2024 年度 大学院

修士課程 （芸術学専攻）

外国語 (英語)

１．次の文章の下線部を日本語に訳しなさい。
A certain Dr. Dequeker has diagnosed Simonetta Vespucci, the Florentine woman
pictured in Botticelli’s Birth of Venus, as a sufferer from tuberculosis-related rheumatoid
arthritis. As telltale signs he notes her slightly deviated fingers, a “sausagelike swellingof the left index finger,” and “decidedly swollen” ankles. Those symptoms, he remarks,
are not entirely unrelated to the qualities for which the painting is admired. The bloated,
painful fingers of her left hand repeat the sinuous curves of five shocks of hair just off
her thigh. An interviewer argues with the doctor: Why, he asks, could it not have been
the other way around? Why couldn’t Botticelli have drawn the hair first, and tried torhyme the fingers to it? But Dequeker protests that we do not know which was painted
first. Why abandon the medical interpretation for an aesthetic one.
Enclosed in this bare dialogue, reported in The Wall Street Journal, are the seeds of aninteresting exchange. If Simonetta Vespucci had visible symptoms, it could be that
この問題は著作権法上の関係により、出典のみを記載しています。
Botticelli
demanded pathology from his women, that he conflated ideal beauty withclinical abnormality. Simonetta’s enlarged fingers and ankles would then have been
perceived as if they were of a part with her shaved forehead and plucked eyebrows—aswell as her sharply angled elbows, sloping shoulders, swanlike neck, and other forms thatthe art historian Heinrich Wölfflin has described so well as the products of Botticelli’s
own eye.
In that case, an influential aesthetic of the female form would be partly based on adebilitating pathology. Looking at The Birth of Venus, we still need to learn how to seethat puffy fingers and sharp elbows go together, and the possibility that pain and natural
proportions both play a part can only make that more difficult. We might also want to ask
if Botticelli searched out Simonetta in some degree in spite of her condition, so that hemay have learned his sense of the female body from an abnormal case. Either way,
Simonetta died shortly after the paintings were made, possibly in considerable pain.
(出典：James Elkins, Pictures of the body : pain and metamorphosis, Stanford UP,1999, Chap.4)

2

次の文章を日本語に訳しなさい。

Each scroll bears the cauldron-shaped "Naonobu" seal of Kano Shōei (1519-1592), thethird son of Motonobu and a third-generation leader of the school. "Shōei" is the name bywhich the artist is most widely known today, but in fact it was the name he adopted when
he took the tonsure in his later years. "Naonobu," his given name, appears on his seals,
which are found on many of his extant works. The seal on the scroll at the right isimpressed on the left side rather than on the right, inviting speculation that the works
could once have been part of a triptych, in which case a third scroll would have beenplaced to the right of the present pair. However, the balance and symmetry of the twocompositions
make the existence of a third component unlikely.
この問題は著作権法上の関係により、出典のみを記載しています。
Although his reputation was long overshadowed by the achievements of Motonobu, his
illustrious father and mentor, and by the innovative genius of his own son Eitoku (1543159o), Shōei has more recently been recognized for his own achievements. Highly
regarded during his lifetime, he was given many important commissions by prestigious
temples and Shinto shrines, as well as by the imperial court. Occasionally, he worked inconcert with his celebrated son; the best known of the works they produced together are
the ink-monochrome paintings created in 1566 for Jukōin, a subtemple of Daitokuji,Kyoto.
cauldron, caldron: 大釜
tonsure: 剃髪(出典: Miyeko Murase, Bridge of Dreams: The Mary Griggs Burke Collection ofJapanese Art, The Metropolitan Museum of Art, New York, 2000, p.190.)

令和６年度（2024 年度）
美術研究科修⼠課程
芸術学専攻
第⼆外国語試験（ドイツ語）

１．以下の問題⽂の下線部を和訳しなさい。
Der Vorstellungs- und Aktionsraum der Moderne wurde von Innovations- undFortschrittsparadigmen geprägt, die vor allem den technologischen, szientifischen undökonomischen Bereich bestimmten, aber auch in der Kunst der Moderne eine Rolle
spielten. Mit der postmodernistischen Wende wurden die aus westlicher Perspektive

この問題は著作権法上の関係により、出典のみを記載しています。
formulierten „Meistererzählungen“ dann in Frage gestellt und das lineare

Fortschrittsdenken wurde obsolet. Gegenwärtig steht eine auch die Kunst berührende„Identitätspolitik“ im Fokus. Nicht zuletzt gestützt auf postkoloniale Einsichten entfaltet sie
ein antidiskriminierendes Programm, das, mitunter selbst nicht frei von Stereotypen,
stereotype Diskriminierungen kritisiert und bekämpft.
出典：Kunstforum “Autor*innenschaft. Aneignung. Identität.
Rehttps://www.kunstforum.de/artikel/autorinnenschaft-aneignung-identitaet/chtssystem vor Gericht
verhandelt wurden.

２．以下の問題⽂を和訳しなさい（出典は和訳不要）
Es ist von jeher eine der wichtigsten Aufgaben der Kunst gewesen, eine Nachfrage zu erzeugen, fürderen volle Befriedigung die Stunde noch nicht gekommen ist. Die Geschichte jeder Kunstform hat
kritische Zeiten, in denen diese Form auf Effekte hindrängt, die sich zwanglos erst bei einem

この問題は著作権法上の関係により、出典のみを記載しています。
veränderten
technischen Standard, d. h. in einer neuen Kunstform ergeben können. Die derart, zumal inden sogenannten Verfallszeiten, sich ergebenden Extravaganzen und Kruditäten der Kunst gehen inWirklichkeit aus ihrem reichsten historischen Kräftezentrum hervor.
出典： Walter Benjamin, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, 1936

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この問題は著作権法上の関係により、出典のみを記載しています。