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シリン・ネシャットの映像作品に見る対位法構造について
https://bunkyo.repo.nii.ac.jp/records/666
https://bunkyo.repo.nii.ac.jp/records/6666ebc216c-d6e4-4115-9588-f6f525797c28
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
BKK0000740.pdf (2.2 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
|---|---|---|---|---|---|---|---|---|
| 公開日 | 2010-10-04 | |||||||
| タイトル | ||||||||
| タイトル | シリン・ネシャットの映像作品に見る対位法構造について | |||||||
| タイトル | ||||||||
| タイトル | On the Counterpoint Structure Used in the Works by Shirin Neshat | |||||||
| 言語 | ||||||||
| 言語 | jpn | |||||||
| 資源タイプ | ||||||||
| 資源タイプ | departmental bulletin paper | |||||||
| タイトル カナ | ||||||||
| その他のタイトル | シリン ネシャット ノ エイゾウ サクヒン ニ ミル タイイホウ コウゾウ ニツイテ | |||||||
| 著者 |
中川, 素子
× 中川, 素子
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| 著者 | ||||||||
| 値 | Nakagawa, Motoko | |||||||
| 所属機関 | ||||||||
| 値 | 文教大学教育学部 | |||||||
| 内容記述 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | Analyzing various arts one can notice that there exists a typical structure of expression or representation in the base of any art. I consider that there are seven different structures of expression or representation which are common to any category of arts, depending on the way of recognizing space-time, on the way of recognizing the existence of things, and on the way of treating individual things. Hereby I discuss the counterpoint which was originally a musical term as polyphony but came to be used commonly in other categories of arts as well. This musical terminology originally meant "note against note" which has been used, for example, in the fugues of J. S. Bach's. Since this terminology expresses two things as "point against point", it is often used to express a structure of work based on the contrapuntal concept. Shirin Neshat, whom the present article is aiming to discuss, uses the counterpoint structure in order to express women versus men. She is an Iranian artist whose activity is known worldwide, by winning the Golden Lion Award of the 48-th Biennial of Venice in 1999, the Grand-Prix of the kwangju Biennial in Korea in 2000, the 6-th Hiroshima Prize of Japan in 2005, the Silver Lion Award for the best director at the 66-th Venice Film Festival of in 2009, and others. Shirin Neshat shows pictures on two large screens installed in a wider space, which compose the counterpoint. In the case of the two channel video/audio installation such as "Turbulent" of "Rapture" when the screens are installed on the facing walls, the audience would enter into the space created by the work. On the other hand the audience who cannot observe the two screens simultaneously have to think back and forth over the way of existence of contrapuntal things, such as women and men. In the case of the two channel video/audio installation such as "Fervor" when the two screens are installed side by side, the audience would understand that the taboo over the sexuality in the Islamic societies is imposed on both women and men. Shirin Neshat argues:" Women who have tolerated the violent oppression of social, cultural and religious origins have a tendency of being resistive, irrational, aggressive and bold, while men who have not experienced such direct oppression have a tendency of being rational, traditional and even obeisant." The fact that Shirin Neshat's works possess strength and high criticism lies not only in the proper choice of theme but also in the way the counterpoint is used in each her works. |
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| 書誌情報 |
言語と文化 en : Language and Culture 巻 22, p. 53-77, 発行日 2010-03-01 |
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| 出版者 | ||||||||
| 出版者 | 文教大学大学院言語文化研究科付属言語文化研究所 | |||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 09147977 | |||||||
| 著者版フラグ | ||||||||
| 出版タイプ | VoR | |||||||
| 本文言語 | ||||||||
| 値 | 日本語 | |||||||
| ID | ||||||||
| 値 | BKK0000740 | |||||||
