The Interaction of Art and History: Exploring Art History as an Academic Field

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  • Art history and the interaction between art and history are often discussed as separate entities, but is there a distinction to be made?
  • Histories of art can focus on style or the work in relation to the artist's biography, which imposes expectations of progressive history on the visual.
  • Putting art in the driving seat means shifting the focus of inquiry towards art itself, allowing for a deeper understanding of the complex strands that make up art history.
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英文のわからない個所を教えてください。

＜1＞Is there then a distinction to be made between the interaction of art and history, and art history? ＜2＞That is to say that histories of art can have a single focus on style or the work in relation to the biography of the artist, where our expectations of a progressive history are inflicted on the visual. ＜3＞ What I am suggesting here is that we turn the question on its head and put art in the driving seat, so to speak. ＜4＞By using art as our starting point we can see the complex and intertwined strands that make up art history. This implies that art history is a subject or academic field of enquiry in its own right, rather than the result of the rules of one discipline being applied to another. ＜私の訳とわからない点＞ ＜1＞さらにまた芸術と歴史、芸術史の相互作用の間に作られる区別（特徴）はありますか？ between ～は「art and history」と「art history」の相互作用の間、といっているのでしょうか？ それとも「the interaction of art and history」がひとくくりなのでしょうか？ ＜2＞すなわち芸術の歴史は、様式やもしくは芸術家の伝記に関連する作品にに一つの焦点を持つことができ、そこで進歩的な歴史を私たちが期待することは視覚に負っているのです。 whereは関係副詞で、前文を受けているのでしょうか？ inflictの単語の意味合いから言うと「視覚」が期待を負うということは大変なことだという感じなのでしょうか？ ＜3＞私がここで提案していることは、言わば、私たちが疑問をその（主要な）論点に向けて、芸術を運転座席に置くことです。 its headのitsはthe questionでheadは（主要な）論点でしょうか？ put art in the driving seatの比喩的な表現の意味がよくわからないのですが、芸術に主導権を握らせる、みたいな感じでしょうか？ ＜4＞私たちの出発点としての芸術を用いることによって、私たちは芸術史を作っている複雑に絡み合っている鎖を理解することができます。これは芸術史が他に適用された一つの秩序の法則の結果というよりもむしろ、それ自身の権利における、主題、もしくは研究学術分野であることを意味します。 anotherは「他に」ですか？「もう一つの」、とすると意味がとれませんでした。 （the result of the rules of one discipline being applied to anotherの意味をとるのが難しいです） its own rightのrightは「権利」でしょうか？ （上記の文章のあと以下の文章が続きます。） I return to this point on a regular basis in this book. I aim to set out how histories of art have been constructed, to describe the ways in which we have been encouraged to think about art as a result, and also to introduce other ways of thinking about the visual in terms of its history. 長くなってしまってすみません。よろしくお願い致します。 『ART HISTORY--History as progression』:Dana Arnold

  • 英語
  • 回答数4
  • ありがとう数11

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回答No.4

＜4＞ right は「権利」ですが、in its own right で「自分の権利で」→ 「生まれつきの権利で、本来の資質で、自分だけで」のような意味です。 another についてですが、「他の」も「もう一つの」も同じです。 the other なら「残りの１つ（特に二者のうち、１つとった）」 another は残りの任意の１つ とわかることがすべてです。 one after another のような慣用表現もそこに戻ること。 あと、one dicipline に対して another (dicipline) です。

quartet_vvvc
質問者

お礼

rightとanotherについてのご解説ありがとうございます。 ＜1＞～＜4＞までの質問にすべて回答いただいてありがとうございました。 わからなかったところがよくわかりました。

その他の回答 (3)

回答No.3

its はおっしゃるように question です。 on ～'s head で「頭で（立つ）」で逆立ちを意味します。 だから、turn the question on its head で、 「問題を逆に向ける、別の視点で見る」ということです。 put art in the driving seat はおっしゃるように 芸術に主導権を握らせる、ということです。

quartet_vvvc
質問者

お礼

turn the question on its headは 「問題を逆に向ける、別の視点で見る」ということなのですね。 これは英文を読んだ時全然わかりませんでした。

回答No.2

＜2＞ where は関係副詞で、こういう , where は「（そして）そこでは」と訳せばいいです。 しかし、, which のような前の文を受ける用法はなく、 「そこ」というのは the work in relation to the biography of the artist のことでしょう。

quartet_vvvc
質問者

お礼

関係副詞のwhereは前文を受ける用法はないのですね。 わかりました。ありがとうございます。

回答No.1

＜1＞芸術と歴史の相互作用と、芸術史の間　ですね。 ＞「the interaction of art and history」がひとくくり です。 内容的にもぴったりですし、(art and history) と art history の間の相互作用として、 そもそも art and history でまとまる意味がありません。

quartet_vvvc
質問者

お礼

よくわかりました、ありがとうございます。

  1. カテゴリ
  2. 学問・教育
  3. 語学
  4. 英語

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    質問3.　以下の部分ですが Surrounded by all this, I suddenly fear earthquakes less than the fashion disaster of my own making. I realize that if there was an earthquake and all this concrete and glass were to come crashing down on me, my dying breath would be a prayer that no one notices how cheap my shoes are. 著者は自分のファッションセンスの低さを卑下しているようですが、何故ここにこの文章を挟む必要があるのでしょうか？前後との脈絡が全くないように見えるのですが・・・ 私の英文読解力が足りないせいなのか、彼女の文章構成力が稚拙なせいなのか、それすら判断できません。 貴方の具体的で総合的な判断と説明をお聞かせ願えませんか？ 面倒な質問をして申し訳ありませんが、宜しくお願い致します。 Seldom does a day go by that doesn't herald the opening of yet another retail temple devoted to the gods of shopping, where the faithful go to worship the almighty designer label and overpriced tea salon. It seems like only yesterday that I followed the crowds into Omotesando Hills, window-shopping along with tens of thousands of other drones, looking at everything on display and feeling my spirit crushed because I will never know what it's like to wake up and start my day in a tiara. And just when I thought I had found inner peace without the aid of retail religion, along comes yet another newly opened shopping center with all of the familiar enticements of luxury and convenience. Naturally, this one is no different from Tokyo's other shopping centers, all uniquely designed to frustrate the visitor with their maze-like layouts, where going from A to B requires the skills and stamina of a Sherpa guide. Surrounded by all this, I suddenly fear earthquakes less than the fashion disaster of my own making. I realize that if there was an earthquake and all this concrete and glass were to come crashing down on me, my dying breath would be a prayer that no one notices how cheap my shoes are. Tokyo's new Midtown shopping center, located on the former site of the Defense Agency, is yet another addition to Tokyo's retail jungle. But as far as shopping centers go, it's certainly not the worst of its kind. The curved footbridge, where cars instead of carp can be viewed below, and other distinctly Japanese touches are improvements over the usual bland, pre-fab American-style shopping centers that appeared during the bubble era. Its architects have clearly made an effort to create a sense of harmony with the existing neighborhood. And herein lies the problem. Midtown's seamless inclusion into the Tokyo landscape gives rise to a mind-set that defines "community" and "neighborhood" by the flagship stores bearing the name of a multinational corporation. All this conformity is just another step along the way to creating a society regulated by greedy developers. At some point, I was probably standing on the exact spot where George's bar used to be — a tiny watering hole on the outskirts of Roppongi famous for its Motown-themed decor, and its ageless Mama-san. It's hard to exactly pinpoint the precise location of George's since the wonders of development and "progress" have destroyed every vestige of the past, burying it under a million tons of reinforced steel and concrete. Ironically, the only life within the Midtown mausoleum can be found among the centuries-old treasures on display at the Suntory Museum. Here, visitors can enjoy a welcome break from the rigors of mindless spending. The current exhibition of Edo period treasures, ranging from exquisitely painted folding screens to lacquer incense holders, is a beautiful yet sad reminder of a bygone age before the connoisseur gave way to the consumer. In contrast to the dead relics of the present, these artifacts remind us that real beauty possesses the beholder, rather than the other way around.

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