64
65
ࠆޟࡂࠗࠕ࠻ޠ(high art)߇ਥᵹߢߞߚޕᚢᓟޔ⟤ⴚ⇇ߩਛᔃߪࡈࡦࠬࡄ߆ࠄࠕ ࡔࠞ࠾ࡘ࡛ࠢߦ⒖ࠅޔࠕࡔࠞߩޟ⽎ਥ⟵ޠ(Abstract Expressionism)ߩ⛗↹
߇⇇⊛ߥ㓉⋓ࠍᭂߡߚޕߘߩࠃ߁ߥ⁁ᴫߦ৻⍹ࠍᛩߓࠆߴߊޔઍ⧓ⴚ⎇ⓥᚲߩഃ
ᆎ⠪ߚߜߪࠗࠡࠬࡠࡦ࠼ࡦߦࡕ࠳ࡦࠕ࠻ߩ⊒ାߣߥࠆࠡࡖࠍડ↹ߒޔ50 ᐕߦᱜᑼ㐿㙚ࠍㄫ߃ࠆޕ
ߘߒߡޔ52ᐕߦઍ⧓ⴚ⎇ⓥᚲߢ⚿ᚑߐࠇߚޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻ࠣ࡞ࡊޠ(Independent
Group)߇ޟࡉ࠹ࠖࠪࡘࡐ࠶ࡊࠕ࠻ޠߩ⪚⧘ߣߥߞߚޕޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻ࠣ࡞
ࡊޠߪޔޟࡐ࠶ࡊࠕ࠻ޠߩవ㚟⊛ሽߣߥࠆ↹ኅߩ࠴ࡖ࠼ࡂࡒ࡞࠻ࡦ(Richard Hamilton, 1922-2011)߿ᓂೞኅߩࠛ࠼࠘ࠕ࡞࠼ࡄࠝࡠ࠶࠷ࠖ(Eduardo Paolozzi, 1924-2005)ࠄ
⧯ᚻࠕ࠹ࠖࠬ࠻ޔ⟤ⴚᛕ⹏ኅߩࡠࡦࠬࠕࡠ࠙ࠚࠗ(Lawrence Alloway, 1926-90)ࠍਛ ᔃߦኅޔᑪ▽ኅޔ౮⌀ኅߥߤ߇㓸߹ࠅޔ⧓ⴚࠍขࠅᏎߊᄢⴐᢥൻޔࡑࠬࡔ࠺ࠖࠕޔ࠹ࠢ
ࡁࡠࠫߣߩ㑐ଥࠍ⎇ⓥߔࠆࠪࡦࠢ࠲ࡦࠢ⊛ࠦࡒࡘ࠾࠹ࠖߢߞߚޕޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ
࠻ࠣ࡞ࡊޠߩℂ⺰⊛ᜰዉ⠪ߢߞߚࠕࡠ࠙ࠚࠗߦࠃࠇ߫ޔޟࡐ࠶ࡊࠕ࠻ޠߣ߁⸒
⪲ߪߘߩᵴേߦ߅ߡޔᓥ೨ߩޟਥ⟵ޠ(Expressionism)ߦኻ᛫ߔࠆᚢᓟߩᄢⴐᢥൻࠍ
ߔࠆᣂߒᄢⴐ⧓ⴚߩᒻᘒࠍޟࡐࡇࡘࠕ࠻ޠ(Popular Art)ߣ߮ޔߘߩ⍴❗⺆ߣ ߒߡޟࡐ࠶ࡊࠕ࠻ޠࠍ↪ߒᆎߚߎߣߦ↱᧪ߒߡࠆߣ߁(Alloway, “British Pop” 27)ޕ
ᒰᤨߩࠗࠡࠬߪᄢᚢߩ࿖ኅ⊛∋ᑷ߆ࠄᓳ⥝ߒߟߟߞߚ߇ޔ࿖㓙␠ળߢᴦ⚻ᷣ⊛ⷓ
ᮭࠍីࠆࠕࡔࠞߩᄢⴐᢥൻ߇ഭ⠪㓏⚖ࠍਛᔃߦᕆㅦߦᶐㅘߒޔߘߩ↢ᵴᢥൻࠍᄌኈߐ ߖߡߞߚޕߎߩࠕࡔࠞ࠽࡚ࠗࠪࡦߦߟߡߪޔᢥൻᏢ࿖ਥ⟵⊛ߥࡊࡠࡄࠟࡦ࠳ᯏ
⢻ࠍෂᗋߔࠆࠗࠡࠬ⍮⼂ੱߩጀ߆ࠄㄆㄍߥᗧ߽ߞߚ߇ޔޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻
ࠣ࡞ࡊޠߪࠕࡔࠞᄢⴐᢥൻࠍᢜⷞߔࠆߣ߁ࠃࠅ߽ߒࠈઍ␠ળࠍߔࠆᣂߒ
ࡕ࠹ࠖࡈࠍឭଏߔࠆ߽ߩߣߒߡᝒ߃ޔⓍᭂ⊛ߦᵴ↪ߒࠃ߁ߣ߁⢐ቯ⊛ߥ⊒ᗐࠍዉ߈
ߒߚߩߢࠆޕߘߎߦߪᚢᓟߩᣂઍߩ⧯⠪߇ࠕࡔࠞᄢⴐᢥൻߦᛴߚࠛࠠ࠱࠹ࠖ࠭ࡓޔ
ࠆߪߘߩᙏᙔ߇ᤋߐࠇߡߚߎߣߦ⇼ᔨߪߥߛࠈ߁ޕ
৻ᣇߢޔޟਥ⟵ޠߩᠩ⼔⠪ߢߞߚᣥઍߩ࠼ߪޡ⧓ⴚߩᗧޢ(The Meaning of Art, 1931)ߦ߅ߡޔޟਥ⟵ޠࠍ“Expressionism is art which tries to depict, not the objective facts of nature, nor any abstract notion based on those facts, but the subjective feelings of the artist.” (161) ߣቯ⟵ߒޔ⠪⥋ਥ⟵ߩ┙႐ࠍ⏕ߦᛂߜߒߡࠆޕߐࠄߦޔ࠼ߪ20ᐕએߩᱦ
ࠍ⚻ߡ⊒ߒߚޡࡕ࠳ࡦࠕ࠻ߩືቇޢ(The Philosophy of Modern Art, 1952)ߦ߅ߡޔ ޟਥ⟵ޠߩਥ㗴ߦߟߡ“not the objective reality of the world, but the subjective reality of the feeling which objects and events arouse in us.” (51) ߣㅀߴޔߘߩ⟤⊛ଔ୯ⷰࠍᄌ߃ߡߥޕ ߔߥࠊߜޔ࠼ߪᔀᐩߒߡ⧓ⴚຠߦ߅ߌࠆ⠪ߩ⥄Ꮖ߿ᗵᖱߣ߁ౝ⊛⇇ߩߩ
㊀ⷐᕈࠍᒝ⺞ߔࠆߩߢࠆޕ
ߎߩޟਥ⟵ޠߩࡕ࠳࠾࠭ࡓ⊛⟤ቇߦ㒢⇇ࠍᗵߓߡ⇣⼏ࠍߒߚޟࠗࡦ࠺ࠖࡍࡦ࠺
ࡦ࠻ࠣ࡞ࡊޠߩߪቯ⊛ߦ㆑ߞߡߚޕࡑࠬࡔ࠺ࠖࠕߦࠃߞߡᣣޘ↢↥ߣᶖ⾌ࠍ
➅ࠅߔᄢⴐᢥൻߪޔടㅦᐲ⊛ߦੱޘߩᣣᏱⅣႺࠍḩߚߒޔߘߩ↢ᚑߣᶖṌߩࠬࡇ࠼ᗵ
߿ᴚᕈ⊛ߥ㕖ੱ⒓ᕈߪޔߎߩᣂઍߩޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻ࠣ࡞ࡊޠߦᄙᄢߥᅢᄸ ᔃߣഃᗧ᰼ࠍਈ߃ࠆߎߣߦߥߞߚߩߢࠆޕ
ߎߩേะߦኻߒޔ࠼ߪޟࡕ࠳ࡦࠕ࠻ߦ߅ߌࠆᒻᑼߩ፣უޠ(“The Disintegration of Form in Modern Art”, 1965)ߦ߅ߡޔޟࡐ࠶ࡊࠕ࠻ޠߦุቯ⊛⸃ࠍ␜ߒߡࠆޕ
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It is sometimes said that we can express self merely by the selection we make of available images - that the quest for originality is a vain one, and in any case a waste of effort. This is one of the excuses made to justify “pop-art”, or any kind of self expression that dispenses with style. Such non-art has been called “the art that looks sideways”, which seems to be a confession of its evasiveness. (185)
࠼ߪઍ⧓ⴚߦ߅ߌࠆવ⛔߿ᒻᑼߩਇࠍᬌ⸛ߒߡࠆ߇ޔޟਥ⟵ޠߩᠩ⼔⠪ߢ
ࠆᓐߦߣߞߡߎߩవㅴ⊛ߥข⚵ߪฃߌࠇࠄࠇߥ߽ߩߛߞߚߎߣߪᗐߦ㔍ߊߥޕߘ ߩ৻ᣇߢޔޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻ࠣ࡞ࡊޠߩᔒะߔࠆޟࡐ࠶ࡊࠕ࠻ޠߪ⠪ߩ⥄Ꮖ
ߣ߁ౝ⊛⇇ࠃࠅ߽ޔߒࠈ⠪ࠍขࠅᏎߊ⤘ᄢߥࡑࠬࡔ࠺ࠖࠕߣᄢⴐᢥൻߣ߁ ᄖ⊛ⅣႺߦਥ⌒ࠍ⟎ߊߩߢࠆޕߎߎߦᚢᓟߩ␠ળ⊛ᄌൻߦ߁ᣂᣥઍߩ⟤⊛ଔ୯ⷰߩ
⊕ߥ⋧㆑߇ᶋ߈ᓂࠅߦߥࠆߩߢࠆޕ 㧟㧚ޟߎࠇ߇ᣣߛޠዷ
1956ᐕޔޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻ࠣ࡞ࡊޠߩᚑᨐࠍ⊒ߔࠆᯏળߣߒߡࡠࡦ࠼ࡦߩࡎࡢ
ࠗ࠻࠴ࡖࡍ࡞ࠕ࠻ࠡࡖߢޟߎࠇ߇ᣣߛޠ(“This Is Tomorrow”, 1956)ߣ㗴ߔࠆዷ
ⷩળ߇㐿ߐࠇߚޕ56 ᐕߪޔᄸߒߊ߽ࠬࠛ࠭ෂᯏߣࡂࡦࠟઙߩഺ⊒ޔᢥቇߦ߅ߌࠆ ޟᔶࠇࠆ⧯⠪ߚߜޠߩޔᤋ↹ߦ߅ߌࠆޟࡈࠪࡀࡑޠߩዷ㐿ޔ㖸ᭉߦ߅ߌࠆࡠ࠶ࠢ
ࡦࡠ࡞ߩ㓉⋓ߣ߁ᴦ⊛ߦ߽ᢥൻ⊛ߦ߽⽎ᓽ⊛ߥᤨઍߩಽ᳓Ꭸߣߥߞߚᐕߢࠆޕᣥ ᘒଐὼߣߒߚᄢ⧷Ꮲ࿖⊛ଔ୯ⷰ߿㓏⚖␠ળࠍ᷷ሽߔࠆࠛࠬ࠲ࡉ࠶ࠪࡘࡔࡦ࠻ߦኻߔࠆᢥ ൻ⇇ోߩ⇣⼏ߦᔕߔࠆ߆ߩࠃ߁ߦޔ⟤ⴚߩ㗔ၞߦ߅ߡ߽㕟ᣂ⊛ߥേะ߇㕙ൻ ߔࠆߎߣߦߥࠆޕ
ޟߎࠇ߇ᣣߛޠዷߦຠߐࠇߚࡂࡒ࡞࠻ࡦߩޝ৻߇ᣣߩኅᐸࠍߎࠇ߶ߤߦᄌ߃ޔ 㝯ജ⊛ߦߒߡࠆߩ߆㧫ޞ(Just what is it that makes today’s homes so different, so appealing?, 1956)ߪޔ㔀߿ᐢ๔ޔ౮⌀߿ࡐࠬ࠲ߣߞߚᣢᚑߩශ‛ߩ৻ㇱࠍಾࠅ⾍ࠅߒߚޟࠦ
ࠫࡘޠ(collage)ߢޔ“the first piece of work in pop art idiom” (Reichardt 15) ߣߒߡޟࡐ࠶ࡊ
ࠕ࠻ޠߩ⨲ഃᦼߩ⸥ᔨ⎼⊛ຠߦ⟎ߠߌࠄࠇߡࠆޕࠆ㇠ᄖቛߩ৻ቶߦ߅ߌࠆห
ᤨઍߩࠗࡈࠬ࠲ࠗ࡞߇Ꮑߺߦౣߐࠇߚߎߩຠ߇ޔᄢ㊂ᶖ⾌␠ળߩᄢⴐᢥൻࠍࠕࠗࡠ
࠾߿ࡄࡠ࠺ࠖߣ߁ᛕ್⊛ⷞὐ߆ࠄߒߡࠆߎߣߪ৻⋡⍎ὼߢࠈ߁ޕ
ᦨೋߦ⋡ࠍᒁߊߩߪޔ“POP”ߩᢥሼ߇ߞߚᏂᄢߥࡠࡐ࠶ࡊࠠࡖࡦ࠺ࠖߢࠅޔߘ ࠇࠍᚻߦߒߚࡏ࠺ࠖࡆ࡞࠳ߩ↵ᕈ߇ߢࡐ࠭ࠍߡᱜ㕙ࠍะߡࠆޕ↹㕙ฝߩ
࠰ࡈࠔߦߪࡦࡊࠪࠚ࠼ࠍⵍߞߚߩᅚᕈ߇りࠍ߭ߨߞߡ⣶ដߌߡࠆޕ↵ᅚߪ
ᒛߐࠇߚ↵ᕈᕈߣᅚᕈᕈ߇⽎ߐࠇߡ߅ࠅޔޟᕈ⊛⸃ޠࠍ␜ໂߒߡࠆࠃ߁ߢࠆޕ࠹
ࡉ࡞ߦߪ㘩ຠടᎿߩᦨ⚳ᒻᘒߢࠆᄢ߈ߥࠗࡦࠬ࠲ࡦ࠻㘩ຠߩ➧߇⟎߆ࠇߡࠆޕო㓙 ߩ࠹ࡆߪ㔚ߩฃེࠍីࠆᅚᕈࠍࠕ࠶ࡊߢᤋߒߔޕოߦߪ㗵✼ߦߞߚࡧࠖࠢ࠻
ࠕᦺ㘑ߩ⡿↹ߣẂ↹ߩ⚕ࠍᄢߒߚࡐࠬ࠲߇ਗߴߡ㘼ߞߡࠆޕࡦࡊࠪࠚ࠼
ߦߪᄢ㊂↢↥ဳߩ↥ᬺࠪࠬ࠹ࡓࠍ⏕┙ߒߚࠕࡔࠞߩ⥄േゞࡔࠞࡈࠜ࠼␠ߩࠛࡦ ࡉࡓ߇⾍ࠅઃߌߡࠆޕ↵ᕈߩ⿷ਅߦߪ㖸ᭉߩޟⶄᛛⴚޠߩ⽎ᓽߢࠅޔࡐࡇࡘ
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㖸ᭉࠍ᥉ߐߖࠆ࠹ࡊࠦ࠳߇⟎߆ࠇޔᚻ೨ߩ࠰ࡈࠔߦߪᣂ⡞߇ήㅧߦᐢߍࠄ ࠇߡࠆޕ↹㕙Ꮐߩ㓏Ბߦߪኅߩല₸ൻࠍଦㅴߔࠆ㔚᳇㒰ᯏߩࡎࠬ߇㐳ߊિ߮ߡ
ࠆޕ⓹ߩᄖߦߪࠕ࡞࡚ࠫ࡞࠰ࡦ(Al Jolson, 1886-1950)ਥṶߩೋߩ࠻ࠠᤋ↹ޡࠫࡖ࠭
ࠪࡦࠟޢ(The Jazz Singer, 1927)ߩ⋴᧼ࠍឝߍߚᤋ↹㙚߇ࠗ࠻ࠕ࠶ࡊߐࠇߡࠆޕᐥߦᢝ ߆ࠇߚޟ⽎ਥ⟵ޠࠍઍߔࠆ↹ኅߩࠫࡖࠢ࠰ࡦࡐࡠ࠶ࠢ(Jackson Pollock, 1912-1956) ߩޟࠕ࡚ࠢࠪࡦࡍࠗࡦ࠹ࠖࡦࠣޠ(action painting)㘑ߩࠞࡍ࠶࠻ߩᮨ᭽߇ࠦࠫࡘߩᦠ ߈ഀࠅ⊛ߥᐔ㕙ᕈࠍ㓙┙ߚߖߡࠆ߇ޔᄤߦߪቝቮߩᥧ㑧ߩਛߢߩᄤ߇ធㄭߒߡ
ࠆࠃ߁ߢࠅޔ60ᐕઍߩቝቮᤨઍࠍ੍ߐߖࠆޕ
ߎߩࠃ߁ߦຠࠍ⚦ㇱ߹ߢ㐓⾨ߒߡߺࠆߣޔੱ㑆ߩ᰼ᦸࠍ༐ߔࠆࡑࠬࡔ࠺ࠖࠕޔ㓙㒢 ߥ↢↥ߣᶖ⾌ߩᒛޔ࠹ࠢࡁࡠࠫߩㅴൻߥߤࠕࡔࠞᄢⴐᢥൻࠍฃኈߒޔࠗࠡࠬߩ
↢ᵴᢥൻ߇ᄌኈߒߡߊࡊࡠࠬ߇ਤᔨߦߐࠇߡࠆޕߎߩຠߪຠ‛ߣߒߡળ႐ ߦዷ␜ߐࠇߚߛߌߢߥߊޔዷⷩળߩࡐࠬ࠲߿ࠞ࠲ࡠࠣߦශߐࠇߡᄢ㊂ߦᵹㅢߒߚޕߘ ߩᚢ⇛߆ࠄ߽ޔߎߩຠ߇หᤨઍߩᄢⴐᢥൻࠍ߆ߦޟࡐ࠶ࡊޠߦߒߚᐢ๔‛ߣߒߡ ᯏ⢻ߒߚ߆ࠍ‛⺆ߞߡࠆߣ⸒߃ࠆޕ57ᐕޔࡂࡒ࡞࠻ࡦߪޟߎࠇ߇ᣣߛޠዷࠍᝄࠅࠅޔ ޟࡐ࠶ࡊࠕ࠻ޠߩ․ᓽࠍᰴߩࠃ߁ߦߒߡࠆޕ
Pop Art is:
Popular (designed for a mass audience) Transient (short-term solution)
Expendable (easily-forgotten) Low cost
Mass produced
Young (aimed at youth) Witty
Sexy Gimmicky Glamorous Big Business
(Hamilton, “Letter” 28)
ߎࠇࠄߩ11㗄⋡߆ࠄߪޔᄢ㊂ᶖ⾌␠ળߩ᷵ਛߦࠆᄢⴐᢥൻߩࠗࡔࠫൻߣ߁ޟࡐ࠶ࡊ
ࠕ࠻ޠߩ⏕ߥ࠹ࡑ߇ߡขࠇࠆޕޟࡐ࠶ࡊࠕ࠻ޠߪᄢ㊂↢↥ᄢ㊂ᶖ⾌ޔߘࠇࠍ ᡰ߃ࠆࡑࠬࡔ࠺ࠖࠕߦࠃࠆࠗࡔࠫߩ᳚ỬࠍㅒᚻߦขࠅޔᣣᏱ↢ᵴߩਛߩࠅ߰ࠇߚޟࡕ ࡁޠߦ⧓ⴚ⊛ଔ୯ࠍઃਈߒߚߩߢࠆޕ
ߘࠇࠍⵣઃߌࠆࠃ߁ߦޔࡂࡒ࡞࠻ࡦߪ⧓ⴚኅ⥄り߽৻ᶖ⾌⠪ߣߒߡ⋧ኻൻߒߥ߇ࠄᄢⴐ ᢥൻߩᠩ⼔ࠍߒޔഃㅧ⊛ߥޟ⧓ⴚޠࠍၴޘߣት⸒ߒߡࠆޕ
Pop-Fine-Art is a profession of approbation of mass culture, therefore also anti-artistic. It is positive Dada, creative where Dada was destructive. Perhaps it is Mama - a cross - fertilization of Futurism and Dada which up holds a respect for the culture of the masses and a conviction that the
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artist in twentieth century urban life is inevitability a consumer of mass culture and potentially a contributor to it. (Hamilton, “Finest Art” 43)
ߎߩࠃ߁ߦޔ⏕ߥ⋡⊛ᗧ⼂ࠍᜬߞߚഃᆫޔຠਛߩ“POP”ߣ߁ᢥሼޔޟߎࠇ߇ᣣ ߛޠߣ߁ዷⷩળߩ࠲ࠗ࠻࡞߆ࠄޔࡂࡒ࡞࠻ࡦߩሽߪޟࡉ࠹ࠖࠪࡘࡐ࠶ࡊࠕ࠻ޠ ߛߌߢߥߊޔޟࡐ࠶ࡊࠕ࠻ޠߩవ㚟ᕈࠍ␜ߔᜰᮡߣߥߞߡࠆߩߢࠆޕࠕࡔࠞᄢⴐ ᢥൻߩ㏜ߣߒߡߒߚޟࡉ࠹ࠖ࠶ࠪࡘࡐ࠶ࡊࠕ࠻ޠ߆ࠄᒰᤨߩ⧷☨㑆ߩ㗫❥
ߥᢥൻᮮᢿ⁁ᴫ߇┍߃ࠆޕߘߩᓟޔޟࡉ࠹ࠖ࠶ࠪࡘࡐ࠶ࡊࠕ࠻ޠߪ↹ኅߩࡇ࠲
ࡉࠗࠢ߿↹ኅߩ࠺ࠗࡧࠖ࠶࠼ࡎ࠶ࠢ࠾(David Hockney, 1937-)ࠄᰴઍߩ⧯ᚻࠕ࠹ࠖ
ࠬ࠻߇ዷߒߚ1961ᐕߩޟࡗࡦࠣࠦࡦ࠹ࡦࡐ࠭ޠ(Young Contemporaries)ዷߢ⛘㗂 ᦼࠍㄫ߃ߡߊޕ
㧠㧚ޟࡐ࠶ࡊࠕ࠻ޠߩ㐿⧎
ࠗࠡࠬߢญἫࠍಾߞߚޟࡐ࠶ࡊࠕ࠻ޠ߇ᄢ㊂ᶖ⾌␠ળߩᧄ႐ࠕࡔࠞߢᧄᩰൻߔ ࠆߩߪޔ62ᐕߦ⟤ⴚࠪ࠼࠾ࠫࡖ࠾ࠬ(Sidney Janis, 1896-1989)ߩ࠾ࡘ࡛ࠢߩࠡࡖ
ߢ㐿ߐࠇߚޟ࠾ࡘࠕࠬ࠷ޠ(“New Realists”, 1962)ዷએ㒠ߢࠆޕޟࠕࡔࠞࡦ
ࡐ࠶ࡊࠕ࠻ޠߩფߪޟࡉ࠹ࠖ࠶ࠪࡘࡐ࠶ࡊࠕ࠻ޠߩਥዉ⊛ᓎഀࠍᜂߞߚࠕ ࡠ࠙ࠚࠗ߇61ᐕߦࡠࡦ࠼ࡦ߆ࠄ࠾ࡘ࡛ࠢߦᵴേὐࠍ⒖ߒߚߎߣࠍᄾᯏߦޔᓢޘߦᒻ ᚑߐࠇߡߞߚޕ50ᐕઍᓟඨߩࠕࡔࠞߢߪޔޟ⽎ਥ⟵ޠߩേߣߒߡޔࠕࡔࠞ࿖
ᣛࠍឬߚ↹ኅߩࠫࡖࠬࡄ࡚ࠫࡦ࠭(Jasper Johns, 1930-)߿ᑄຠߣ⛗↹ࠍ⚵ߺวࠊߖߚ ޟࠦࡦࡃࠗࡦࡍࠗࡦ࠹ࠖࡦࠣޠ(combine painting)ࠍ⠨᩺ߒߚ↹ኅߩࡠࡃ࠻࠙ࠪࠚࡦ ࡃࠣ(Robert Rauschenberg, 1925-2008)߇ߔߢߦᣣᏱ⊛ߥࡕ࠹ࠖࡈࠍຠߦขࠅࠇߡޔ ޟࡀࠝ࠳࠳ޠ(Neo-Dada)ߣ߫ࠇࠆ⟤ⴚㆇേࠍዷ㐿ߒߡߚޕߎߩ⧷☨ਔ࿖ߩᵹࠇࠍ᳹ߺ ߟߟޔ㐿ߐࠇߚޟ࠾ࡘࠕࠬ࠷ޠዷߪޟࡐ࠶ࡊࠕ࠻ޠߩ㐿⧎ት⸒ߣߥࠅޔߘߩ ᣛᚻߣߥࠆ࠙ࠜࡎ࡞߿ࠠ࠹ࡦࠬ࠲ࠗࡦࠄࠍヘߒߚޕએ㒠ޔޟࡐ࠶ࡊࠕ࠻ޠߣ߁ ฬ⒓߇৻⥸ൻߔࠆߎߣߦߥࠆޕ
ᬺ࠺ࠩࠗ࠽߆ࠄࡑ࡞࠴ࠕ࠹ࠖࠬ࠻߳ォりߒߚ࠙ࠜࡎ࡞ߪޟ࠾ࡘࠕࠬ࠷ޠ ዷߦ߅ߡޔޝ200ߩࠠࡖࡦࡌ࡞ࠬࡊ➧ޞ(200 Campbell’s Soup Cans, 1962)ࠍຠߔࠆޕ ߎߩຠߪࠠࡖࡦࡌ࡞␠ߩ29ࡦ࠻ߩ࠻ࡑ࠻ࠬࡊ➧ߩࠗࡔࠫࠍหߓᄢ߈ߐߢ200➅ ࠅߒឬߡ߅ࠅޔߚ߆߽ᯏ᪾ߢ㊂↥ߒߚຠ߇㒸ߐࠇߡࠆ߆ߩࠃ߁ߦ߃ࠆޕ࠙
ࠜࡎ࡞ߪޡ߷ߊߩືቇޢ(The Philosophy of Andy Warhol: From A to B and Back Again, 1976) ߦ߅ߡޔࠠࡖࡦࡌ࡞ࠬࡊ➧߿ࠦࠞࠦߥߤଔߢਁੱ߇ࠕࠢࠬน⢻ߥᄢ㊂↢
↥ຠࠍࡕ࠹ࠖࡈߦㆬࠎߛℂ↱ࠍᰴߩࠃ߁ߦㅀߴߡࠆޕ
What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good.
69
Liz Taylor knows it, the President knows it, the bum knows it, and you know it. (100-1)
߹ߚޔ࠙ࠜࡎ࡞ߪ2࠼࡞⚕ᐊࠍ80ᨎਗߴߚޝ200ᨎߩ1࠼࡞ᧅޞ(200 One Dollar Bills, 1962) ࠍࠪ࡞ࠢࠬࠢࡦߢߒߚߎߣߦ⸒ߒޔ“Making money is art and working is art and good business is the best art.” (92) ߣㅀߴޔ⾗ᧄਥ⟵␠ળࠍ᱑ㄫߒߡࠆޕߐࠄߦޔ࠙ࠜࡎ
࡞ߪࠗࡦ࠲ࡆࡘߢ“If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.” (Warhol, “Andy Warhol” 85) ߣㅀߴޔ⧓ⴚຠߦ߅ߌࠆ⠪ߩౝ㕙⇇ߩࠍุቯߒߡࠆޕ࠙ࠜࡎ࡞ߩ⊒⸒߿
ຠߩᕈࠍឃ㒰ߒߚᯏ᪾⊛ᓳ߆ࠄߪޔᄢ㊂ᶖ⾌␠ળ߇ࠕࡔࠞߦ↹৻ൻߣߣ߽ߦⵣ৻
ࠍߥߔᐔ╬ᕈࠍ߽ߚࠄߒߚߣ߁⢐ቯ⊛ߥ⼂߇⺒ߺขࠇࠆޕ
߹ߚޔ62 ᐕߦᒰᤨߩ࿖᳃⊛ࠬ࠲ߢߞߚࡑࡦࡕࡦࡠ߇ᱫߒߚߣ߁࠾ࡘ
ࠬㅦႎ߇ᵹࠇࠆߣޔ࠙ࠜࡎ࡞ߪᓐᅚߩࡔ࠺ࠖࠕ↪ߩࠬ࠴࡞౮⌀ࠍࡕ࠹ࠖࡈߦࠪ࡞ࠢ
ࠬࠢࡦߢޝࡑࡦޞ(Marilyn Diptych, 1962)ߩߦ⌕ᚻߔࠆޕߎߩຠߢ࠙ࠜࡎ࡞
ߪࡕ࠹ࠖࡈߦߐ߹ߑ߹ߥࠞࠍ⌕⦡ߒߡᄢ㊂ߦჇᱺߐߖޔࡑࡦߩࠗࠦࡦ⊛ࠗࡔ
ࠫࠍ⸥ภൻߒޔㅊᖬߩᗧࠍㄟߡ⧓ⴚ⊛ଔ୯ࠍઃਈߒߚޕ⋥ㄭߩ␠ળ⁁ᴫࠍຠߦᤋߐ ߖࠆහᤨᕈ߆ࠄ߽ℂ⸃ߢ߈ࠆ߇ޔ࠙ࠜࡎ࡞߇“Pop Art is for everyone. I don’t think art should be only for the select few, I think it should be for the mass of American people.” (Warhol, “Andy
Warhol” 90)ߣㅀߴߡࠆࠃ߁ߦޔᄢⴐᢥൻࠍ࿖᳃ߢߔࠆߣ߁ᕁ⠨ߪᭂߡ࠺ࡕࠢ࠹
ࠖ࠶ࠢߥᕈ⾰ߢࠆߣ⸒߃ࠆޕߘࠇߪ↥ਥ⟵࿖ኅߢߞߚ࠴ࠚࠦࠬࡠࡃࠠࠕ♽⒖᳃ߩഭ
⠪㓏⚖ߩኅᐸߦ↢߹ࠇ⢒ߞߚ࠙ࠜࡎ࡞ߩ⥄߽ዋߥ߆ࠄߕᓇࠍ⪭ߣߒߡࠆߩߢࠈ ߁ޕ
ߎ߁ߒߡ࠙ࠜࡎ࡞ߪᓐߩઍฬ⹖ߣߥࠆࠪ࡞ࠢࠬࠢࡦߩᚻᴺࠍ⏕┙ߒޔߘߩฬჿࠍ ਇേߩ߽ߩߦߒߚޕ౮⌀ࠗࡔࠫࠍߘߩ߹߹ࠠࡖࡦࡃࠬߢォ౮ߒߡหߓ࿑ᨩࠍ➅ࠅߒ
ࠆߎߣ߇ߢ߈ޔߥ߅߆ߟὼᕈ߽ߔࠆࠝ࠻ࡑ࠹ࠖ࠶ࠢߥᄢ㊂↢↥ࠪࠬ࠹ࡓߢࠆࠪ
࡞ࠢࠬࠢࡦࠍ㚟ߒޔޟࡅ࠻ࡕࡁࠞࡀޠࠍࡕ࠹ࠖࡈߦࠗࡔࠫࠍ⥄↱⥄߆ߟή 㒢ߦჇߐߖࠆࠬ࠲ࠗ࡞ߪ⧓ⴚኅߦࠃࠆࠗࡔࠫߩᄢ㊂↢↥ߣ⸒ߞߡ߽Ꮕߒᡰ߃ߥߛࠈ ߁ޕߘࠇߪ⧓ⴚኅ߽ડᬺ߽หߓߊޔࠗࡔࠫࠍ↢↥ߔࠆޟᎿ႐ޠߢࠆߣ߁ޔ߆ߦ߽
ࠕࡔࠞࠄߒᆫߢࠆޕ࠙ࠜࡎ࡞߇ᵴേὐߩࠕ࠻ࠛߦޟࡈࠔࠢ࠻ޠ
(Factory)ߣฬઃߌߚߎߣ߇ᓐߩഃᗧ⼂ࠍ┵⊛ߦઍᑯߒߡࠆߣ⸒߃ࠆޕ
৻ᣇޔࠠ࠹ࡦࠬ࠲ࠗࡦߪᄢⴐẂ↹ߩ৻ࠦࡑࠍᄢߒޔࠠࡖࡦࡃࠬߢ✺ኒߦᮨ౮ߒߡ
ຠࠍቢᚑߐߖࠆ㘑ߢੱ᳇ࠍඳߒߚޕઍޝࡋࠕࡏࡦߩዋᅚޞ(Girl with Hair Ribbon, 1965)ߩࠃ߁ߦޔࡕ࠹ࠖࡈߩࠗࡔࠫࠍ⏕ߥベㇳ✢ߣ㞲߿߆ߥේ⦡ࠍߞߡ⛗↹ᒻᑼߩ ਛߦㆶరߒޔ็߈ߒߩบ⹖߿ࠗࡦࠢߩ࠼࠶࠻߹ߢ߽ౣߔࠆ⁛․ߩࠬ࠲ࠗ࡞ࠍ⏕┙ߒߚޕ ᄢ㊂ߦශߐࠇࠆࠦࡒ࠶ࠢߩ 1 ࠦࡑࠍޔ߆㊀ⷐߥᗧߢ߽ࠆ߆ߩࠃ߁ߦᏂᄢൻߒߡឬ
ߚຠߪㅧᒻ⊛ߥ⟤ߒߐ߽ࠆ߇ޔ࠙ࠜࡎ࡞ຠߣห᭽ߦㆊߥ‛⾰ᢥൻߦ߅ߡᄢ
㊂ߦᶖ⾌ߐࠇࠆᄢⴐẂ↹ߩࠗࡔࠫࠍ⽎ᓽߒߡ߅ࠅޔޟࡐ࠶ࡊࠕ࠻ޠߩㅢ࠹ࡑࠍ⏕
ߢ߈ࠆޕ
ߎࠇࠄޟࡐ࠶ࡊࠕ࠻ޠ߇ᡰᜬࠍ㓸ߚℂ↱ߪޔ․ᮭ⊛ࡑࠗࡁ࠹ࠖߩᵞ✵ߐࠇߚޟࡂ
ࠗࠕ࠻ޠߣߪ㆑ޔහ‛⊛ߥࡕ࠹ࠖࡈߣ◲ᤃߢല₸⊛ߥᚻᴺࠍㆬᛯߒޔᄢⴐᢥൻࠍ
⢐ቯߒߚᚢ⇛ᕈߦࠆޕߘߩὐߢޟࡉ࠹ࠖ࠶ࠪࡘࡐ࠶ࡊࠕ࠻ޠߣޟࠕࡔࠞࡦ
70
ࡐ࠶ࡊࠕ࠻ޠߦߪᢥൻ⊛ㅪ⛯ᕈࠍߔߎߣ߇ߢ߈ࠃ߁ޕ߹ߚޔޟࡐ࠶ࡊࠕ࠻ޠߪ ߒ߫ߒ߫ޔ“Pop is an artistic program of total rejection of the values of the so-called Establishment.”
(J. Richardson, “Dada” 155) ߣޔߘߩ⊛ᕈ⾰ࠍᜰ៰ߐࠇࠆࠃ߁ߦޔᒰᤨࠕࡔࠞ߿࡛
ࡠ࠶ࡄߢਥᵹߛߞߚፏ㜞ᕈߦḩߜߚޟ⽎ਥ⟵ޠߦኻߔࠆࠕࡦ࠴࠹ߢࠆߣߣ߽
ߦޔ㓏⚖߿⚻ᷣᩰᏅࠍήലൻߔࠆᄢ㊂ᶖ⾌␠ળߩᄢⴐᢥൻߦะߌࠄࠇߚ࠺ࡕࠢ࠹ࠖ࠶ࠢ
ߥࠕ࠻ߢߞߚߣ⸒߃ࠆޕ
㧡㧚ޟ࠾ࡘ࡛ࠢ࠳࠳ޠߩᓇ㗀ജ
ᄢⴐᢥൻߩ⽎ࠍ⒓឴ߔࠆޟࡐ࠶ࡊࠕ࠻ޠߪޔታ␠ળߩౕ⽎ࠍឃ㒰ߒߡኅߩౝ
⊛⇇ࠍߔࠆ㔍⸃ߥޟ⽎ਥ⟵ޠߦኻߔࠆേߢߞߚ߇ޔ㕙ߢߪㄭㆊߩ
⧓ⴚㆇേߩᚻᴺ߆ࠄߩᒁ↪߇ 1 ߟߩ․ᓽߣߥࠆޕࡂࡒ࡞࠻ࡦߪᣢᚑߩ⚕ᇦࠍಾࠅ⾍
ࠅߔࠆޟࠦࠫࡘޠࠍᄙ↪ߒޔ࠙ࠜࡎ࡞ߪᄢ㊂↢↥ຠࠍޟࠝࡉࠫࠚޠ(objet)ߣߒߡዉ
ߒߚޕߎࠇࠄߪޟࡀࠝ࠳࠳ޠߣߩㅢὐߢࠆ߇ޔ㆚ߔࠇ߫ޟ࠾ࡘ࡛ࠢ࠳࠳ޠ ߩᛛᴺߢࠅޔޟ⧓ⴚޠࠍᔒะߔࠆޟ࠾ࡘ࡛ࠢ࠳࠳ޠߣޟࡐ࠶ࡊࠕ࠻ޠߩᣇะ ᕈߪ৻⥌ߔࠆ(Gidal 12)ޕ
ߣࠅࠊߌޔޟࡐ࠶ࡊࠕ࠻ޠࠍ⺆ࠆߢㆱߌߡㅢࠇߥߩ߇ޔޟ࠾ࡘ࡛ࠢ࠳࠳ޠ ߩਛᔃ⊛ੱ‛ߢߞߚࡈࡦࠬੱࠕ࠹ࠖࠬ࠻ߩࡑ࡞࡞࠺ࡘࠪࡖࡦ(Marcel Duchamp,
1887-1968)ߢࠆޕ1910ᐕઍ೨ඨߣ߁ᣧᤨᦼߦᴤ⛗ࠍ᫈ߒߚ࠺ࡘࠪࡖࡦߪޔ╙৻ᰴ
⇇ᄢᚢਛߩ1915ᐕߦᷰ☨ߒޔ࠾ࡘ࡛ࠢߦࠕ࠻ࠛࠍ᭴߃ࠆޕએ㒠ߪᣢᚑຠࠍߘߩ߹߹ޔ
ࠆߪ⧯ᐓᚻࠍട߃ߚߛߌߩ߽ߩࠍޟࠝࡉࠫࠚޠߣߒߡឭ␜ߒޔޟ࠺ࠖࡔࠗ࠼ޠ (Ready-made)ߣ⒓ߔࠆຠࠍᢔ⊒⊛ߦ⊒ߒߚޕ⧓ⴚߩᔨߣߒߡߩޟ࠺ࠖࡔࠗ࠼ޠ ߪޔᒰೋߩ⋡⊛߿ᯏ⢻ߣߪ㆑ߞߚࠊࠇᣇࠍߐࠇߚᣢຠޔߟ߹ࠅᣂߚߦᗧ↢ᚑߐࠇߚ
⧓ⴚຠߣߒߡዷ␜ߐࠇߚᣢຠࠍᜰߔޕ
ߣࠅࠊߌޔ1917ᐕߦ࠺ࡘࠪࡖࡦ⥄り߇ዷ␜ᆔຬࠍോߚ╙ 1࿁ߩޟ࠾ࡘ࡛ࠢࠕࡦ
࠺ࡄࡦ࠳ࡦޠ(New York Indépendant)ዷߦனฬߢຠߒߚޝᴰޞ(Fountain, 1917)ߪ‛⼏ࠍ㉯ߒ ߚޕޝᴰޞߪޔᒰᤨߩⴐ࠻ࠗߩ↵ᕈ↪ዊଢེࠍㅒߐ߹ߦะߌߡޔޟ࠴ࡖ࠼ࡑ࠶࠻ 1917
ᐕޠ(R.Mutt 1917)ߣ߁⟑ฬࠍࠇߚޟ࠺ࠖࡔࠗ࠼ޠߩઍ⊛ຠߢࠆޕήክᩏࠍᮡ
᭙ߒߡߚዷ␜ᆔຬળߩⵙቯߪޔޝᴰޞࠍ⧓ⴚຠߣߒߡቯߖߕߦዷ␜ࠍᜎุߔࠆ߽ߩߢ
ߞߚޕታߪߎߩຠߪᣢᚑߩ⧓ⴚᔨࠍ⎕უߔࠆߚߦ࠺ࡘࠪࡖࡦ߇ដߌߚ⏕ା‽⊛
ࠬࠠࡖࡦ࠳࡞ߢࠅޔ੍ᗐㅢࠅߩᔕࠍ⏕ߒߡޔᓐߪ᠄ߦࠆޕᓟᣣޔ࠺ࡘࠪࡖࡦߪ
᛫⼏ߩߚߦዷ␜ᆔຬࠍㄉછߒޔ⥄り߇✬㓸ߦ៤ࠊߞߚ㔀ޡࠩࡉࠗࡦ࠼ࡑࡦޢ(The Blind Man)ߦޔ౮⌀ኅߩࠕ࡞ࡈ࠶࠼ࠬ࠹ࠖࠣ࠶࠷(Alfred Stieglitz, 1864-1946)߇ᓇ ߒߚޝᴰޞߩ౮⌀ߣߣ߽ߦޔᰴߩࠃ߁ߥ᛫⼏ᢥޟ࠴ࡖ࠼ࡑ࠶࠻ઙޠ(“The Richard Mutt Case”, 1917)ࠍឝタߒޔ㑆ߩᵈ⋡ࠍ㓸ࠆߎߣߦᚑഞߔࠆޕ
Whether Mr. Mutt made the fountain with his own hands or not has no importance. He CHOSE it.
He took an article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object. (5)
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ߎࠇߪޟ࠺ࠖࡔࠗ࠼ޠߦ㑐ߔࠆ࠺ࡘࠪࡖࡦߩ⠨߃ᣇߩ৻┵ࠍߒߡ߅ࠅޔᒰᤨߩޟ೨ ⴡ⧓ⴚޠߩ▸⇵߆ࠄߪℂ⸃ࠍ߃ߚᣂߚߥ⧓ⴚߩት⸒ߢࠆߣ⸒߃ࠆޕ࠺ࡘࠪࡖࡦߪ ᣢᚑຠߩޟㆬᛯޠࠍ⧓ⴚߣߒޔ⊛ߥᣢຠߦ⟑ฬࠍࠇޔ⸳⟎ߩ႐ᚲߣⷺᐲࠍᄌ ߃ࠆߎߣߢޔᰴరߦ⒖ⴕߐߖޔ⧓ⴚຠߣߒߡߩഃㅧ⊛ᗧࠍઃਈߒߚޕㅒ⺑⊛ߦ⸒߃
߫ޔᐲൻߐࠇߚ⧓ⴚࠍ⎕უߒߚߩߢࠆޕ
ήᯏ⾰ߢ⧓ⴚ⊛ߥㅧᒻߪޔߘࠇ߹ߢߩޟࡂࠗࠕ࠻ޠߦߪߥޔਁੱ߇ࠕࠢ
ࠬน⢻ߥޟࡐࡇࡘޠߥ⧓ⴚߢߞߚޕ࠺ࡘࠪࡖࡦߪᣧߊ߆ࠄޔ↢↥ߣᶖ⾌ߩᓴⅣࠍᗧ
⼂ߒߡㄼࠅ᧪ࠆᄢ㊂ᶖ⾌␠ળࠍኤ⍮ߒޔᤨઍߩⷐ⺧ߦᔕߒޔ⧓ⴚߩน⢻ᕈࠍឭ␜ߒߚߩ ߢࠆޕᣣᏱ↢ᵴߩਛߩࠅ߰ࠇߚᣢຠࠍࡕ࠹ࠖࡈߦߒߚޟ࠺ࠖࡔࠗ࠼ޠߩ⏕┙
ߪޔ⧓ⴚࠍࠃࠅޟࡐࡇࡘߥࠕ࠻ޠ߳ߣ㘧べߐߖߚޕ߹ߚޔ࠺ࡘࠪࡖࡦߩ⧓ⴚຠࠍ 㐓⾨⠪ߩ⸃㉼ߦᆔߨࠆޟㆬᛯޠߣ߁ⴕὑߦߟߡߪޔࡠࡦࡃ࡞࠻(Roland Barthes, 1915 -80)ߩޟ⠪ߩᱫޠ(“The Death of the Author”, 1968)߿ࡒࠪࠚ࡞ࡈࠦ(Michel Foucault, 1926-84)ߩޟ⠪ߣߪ߆㧫ޠ(“What is an Author?”, 1969) ߣߩ㘃ૃᕈࠍᜰ៰ߔࠆ⎇ⓥ߽ࠆ
(Crowther 2-3)ޕ࠺ࡘࠪࡖࡦߪ⧓ⴚߦ⸅ࠇࠆᄖㇱߩ┙႐ࠍ㊀ⷞߒޔኅߩ⥄Ꮖ߿ౝ㕙ߪ
ਇߣߥࠅޔ㐓⾨⠪ߎߘ߇ຠߩᗧࠍഃㅧߔࠆߣᒝ⺞ߒߚޕߘࠇߪ⧓ⴚߩ࠺ࡕࠢ࠹ࠖ
࠶ࠢߥ⸃ߦઁߥࠄߥߩߢࠆޕ
ߎߩࠃ߁ߦޔ࠺ࡘࠪࡖࡦ߇ឭ໒ߒߚޟ࠺ࠖࡔࠗ࠼ޠ߿⧓ⴚⷰߪࠗࠡࠬߩࡂࡒ࡞࠻
ࡦޔࠕࡔࠞߩ࠙ࠜࡎ࡞ߩ㘑߿ᚻᴺߦᄙᄢߥᓇ㗀ࠍਈ߃ޔޟࡐ࠶ࡊࠕ࠻ޠߦ⛮ᛚߐ ࠇߡࠆߩߢࠆޕ
㧢㧚ޟࡐ࠶ࡊࠕ࠻ޠࠍߋࠆ⸒⺑
߆ߊߒߡޟࡐ࠶ࡊࠕ࠻ޠߪޔࠬࠩࡦ࠰ࡦ࠲ࠣ(Susan Sontag, 1933-2004)߇ޡ⸃㉼ޢ (Against Interpretation, 1966)ᚲߩࠛ࠶ࠗޟ㧨ࠠࡖࡦࡊ㧪ߦߟߡߩࡁ࠻ޠ(“Notes on
‘Camp’”, 1966)ߦ߅ߡ৻⒳ߩࠞ࡞࠻⊛ᾲ⁅ࠍᗧߔࠆฬ⒓ޟࠠࡖࡦࡊޠ(camp)ߣ߁ᵹⴕ
⺆ࠍߒߚࠃ߁ߦ(275-92)ޔ⧯⠪ࠍਛᔃߦߘࠇߦ୯ߔࠆᾲ⁅⊛ߥੱ᳇ࠍඳߒߚޕߛ߇ޔߘߩ ᚻᴺ߿࠹ࡑࠍℂ↱ߦ৻ㇱߩ⟤ⴚᛕ⹏ኅ߆ࠄߪ৻ㆊᕈߩࡈࠔ࠶࡚ࠪࡦߦㆊ߉ߥߣ߁ᛕ
್߿ቢోߥ㤩Ვߣ߁ุቯ⊛⹏ଔࠍਅߐࠇߡ߈ߚޕᄢⴐᢥൻߦኻߔࠆฬߥᛕ್ࠍ㆚ࠇ߫ޔ 㔀ޡࡄ࠹ࠖࠩࡦࡆࡘޢ(Partisan Review)ߩ1939ᐕ⑺ภߦឝタߐࠇߚޟ⽎ਥ
⟵ޠߩℂ⺰⊛ᜰዉ⠪ߢߞߚࠢࡔࡦ࠻ࠣࡦࡃࠣ(Clement Greenberg, 1909-94)ߩ⺰
ᢥޟࠕࡧࠔࡦࠡࡖ࡞࠼ߣࠠ࠶࠴ࡘޠ(“Avant-Garde and Kitsch”, 1939)߇ฬߢࠆޕࠣࡦ ࡃࠣߪ⧓ⴚࠍޟࠕࡧࠔࡦࠡࡖ࡞࠼㧔೨ⴡ㧕ޠ(avant-garde)ߣޟࠕࠟ࠼㧔ᓟⴡ㧕ޠ(rear-guard) ߦಽߒޔᱜ⛔⊛ߥ⟤ⴚผࠍᒻᚑߒ߁ࠆ⾰⊛ᒝᐲࠍ߽ߞߚ೨⠪ߦኻߒߡޔᓟ⠪ߩߘࠇߦ୯ ߒߥᄢⴐᢥൻࠍޟࠠ࠶࠴ࡘޠ(kitsch)ߣߒߡ৻なߒߚ(3-21)ޕߎߎߢࠣࡦࡃࠣߪᄢ㊂ ᶖ⾌␠ળߦ߅ߌࠆᢥൻߩᄢⴐൻࠍߔ⺆ߣߒߡޔޟૐଶޔᖡ⿰ޔ㒸⣣ޠࠍᗧߔࠆޟࠠ࠶
࠴ࡘޠࠍ↪ߚޕߘߒߡޔߘߩኻ᛫ᚻᲑߣߒߡࡕ࠳࠾࠭ࡓߦઍߐࠇࠆޟࠕࡧࠔࡦࠡࡖ࡞
࠼ޠࠍផᅑߒߡࠆޕࠣࡦࡃࠣߩᛕ್ߩ೨ឭߦߪޔޟ㜞⚖ᢥൻ㧛ૐ⚖ᢥൻޠߣ߁ౖ
ဳ⊛ߥੑర⊛ᢥൻ⺰߇ࠅޔޟࡂࠗࠕ࠻ޠࠍᔒะߔࠆ⊛ߥࠛ࠻ਛᔃਥ⟵߇⽾߆ ࠇߡࠆߣ⸒߃ࠆޕ
ࠣࡦࡃࠣߪޟࠕࡧࠔࡦࠡࡖ࡞࠼ߣࠠ࠶࠴ࡘޠߦ߅ߡޔવ⛔⊛⟤ቇࠍࠛ࠻ਥ
72
⟵ߦޔޟࡐ࠶ࡊࠕ࠻ޠࠍ᳃ਥਥ⟵ߦ⚿߮ߟߌޔ“Kitsch, using for raw material the debased and academicized simulacra of genuine culture, welcomes and cultivates this insensibility.” (10) ߣߒޔ
“all kitsch is academic;” (10) ߣㅀߴߚޕߘࠇߦኻߒߡޔࠕࡠ࠙ࠚࠗߪ58ᐕߦ㔀ޡᑪ▽࠺ࠩ
ࠗࡦޢ(Architectural Design)ߩ2ภߦነⓂߒߚ⺰ᢥޟ⧓ⴚߣࡑࠬࡔ࠺ࠖࠕޠ(“The Arts and the Mass Media”, 1958)ߦ ߅ ߡ ᰴ ߩ ࠃ ߁ ߦ ⺰ ߔ ࠆ ޕ ࠕ ࡠ ࠙ ࠚ ࠗ ߪ“In fact, stylistically, technically, iconographically the mass arts are anti-academic.” (84) ߣᒝ⺞ߒޔ“the new role for the fine arts is to be one of the possible forms of communication in an expanding framework that also includes the mass arts.” (85) ߣ߁⼂ߦ〯ߺߒߡࠆޕ
߹ߚޔࠕࡠ࠙ࠚࠗߪ⧓ⴚ߇ࠗࡔࠫ⇇ߩ৻ㇱߣߒߡᖱႎൻߔࠆߎߣࠍ㍈ߊ੍ߒߡ
ߚ߇ޔࠕࡠ࠙ࠚࠗߦߣߞߡߩޟࡐ࠶ࡊࠕ࠻ޠߣߪޟࡂࠗࠕ࠻ޠߦኻߔࠆᣂߒᄢ ⴐᢥൻߢߞߚޕߘߎߢߪޟࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻ࠣ࡞ࡊޠߢᄢⴐᢥൻߩࠗࡔࠫ߇⸥
ภߣߒߡಽᨆߐࠇߚࠃ߁ߦޔࠗࡔࠫࠍⓍᭂ⊛ߦ⸃⺒ߔࠆਥ߇ᦼᓙߐࠇߡߚߩߢࠆޕ ߎߩὐߦߟߡߪޔᒰᤨߩࠗࠡࠬߢ㓏⚖ࠍߔࠆޟㅢᢥൻޠߩᒻᚑࠍᮨ⚝ߒߡߚ
ࠗࡕࡦ࠼࠙ࠖࠕࡓ࠭߿࠴ࡖ࠼ࡎࠟ࠻ࠄࠞ࡞࠴ࡘ࡞ࠬ࠲࠺ࠖ࠭ߩḮᵹ ߣㅢᐩߔࠆ㗴ᗧ⼂ࠍᜰ៰ߔࠆ⎇ⓥ߽ࠆ(Cooke 192-216)ޕ
߹ߚޔᣢᚑຠ߿ᄢ㊂↢↥ຠߣߞߚࡕ࠹ࠖࡈޔࠦࠫࡘ߿ࠪ࡞ࠢࠬࠢࡦߣߞ ߚᛛᴺࠍ↪ࠆޟࡐ࠶ࡊࠕ࠻ޠߪޟᢥൻ↥ᬺޠߩ᷵ਛߦࠅޔޟⶄᛛⴚޠߦࠃࠆ⧓ⴚ
ຠߢࠆޕߘߩㆊߥᓳᕈߦߟߡޔ࠙ࠜࡎ࡞⥄り߇“The reason I’m painting this way is that I want to be a machine and I feel that whatever I do and do machine-like is what I want to do.” (Warhol, “What is Pop Art?” 18) ߣ⁅ੂ⊛ߦㅀߴߡࠆࠃ߁ߦޔߘࠇࠄߩຠߢ⊒↢ߒߡ
ࠆߎߣߪޔࡧࠔ࡞࠲ࡌࡦࡗࡒࡦߩᜰ៰ߒߚޟࠕ࠙ޠ(aura)ߩᶖᄬߢࠅޔࠫࡖࡦ
ࡏ࠼ࡗ࡞(Jean Baudrillard, 1929-2007)ߩឭ໒ߒߚޟࠪࡒࡘࠢ࡞ޠ(simulacra)ߢࠆ ߣ⸒߃ࠆޕ߹ߚޔࡈ࠼࠶ࠢࠫࠚࠗࡓ࠰ࡦߪ࠙ࠜࡎ࡞ߦઍߐࠇࠆޟࡐ࠶ࡊࠕ
࠻ޠࠍޟࡐࠬ࠻ࡕ࠳࠾࠭ࡓޠߩઍ⊛ᢥൻߦߍޔ㜞ዏൻߒߚࡕ࠳࠾࠭ࡓߦኻ᛫ߔࠆ⏕
ߥേߣᜰ៰ߒߡࠆ(9)ޕ
⏕߆ߦޔߎ߁ߒߚ⸒⺑߇ᄢⴐᢥൻࠍᠩ⼔ߔࠆޟࡐ࠶ࡊࠕ࠻ޠߦะߌࠄࠇࠆߩߪޔߘ ࠇ߹ߢߩ⟤ⴚ⇇ߢᕈߥ߈ᒁ߈౮ߒ߿⋑↪ࠍ࠲ࡉߣߒߡ߈ߚߎߣ߆ࠄᒰὼߢࠆޕޟࡐ࠶
ࡊࠕ࠻ޠߪࠝࠫ࠽࡞ߣࠦࡇࠆߪࠗࡒ࠹࡚ࠪࡦߣࠝࡑࠫࡘߩ㗴߽ᗧߦ
ߐߕޔ⎕უ⊛ߢࠅߥ߇ࠄޔᄢⴐᢥൻߩࠗࡔࠫࠍၫᜓߥ߹ߢߦߒߟߌߡᣂߚߥ
ፏࠍଦߒޔ⤪㕙߽ߥߊࠦࡑࠪࡖ࠭ࡓߦᨴ߹ࠅޔ㒢ࠅߥߊޟࠠ࠶࠴ࡘޠߦធㄭߒߚޕ ߘࠇߪᛕ್ࠍ↞ࠎߓߡฃߌࠆⷡᖗࠍߒߚߢߩޟࡐ࠶ࡊࠕ࠻ޠߩਥ⊛ᚢ⇛ߢࠅޔ
ࠛ࠻ਥ⟵⊛ߥޟࡂࠗࠕ࠻ޠߦኻߔࠆ⇣⼏ߣߒߡᣢᚑߩ⧓ⴚⷰߩᛂ⎕ࠍߑߔ
േะߪޔᄢ㊂ᶖ⾌␠ળߦ߅ߡᄢⴐᢥൻ߇ᚑ┙ߒߚหᤨઍߛ߆ࠄߎߘน⢻ߥ⧓ⴚߛߞ ߚߩߢࠆޕ
㧣㧚ࡐࡇࡘ㖸ᭉߣߩㅪേ
ޟࡐ࠶ࡊࠕ࠻ޠߪ⟤ⴚ⇇ߢߩᵴേߦߣߤ߹ࠄߕޔ㓞ធߔࠆᢥൻ㗔ၞߣ߽ㅪേࠍߖ ߚޕߣࠅࠊߌޔޟࡐ࠶ࡊࠕ࠻ޠߣࡐࡇࡘ㖸ᭉߪኒធߥ㑐ଥߦߞߚޕࠨࠗࡕࡦࡈ
ࠬ(Simon Frith)ࠄߪޡࠕ࠻ࠗࡦ࠻࠘ࡐ࠶ࡊޢ(Art into Pop, 1987)ߦ߅ߡޔࠗࠡࠬ
73
ߩࠕ࠻ࠬࠢ࡞ߩᢥ⣂߇ࠕ࠻ߣࡐࡇࡘ㖸ᭉࠍ⚿߮ߟߌߚᓎഀߦ㑐ߒߡᄙߊߩಽᨆ ࠍⴕߞߡࠆޕታ㓙ޔ╙4┨ߢ⺰ㅀߒߚ60ᐕઍߩࡐࡇࡘ㖸ᭉ⽎ޟࡉ࠹ࠖ࠶ࠪࡘ
ࠗࡦࡧࠚ࡚ࠗࠫࡦޠߢᵴべߒߚࡒࡘࠫࠪࡖࡦߦߪޔࠕ࠻ࠬࠢ࡞り⠪߇ᄙޕࡆ
࠻࡞࠭ߩ࡚ࠫࡦࡁࡦޔࡠࡦࠣࠬ࠻ࡦ࠭ߩࠠࠬ࠴ࡖ࠭ޔࡗ࠼ࡃ࠭(The Yardbirds, 1964-68)ߩࠛ࠶ࠢࠢࡊ࠻ࡦ(Eric Clapton, 1945-)ߥߤߩ㕙ޘߢࠆ߇ޔᓐࠄߪ ᢎ⢒ᐲᡷ㕟ߩᕲᕺࠍฃߌߡࠕ࠻ࠬࠢ࡞ߦㅴቇߒߚࡒࡘࠫࠪࡖࡦᔒᦸߩ⧯⠪ߢߞ ߚޕࠕ࠻ࠬࠢ࡞ߪੱ⣂ᒻᚑ߿ࡃࡦ࠼✵⠌႐ᚲߣߒߡࡕ࠻ࠕࡓ⊛ߦ↪ߐࠇߡߚ
▵߽ࠆ߇ޔ⚿ᨐ⊛ߦߪޟࡐ࠶ࡊࠕ࠻ޠ߿ࡐࡇࡘ㖸ᭉߥߤᣂߚߥ⧯⠪ᢥൻࠍᒻᚑ ߔࠆᵴേὐߣߒߡᯏ⢻ߒߡߚߩߢࠆޕ
ߘߩᚑᨐߣ߽߁ߴ߈ޔ㕙ߢߩࠦࡏ࡚ࠪࡦ߽ࠄࠇࠆޕ60 ᐕઍߩࠗࠡࠬࠍ ઍߔࠆࡠ࠶ࠢࡃࡦ࠼ࡆ࠻࡞࠭ߩࠦ࠼ࠫࡖࠤ࠶࠻ߪ⧓ⴚຠߣߒߡߩ⹏ଔ߽㜞
ޕࡇ࠲ࡉࠗࠢߪޔࡆ࠻࡞࠭ߩ67ᐕߩࠕ࡞ࡃࡓޡࠨࠫࠚࡦ࠻ࡍࡄ࠭ࡠ ࡦࡂ࠷ࠢࡉࡃࡦ࠼ޢߩࠦ࠼ࠫࡖࠤ࠶࠻ࠍᚻដߌߚޕࡐ࡞ࡑ࠶ࠞ
࠻࠾ߩࠕࠗ࠺ࠕࠍਅᢝ߈ߦޔᭉ࿅ߦᛐߒߚࡆ࠻࡞࠭ࡔࡦࡃ߇ਛᄩߦ┙ߜޔߘߩ
⢛ᓟߦߪᓐࠄ߇ㆬࠎߛ20 ♿ߩᱧผ⊛ੱ‛ 59ฬ߇㈩⟎ߐࠇࠆ⸥ᔨ౮⌀ߩࠃ߁ߥ᭴ᚑߢ
ࠆޕࡉࠗࠢߪ⡿ᮭ㗴ࠍ⠨ᘦߒߚߢੱㆬߒߚੱ‛ߩ╬りᄢߩ⋴᧼ࠍߒޔߘߩ㈩
⟎ࠍࡔࡦࡃߣ⼏⺰ߒޔᘕ㊀ߦቯߒߡߞߚޕޡࠨࠫࠚࡦ࠻ࡍࡄ࠭ࡠࡦࡂ
࠷ࠢࡉࡃࡦ࠼ޢߪࠨ࠙ࡦ࠼㕙ߢߩࠨࠗࠤ࠺࠶ࠢߥ㕟ᣂᕈ߽ߐࠆߎߣߥ߇ࠄޔࠫ
ࡖࠤ࠶࠻ߦ߽ᵈ⋡߇㓸߹ࠅޔ68 ᐕߦࠣࡒ⾨ߩޟࡌࠬ࠻ࠕ࡞ࡃࡓࠞࡃㇱ㐷ޠࠍฃ
⾨ߒߡࠆޕ
߹ߚޔ࠴ࡖ࠼ࡂࡒ࡞࠻ࡦ߽ࡆ࠻࡞࠭ߩ 68ᐕߩࠕ࡞ࡃࡓޡࠩࡆ࠻࡞࠭ޢ(The Beatles, 1968)ߩࠦ࠼ࠫࡖࠤ࠶࠻ࠍᚻដߌߚޕࠫࡖࠤ࠶࠻ߪ⊕৻⦡ߢޔߘߩࠫࡖࠤ࠶࠻
ߩࠗࡔࠫ߆ࠄޟࡎࡢࠗ࠻ࠕ࡞ࡃࡓޠߣ߁ㅢ⒓ߢ߫ࠇࠆߎߣߩᣇ߇ᄙޕ৻ߔࠆ ߣࠪࡦࡊ࡞ߥ࠺ࠩࠗࡦߢࠆ߇ޔߘߩಽࠗࡦࡄࠢ࠻߽ᒝߊޔߐ߹ߑ߹ߥࠫࡖࡦ࡞ߩ㖸ᭉࠍ ᨵエߦๆߔࠆࡆ࠻࡞࠭ߩ㖸ᭉᕈߩᐢߐࠍߒߡࠆޕ߹ߚޔ70 ᐕઍߦᵴべߒߚࡠ
ࠠࠪࡒࡘࠫ࠶ࠢ(Roxy Music, 1971-83)ߩࡉࠗࠕࡦࡈࠚ(Bryan Ferry, 1945-)ߪ
࠾ࡘࠞ࠶ࠬ࡞ᄢቇ☋ᤨߦࡂࡒ࡞࠻ࡦߩ߽ߣߢ⟤ⴚࠍቇ߱ቇ↢ߢߞߚߎߣޔ࠺ࡆࡘ
೨ߦࡆ࠻࡞࠭ࠍ⣕ㅌߒߚరࡔࡦࡃߩࠬ࠴ࡘࠕ࠻ࠨ࠻ࠢࡈ߇ࠛ࠼࠘ࠕ࡞࠼ࡄࠝ
ࡠ࠶࠷ࠗߦᏧߒߚ⧓ⴚኅᔒᦸߩ⧯⠪ߛߞߚߎߣ߽ઃ⸥ߒߡ߅߈ߚޕ
ࠕࡔࠞߦ߅ߡ߽ޔޟࡐ࠶ࡊࠕ࠻ޠߣࡐࡇࡘ㖸ᭉߩ⚿߮ߟ߈ߪᒝޕ࠙ࠜࡎ
࡞ߪ⋥ធࠬࠞ࠙࠻ߒߚࡠ࠶ࠢࡃࡦ࠼ޔ࡞࠼(Lou Reed, 1942-2013)₸ࠆࡧࠚ࡞ࡧࠚ
࠶࠻ࠕࡦ࠳ࠣ࠙ࡦ࠼(The Velvet Underground, 1967-73)ࠍࡊࡠ࠺ࡘࠬߒޔ67ᐕ⊒
ߩޡࡧࠚ࡞ࡧࠚ࠶࠻ࠕࡦ࠳ࠣ࠙ࡦ࠼ࠕࡦ࠼࠾ࠦޢ(The Velvet Underground and Nico, 1967)ߢ࠺ࡆࡘߐߖߡࠆޕࠫࡖࠤ࠶࠻ߪ࠙ࠜࡎ࡞ߩ࠺ࠩࠗࡦߢޔࡃ࠽࠽ߩ⛗ߦ࠙ࠜ
ࡎ࡞ߩ⟑ฬ߇ࠇࠄࠇߡ߅ࠅޔޟࡃ࠽࠽ࠕ࡞ࡃࡓޠߣ߁ㅢ⒓ߢ߫ࠇࠆߎߣ߽ࠆޕ߹
ߚޔ࠙ࠜࡎ࡞ߪᢥቇߦ߽ㅧ⹚߇ᷓߊޔޟࠞ࠙ࡦ࠲ࠞ࡞࠴ࡖޠࠍవዉߒߚޟࡆ࠻ࠫ
ࠚࡀ࡚ࠪࡦޠߣᵹࠍᜬߜޔᤋ↹ߦ߽ਸ਼ࠅߒߡታ㛎ᤋ↹ㆇേޟࠕࡦ࠳ࠣ࠙
ࡦ࠼ࠪࡀࡑޠ(underground cinema)ߩਛᔃ⊛ሽߣߥࠅޔ60 ᐕઍࠕࡔࠞᢥൻ⇇ߩఽߣ ߥߞߚޕ
ߚߛޔޟࡐ࠶ࡊࠕ࠻ޠߪනߦࡐࡇࡘ㖸ᭉߣⱣ㑐ଥߦߞߚߛߌߢߪߥޕ68ᐕޔ
74
ࡂࡒ࡞࠻ࡦߪ67ᐕߦࡠࡦࠣࠬ࠻ࡦ࠭ߩࡒ࠶ࠢࠫࡖࠟߣ⟤ⴚߩࡠࡃ࠻ࡈ
ࠗࠩ(Robert Fraser, 1937-86)߇㤗⮎ਇᴺᚲᜬߢㅱߐࠇߚᤨ㗴ࠍᛒߞߚࠪ࡞ࠢࠬࠢ
ࡦߦࠃࠆຠޝࠬ࠙ࠖࡦࠫࡦࡠࡦ࠼ࡦ 67 IIޞ(Swingeing London 67 II, 1968)ࠍߒ ߡࠆޕߎߩຠߪޔࡂࡒ࡞࠻ࡦ߇“I had felt a strong personal indignation at the insanity of legal institutions which could jail anyone for the offence of self-abuse with drugs.” (Hamilton, “The
Swinging Sixties” 104) ߣㅀߴߡࠆࠃ߁ߦޔߎߩઙߪᒰዪߩ⧯⠪ᢥൻߦኻߔࠆỗߒᒢޔ
ߘߒߡࡒ࠶ࠢߣࡈࠗࠩߦ㊀ೃ߇ਅߐࠇߚㆊ㉃ߥ್ߦߟߡߩ␠ળᛕ್ߢࠆޕߐࠄ ߦޔ࠲ࠗ࠻࡞߆ࠄ߽ࠄ߆ߢࠆ߇ޔᒰᤨ৻ࠍ㘑㕘ߒߡߚޟࠬ࠙ࠖࡦࠡࡦࡠࡦ࠼ࡦޠ ࠍៃឦߒߡ߅ࠅޔ60 ᐕઍߩ⽶ߩㇱಽߣ߃ࠆ⧯⠪ߩ࠼࠶ࠣ㗴߽ኻ⽎ൻߔࠆࡂࡒ࡞࠻ࡦ ߩ㘑ೝ⊛ߥഃࠬ࠲ࡦࠬ߇ࠇߡࠆߣ⸒߃ࠆޕߎߩࠃ߁ߦޔޟࡐ࠶ࡊࠕ࠻ޠߪࡐࡇࡘ
㖸ᭉࠍߪߓߣߔࠆޟࠬ࠙ࠖࡦࠡࡦࡠࡦ࠼ࡦޠߩ㓞ធᢥൻ㗔ၞߣ࿕ߊ⚿߮ߟ߈ޔ߹
ߚᤨߦߪ〒㔌ࠍ⟎߈ޔ㓉⋓ࠍᭂߚߩߢࠆޕ 㧤㧚ߔ߮
એߩࠃ߁ߦޔޟࡐ࠶ࡊࠕ࠻ޠߦߟߡ⠨ኤߒߡ߈ߚ߇ޔߘߩ␠ળᢥൻ⊛ᗧ⟵ࠍⷐ⚂
ߒߚޕ1ὐ⋡ߪޔࠛ࠻ਛᔃਥ⟵⊛ߥޟࡂࠗࠕ࠻ޠࠍ㗂ὐߣߔࠆ⟤ⴚ⇇ߩࡅࠛ࡞
ࠠࠍᛂ⎕ߔߴߊޔᄢⴐᢥൻࠍ࠹ࡑߦޟ⧓ⴚޠࠍឝߍޔᢾᣂߥࡕ࠹ࠖࡈߣᛛᴺߢ⟤
ⴚ⇇ߦ㕟ᣂࠍ߽ߚࠄߒߚߎߣߢࠆޕߘࠇߪᣢᚑߩ⧓ⴚⷰࠍⷒߒޔ⧓ⴚߣᣣᏱ↢ᵴߩ〒㔌 ࠍ❗ޔޟ㜞⚖ᢥൻ㧛ૐ⚖ᢥൻޠߣ߁ᢥൻ⊛Ⴚ⇇✢ࠍᩮᐩ߆ࠄំࠆ߇ߖߚޔࠊ߫⎕უ⊛
ഃㅧߢߞߚޕߟ߹ࠅޔޟࡐ࠶ࡊࠕ࠻ޠߪᄢ㊂ᶖ⾌␠ળߩᄢⴐᢥൻࠍⓍᭂ⊛ߦᠩ⼔ߔࠆ ߎߣߢޟࡂࠗࠕ࠻ޠߩᢥൻ⊛ⷓᮭࠍ⣕᭴▽ߒߚߩߢࠆޕ
2ὐ⋡ߪޔᄢⴐᢥൻࠍ⢐ቯ⊛ߦߒߡ⟤ⴚ⊛ଔ୯ࠍઃਈߒޔਁੱ߇ࠕࠢࠬน⢻ߥ࠺ࡕ
ࠢ࠹ࠖ࠶ࠢߥࠕ࠻ࠍឭ໒ߒߚߎߣߢࠆޕޟࡐ࠶ࡊࠕ࠻ޠ߇Ꮢ᳃ᮭࠍ₪ᓧߒߚℂ↱
ߪޔᒰᤨߩ␠ળ⁁ᴫߣ㑐ଥ߇ᷓޕ࠴ࡖ࡞࠭ࠗ࠻ࡒ࡞࠭(Charles Wright Mills, 1916-62) ߪޡࡎࡢࠗ࠻ࠞޢ(White Collar: The American Middle Classes, 1951)ߦ߅ߡޔᚢᓟࠕࡔ
ࠞߩㇺᏒൻߦ߁ਛ↥㓏⚖ߩᄢ㊂Ⴧടࠍᜰ៰ߒߚޕ߹ߚޔ࠺ࠗࡧࠖ࠶࠼ࠬࡑࡦ(David Riesman, 1909-2002)ߪޡቅ⁛ߥ⟲ⴐޢ(The Lonely Crowd: A Study of the Changing American
Character, 1950)ߦ߅ߡਛ↥㓏⚖ߩ␠ળ⊛ᕈᩰࠍಽᨆߒޔઁ⠪ߣߩห⺞ᕈࠍ㊀ⷞߔࠆޟઁ⠪
ᜰะဳޠ(other-directed)ߣ㘃ဳൻߒߚ(22)ޕߎࠇࠄߩ␠ળቇ⊛߆ࠄߺࠇ߫ޔ↥ਥ⟵ߣߩ
ᣂߚߥᚢߦ⓭ߒߚ಄ᚢᤨઍߦ߅ߡޟࡐ࠶ࡊࠕ࠻ޠߩᄢ㊂ᶖ⾌␠ળߩᠩ⼔ߪࠕࡔ
ࠞߩ⾗ᧄਥ⟵⊛᳃ਥਥ⟵ߣ৻ൻߒߡߚߣ⸒߃ࠆޕታ㓙ޔ60 ᐕઍߩࠕࡔࠞߢߪ⊕ੱ
ਛ↥㓏⚖ߛߌߢߥߊޔ⊕ੱഭ⠪㓏⚖߿㤥ੱߩ␠ળㅴ߇น⢻ߦߥࠅޔ᳃ᮭㆇേޔᚢ ㆇേޔᅚᕈ⸃ㆇേߥߤߩᏒ᳃ㆇേ߇ዷ㐿ߐࠇߚޕߟ߹ࠅޔޟࡐ࠶ࡊࠕ࠻ޠߪᒰᤨߩ␠
ળ⊛േะࠍᤋߒߚ࠺ࡕࠢ࠹ࠖ࠶ࠢߥࠕ࠻ߢߞߚߣ⸒߃ࠃ߁ޕ
߹ߚޔޟࡐ࠶ࡊࠕ࠻ޠߪ⟤ⴚ⇇ߛߌߦߣߤ߹ࠄߕޔ㓞ធᢥൻ㗔ၞߣⓍᭂ⊛ߦㅪേߒޔ 60 ᐕઍߩᢥൻ⇇ోࠍᵴᕈൻߐߖߚޕ⧷☨ߢዷ㐿ߐࠇߚޟࡐ࠶ࡊࠕ࠻ޠߪޟࠬ࠙ࠖࡦ
ࠡࡦࡠࡦ࠼ࡦޠࠍ㞲߿߆ߦᓀࠅޔޟࠞ࠙ࡦ࠲ࠞ࡞࠴ࡖޠߣ߽ᝄߒߡߞߚޕߎߩࠃ ߁ߦޔޟࠬ࠙ࠖࡦࠡࡦࡠࡦ࠼ࡦޠߩ৻⠢ࠍᜂߞߡ⇇ਛߦᒛߒߡߞߚޟࡐ࠶ࡊࠕ
࠻ޠߪޔ20♿⟤ⴚผߢᦨ߽㊀ⷐߥ⟤ⴚ㕟ߣ⸒߃ࠃ߁ޕ
75