{"created":"2023-05-15T13:45:20.756270+00:00","id":948,"links":{},"metadata":{"_buckets":{"deposit":"0b47546c-005f-44f2-9988-9f71bbd234da"},"_deposit":{"created_by":31,"id":"948","owners":[31],"pid":{"revision_id":0,"type":"depid","value":"948"},"status":"published"},"_oai":{"id":"oai:nichibun.repo.nii.ac.jp:00000948","sets":["192:241"]},"author_link":["18571","18570"],"item_5_alternative_title_20":{"attribute_name":"その他の言語のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"Towards a General Theory of Literary Expression","subitem_alternative_title_language":"en"}]},"item_5_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1990-03-10","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"170","bibliographicPageStart":"139","bibliographicVolumeNumber":"2","bibliographic_titles":[{"bibliographic_title":"日本研究 : 国際日本文化研究センター紀要","bibliographic_titleLang":"ja"}]}]},"item_5_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"　文芸作品を研究の対象とし、また他の分野の研究の素材として用いるに際して、不可欠なのは、作品を作品として対象化する態度の確立である。\n　かかる態度の端緒は、時枝誠記『国語学原論』によって開かれているが、その基本は、言語を人間の活動性において把握しようとする立場にある。\n　この活動論的契機を芸術一般論に導入し、作品を作家の主観へ還元する近代人格主義的芸術観を批判しつつ、芸術活動の本質をなすものは、虚構を美的鑑賞の対象として扱う鑑賞的態度であると仮定する。\n　次に、時枝言語論を芸術論へと拡張し、表現を認識の逆過程とする三浦つとむ「表現過程論」を批判的媒介とすることで、芸術活動の目的が鑑賞者の美的規範に働きかけるものであること、作品制作過程に「作者と鑑賞者の相互転換」の運動が成立していること、及びその運動の成立する”表現の場所”における転換構造の分析を行う。\n　さらには時枝言語論、吉本隆明『言語において美とは何か』の根本概念について活動論的な検討を加えて、文芸表現活動の特質が、芸術活動と言語活動の二重性をもつ以上、作品を作品として対象化する態度の基本は、その虚構性と文体性を結合する表現主体の「方法」の把握にあると主張する。","subitem_description_language":"ja","subitem_description_type":"Abstract"}]},"item_5_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"18571","nameIdentifierScheme":"WEKO"}],"names":[{"name":"SUZUKI, 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