, & Realism refining itself into Idealism' (Griggs iv. 575).
The Eye of Light: Sophie de Roumanie and the Aesthetics of Landscape Photography. . . . . . Olivier Ammour-Mayeur
Si l'on fait le bilan, en 2017 encore, la photographie de paysage reste la mal aimée de l'analyse esthétique. Bien que les monographies, individuelles ou collectives, d'une grande qualité se soient multipliées du côté des ouvrages portant sur les photographes de paysages, les études théoriques sur le genre, elles, restent rares. À moins qu'il ne s'agisse de livres portant sur les techniques photographiques paysagères. Un peu comme si le paysage nécessitait un apprentissage particulier, sans pour autant atteindre à une esthétique singulière digne d'attention.
En s'intéressant aux œuvres de Sophie de Roumanie, cet article entend porter un regard critique et théorique sur la question du paysage en photographie, en montrant en quoi ce genre, jusqu'à présent plutôt négligé, n'a rien d'un plat « exercice de style » pour photographe amateur, ni d'un simple succédané de la peinture de paysage qui dominait avant l'apparition de l'appareil photographique. S'il est établi depuis plusieurs décennies maintenant que la photographie représente bien un art en soi, il convient maintenant de regarder le genre paysager au plus près, afin d'en analyser les tenants esthétiques et poétiques.
乾山焼 画讃様式の研究（三）──和歌・物語・謡曲──. . . . . . リチャード・ウィルソン，小笠原 佐江子
[Iconography of Kenzan Ware: Japanese Poetic Themes: Waka, Monogatari, and Noh. . . . . . Richard L. Wilson and Saeko Ogasawara]
Abetted by peace and prosperity, and by the strategic utility of cultivated pastimes in an era of regime change, Japanese literary themes enjoyed an unprecedented florescence in the seventeenth century. As scions of a wealthy merchant house serving the highest echelon of the imperial court, the Ogata brothers Korin (1658-1716) and Kenzan (1663-1743) were steeped in classical verse (waka), narrative (monogatari), and drama (noh) traditions. With the decline of their family business at the end of the century both brothers were compelled to convert this "habitus" into production of painting, lacquer and ceramic design. Their contributions form the core of what came to be known as the Rinpa school.
The early-modern treatment of the indigenous literary tradition is marked by new modes of packaging and dissemination. While prose and poetry themes are hardly new to the crafts, Kenzan's synthesis of theme, calligraphy, painting and ceramic form is entirely without precedent. In order to take full measure of this approach, the authors surveyed all known works inscribed with Japanese poetry and noh-drama lyrics attributable to Kenzan and his workshop, totaling 20 sets (as presently constituted) and individual objects, for a total of 223 pieces. All inscriptions were transliterated and traced to their classical sources. Below we summarize the findings for waka and noh, with special attention to selection, pictorialization, and text-picture-object relationship. Monogatari and poet- portrait (kasen) themes are relatively few in number and thus excluded from this summary.
For ceramics inscribed with waka, Kenzan showed a preference for poetry by and related to Fujiwara Teika (1162-1241) and for poetry by Sanjonishi Sanetaka (1455-1537). The Teika-legacy material includes "Teika's Ten Styles of Poetry" (Teika jittei, 1207-1213), Manuscript of Remnants (Shui guso, 1216), Single Poems by One Hundred Poets (Hyakunin isshu, 1235), and "New Six Poetry Immortals" (Shin rokkasen, 1505). The Sanetaka verses are all extracted from Jewels of Snow (Setsugyokushu, n.d.). The interest in Teika reflects his centrality in the medieval literary tradition and posthumous links to noh, tea ceremony, and calligraphy. Kenzan was in agreement with his contemporaries in frequently using "Birds and Flowers of the Twelve Months" (Junikagetsu waka, 1214), originally included in Shui guso. As for Sanetaka, there is a tenuous connection to the Mikohidari line of poets descended from Teika, and Sanetaka is renowned in the tea ceremony for instructing Takeno Joo (1502-55) in Teika's poetics; additionally Kenzan probably favored Sanetaka for the topics of his poems, especially "poems on things" (daiei) that were readily adaptable to pictures.
Pictorialization of waka (uta-e) accelerated in the mid-seventeenth century after a long hiatus. Decoration on Kenzan's Teika twelve-month dishes relate closely to painted versions, especially those in an album in the Idemitsu Museum bearing the signature of Kano Tanyu (1602-74). Other poetic vignettes have a basis in the kai-e (literally "poem-meaning picture"), abbreviated scenes that first appear around 1660, inserted above portraits of classical poets (kasen-e) also associated with Tanyu. The kai-e becomes a fixture in illustrated manuals from the 1670s, exemplified by Hishikawa Moronobu's Single Poems by One Hundred Poets, with Commentary (Hyakunin isshu zosansho, 1678). The simplification and modularizing tendency in the kai-e commended it to ceramic décor.
Befitting a man of letters, Kenzan adroitly manipulated the relationship between the text, picture, and vessel. The permutations include 1) dishes with picture on the front and poetry on the back, 2) dishes with picture and poetry on the front, 3) paired dishes with pictures and the first and second halves of a poem on the respective halves, 4) the same as previous but without pictures, and 4), dishes with (complete) poems only. The strategy reflects the social aspect of the waka tradition, rooted in uta-awase but with playful innovations like cards (karuta) reaching maturity in the seventeenth century.
Kenzan and his brothers participated in non-guild noh drama (tesarugaku) from an early age, and recent scholarship has underlined the influence of noh on Korin's art. Kenzan's experience is revealed in sets of dishes decorated with noh-drama themes. The front of each dish is painted with an evocative scene or object related to a specific play and the back features an excerpt from that play's script. An originary model for the pictures can be found in hand-painted covers of deluxe noh libretti (utaibon) from the early seventeenth century, but Kenzan's schematization parallels the aforementioned kai-e. The calligraphic excerpts on the back of the dishes are key passages from the respective plays: these excerpts, called ko-utai, were expected recitation material for celebratory and social events, and ko-utai compendia were best-sellers in Kenzan's day.
The authors have tried to demonstrate that Kenzan wares with Japanese literary themes are closely related and indebted to early modern appropriations of classical Japanese literature and trends in its pictorialization. However the versatile design strategies—particularly the sensitive deployment of writing, centered around calligraphic inscriptions from Kenzan's own hand—must be seen to reflect the sensibilities and skills of Kenzan himself. This helps to explain why Edo-period Kenzan imitators rarely attempted to work in this mode.
Keywords: Edo-period Japanese ceramics; Ogata Kenzan; Ogata Kôrin; Kenzan ware; Rinpa; Early Modern waka; Early Modern noh; 近世日本陶磁、尾形乾山、尾形光琳、乾山焼、琳派、画讃、近世和歌、近世能