@article{oai:kitami-it.repo.nii.ac.jp:00008147,
 author = {春木, 有亮 and HARUKI, Tomoaki},
 issue = {12},
 journal = {人間科学研究},
 month = {Mar},
 note = {Concentrically in the past ten years in Japan, some studies on the notion of “nostalgia” have been published. They extend over some different domains of science: sociology, psychology, aesthetics and cultural studies. It shows that “nostalgia” is an important state of sentiment for a human being of today. This article treats the notion of “nostalgia” from a point of view of aesthetics. More concretely, it shows the meaning and the siginificance of the notion of “nostalgia (nostalgie)” of Etienne Souriau(1892-1979) by referring to his article: La nostalgie comme sentiment esthetique(1949). In this process we can survey the whole aesthetic thinking of Souriau.
 In the sentiment of nostalgia, Souriau says, “the absent(l’absent)” is more “real(reel) “ than “the present(le present)” which is “unreal(irreel)”. When we feel nostalgia for something, we regard “over there(au dela)” positive and “here(ici)” negative. Artists dissolve this negative sentiment for here not at all by “returning(retour)” to their native home but by “making(faire) a home which is much more purely native”. When a poet writes a poem about a thing he lost, the poem is not the actual thing that he lost, but it is a substitute for that thing. Moreover the
“charm(charme)” of the poem even surpasses the charm of the thing he lost.It is by the fact that the thing the poet lost is not present that he can transform the extensive  distance(distension)” from the thing into the “intensity(intensite)” of nostalgia for it and can purify the essence of the thing by intensifying his sentiment.
 This is the mechanism which brings the sentiment of nostalgia from its “esthetisation” to its ”artialisation”. Moreover, Souriau deals with “paradoxical nostalgia(paradoxale nostalgie)” which goes from its ”artialisation” to its “esthetisation”. He means by this notion that a painter, for example, who is trying to make something, finds it as something lost in the landscape in front of him and paradoxically feels nostalgia for it.
 As a result, artists make an art because they feel nostalgia for it, and feel nostalgia for it because they make it. In the “dialectic circle” of “esthetisation” and “artialisation”, artists make “elsewhere(ailleurs)” “here(ici)” without losing the essence of “elsewhere”. In other words, the “given(donnee)” of the sentiment of nostalgia holds in itself the “whole architectonic of the world(architectonique du monde) ”. This is why Souriau calls nostalgia a “creative sentiment(sentiment createur)”.},
 pages = {49--66},
 title = {将来への帰還、過去への投企―エチエンヌ・スーリオの、創造する「ノスタルジー」},
 year = {2016},
 yomi = {ハルキ, トモアキ}
}