独創性とその源泉 : 近代美学史への一視点

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タイトル別名
  • Originality and Its Origin in Modern Aesthetics
  • ドクソウセイ ト ソノ ゲンセン キンダイ ビガクシ エ ノ イチシテン

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抄録

The idea of 'originality' is one of the most important concepts in modern aesthetics. Few attempts, however, have been made so far at clarifying how and why this idea was established in the middle of the eighteenth-century. Our concern in this paper is to examine what motivated the idea of originality. F. Bacon attacked the 'authority' which prevented the advancement of learning and insisted that also in science 'the New World' should be 'discovered.' Baconian theory was applied to aesthetics in the eighteenth-century. The origin of originality, therefore, was first located in the nature discovered by the artist. Young's Conjectures on Original Composition in 1759 introduced a new type of originality. He insisted that the origin of originality is the nature of the artist, namely in the innate 'mental individuality' of the artist. Following the Baconian attack on authority, Young argued that the modern artist lacks originality because of the 'authority' of the ancients. For him the modern art is 'in retrogradation.' The inseparable connextion between the modern art and originality was insisted by Schelling in his Philosophie der Kunst (1802/03). He argued that the modern artist should be 'original' and cannot presuppose Homer's universal myth as common property like the ancient artist. Only modern art in which the progressionism is valid is characterized by originality. It follows that the idea of originality is a manifesto of the autonomy of the modern subject who emancipated his/herself from the authority of the ancients.

収録刊行物

  • 美学

    美学 47 (4), 1-12, 1997

    美学会

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