UTokyo Repository 東京大学
 

UTokyo Repository >
118 総合文化研究科・教養学部 >
10 言語情報科学専攻 >
言語情報科学 >

このページ(論文)をリンクする場合は次のURLを使用してください: http://hdl.handle.net/2261/52666

タイトル: 先祖がえりのヴィジョン : 世紀転換期イギリス美術の印象派的展開と社会
著者: 加勢, 俊雄
キーワード: 印象派
都市退化論
イングリッシュネス
農村画
発行日: 2012年3月1日
出版者: 東京大学大学院総合文化研究科言語情報科学専攻
掲載誌情報: 言語情報科学. 10, 2012.3.1, pp. 177-192
抄録: At the end of the 19th century, the reaction against French Impressionism in the British art world was twofold. Firstly, the reaction was highly Francophobic, and was rooted deeply in the discourse of degeneration as French Impressionism provoked a sense of fear for neurotic exhaustion of the metropolitan life. On the other hand, there was New English Art Club, a group of independent artists who chose to train themselves in France denying the "rear-guard" British Royal Academy of Art; yet in spite of their apparent antipathy toward the Academy at the beginning, such artists among New English as George Clausen at the head of the list were absorbed into the system of the Academy around the turn of the 20th century. It was because the simplified images of agricultural life that they painted satisfied the viewers'idyllic imagination. And their paintings were partly contiguous to those of the Academy landscape painters who preceded them, in their way of treating rural scenes as "illusions" which they believed to be free from any cultural change and untainted by ever-increasing city population and its degeneration.
URI: http://hdl.handle.net/2261/52666
ISSN: 13478931
出現カテゴリ:言語情報科学
言語情報科学

この論文のファイル:

ファイル 記述 サイズフォーマット
lis01011.pdf751.67 kBAdobe PDF見る/開く

本リポジトリに保管されているアイテムはすべて著作権により保護されています。

 

Valid XHTML 1.0! DSpace Software Copyright © 2002-2010  Duraspace - ご意見をお寄せください