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J.W.ウォーターハウスのアカデミーにおける戦略 : 《パンドラ》を例に
http://hdl.handle.net/10191/0002000796
http://hdl.handle.net/10191/0002000796c4aca9ce-6797-461d-afcf-3d41f5470540
名前 / ファイル | ライセンス | アクション |
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76_19-34.pdf (1.2MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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公開日 | 2023-02-28 | |||||||||
タイトル | ||||||||||
言語 | ja | |||||||||
タイトル | J.W.ウォーターハウスのアカデミーにおける戦略 : 《パンドラ》を例に | |||||||||
タイトル | ||||||||||
言語 | en | |||||||||
タイトル | The strategy of J.W. Waterhouse in the Academy : The case of "Pandora" | |||||||||
言語 | ||||||||||
言語 | jpn | |||||||||
キーワード | ||||||||||
言語 | ja | |||||||||
主題Scheme | Other | |||||||||
主題 | アカデミー | |||||||||
キーワード | ||||||||||
言語 | ja | |||||||||
主題Scheme | Other | |||||||||
主題 | パンドラ | |||||||||
キーワード | ||||||||||
言語 | ja | |||||||||
主題Scheme | Other | |||||||||
主題 | 没入 | |||||||||
キーワード | ||||||||||
言語 | ja | |||||||||
主題Scheme | Other | |||||||||
主題 | 戦略 | |||||||||
資源タイプ | ||||||||||
資源 | http://purl.org/coar/resource_type/c_6501 | |||||||||
タイプ | departmental bulletin paper | |||||||||
アクセス権 | ||||||||||
アクセス権 | open access | |||||||||
アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
著者 |
小林, 聡子
× 小林, 聡子
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抄録 | ||||||||||
内容記述タイプ | Abstract | |||||||||
内容記述 | J. W. Waterhouse made an oil painting, Pandora. Pandora is painted at the moment she is about to open the box packed with every disaster. This study is to reveal his strategy to survive as the member of the Royal Academy. The circumstance in the contemporary Academy is that it is difficult for the artists to be selected for the Summer Exhibition. Waterhouse needs to use plans to be selected though he was the Royal Academician. The viewers feel uneasy when they see the painting because there is a time lag between the viewers and the inside of the painting. The viewers hope for the next moment events so that they stop before the painting for a long time. His scene selection has two elements. One shows the circumstances before the events painted in the painting and what happens after them. Another shows the moments changing the situations or the characters' mental states. Therefore, the viewers understand the situation and they are attracted by hope for the next events. Finally, Pandora's behavior is characteristic. Her kneeled pose shows her desire to know the inside of the box. And her glance into the box shows her devotion to contents of the box. Therefore, his painting Pandora attracts the viewers' consciousness so that they stop before it. He declared his guiding principles of both the way to survive in the Academy and to paint more impressive paintings using it. | |||||||||
言語 | en | |||||||||
書誌情報 |
ja : 現代社会文化研究 en : THE JOURNAL OF THE STUDY OF MODERN SOCIETY AND CULTURE 巻 76, p. 19-34, 発行日 2023-02 |
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出版者 | ||||||||||
言語 | ja | |||||||||
出版者 | 新潟大学大学院現代社会文化研究科 | |||||||||
出版者 | ||||||||||
言語 | en | |||||||||
出版者 | Graduate School of Modern Society and Culture, NIIGATA University | |||||||||
ISSN | ||||||||||
収録物識別子タイプ | PISSN | |||||||||
収録物識別子 | 1345-8485 | |||||||||
書誌レコードID | ||||||||||
収録物識別子タイプ | NCID | |||||||||
収録物識別子 | AN1046766X | |||||||||
出版タイプ | ||||||||||
出版タイプ | VoR | |||||||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 |