@article{oai:kobe-c.repo.nii.ac.jp:00002197,
 author = {浜下, 昌宏 and HAMASHITA, Masahiro},
 journal = {女性学評論, Women's studies forum},
 month = {Mar},
 note = {P(論文), The human body is in essence an organism which implies life, growth, existence, aging, sickness, death, etc., showing elemental aspects of being to man. In this sense the body is a whole rejecting any kind of analytic and semiological explanations. However, once seen in terms of shape or figure, it may naturally be reduced to a quantitative mass and calculable object. In the history of Western aesthetics there have been ideas to set a standard of beauty, the secular version of which is a so-called `beauty contest,'requiring competitors to keep a built-up body in a proportional balance. Ideal beauty or idealization can be traced back to Polykleitos, Vitruvius, Leonardo da Vinci, and others who eventually tried to draw an ideal human figure with "marble-like skin and unearthly proportion." In contrast, Japanese conceptions of art have never produced such a notion of idealization. The import of Western painting led to the emergence of Japanese followers of idealization such as Kuroda Seiki and others. Traditional Japanese art such as ukiyo-e prints only suggests a concept of typical expressions. Even in Western paintings in Japan, as time went on, we can see the tendency to depict women in a natural style, neglecting idealization. Japanese art has maintained the tradition not to separate the body and the emotion, the mind, etc. which the body comprises. In particular, the concept of "nyotai"(the female body) in the Noh play will clearly explain the Japanese idea fo the female body which always bases the body on how the mind works.},
 pages = {27--45},
 title = {「理想化」と「女体」ー西洋美術から得たもの・見失ったもの〈特集 女性と身体〉},
 volume = {10},
 year = {1996},
 yomi = {ハマシタ, マサヒロ}
}