@article{oai:osaka-shoin.repo.nii.ac.jp:00003905,
 author = {塚口,  眞佐子 and ツカグチ,  マサコ},
 journal = {大阪樟蔭女子大学研究紀要},
 month = {Jan},
 note = {P(論文), 1920-30年代の社会背景からデザイン史を読み解くシリーズの8稿目である。今稿で取り上げるアールデコ様式とは、はっきりした特徴を持つ造形様式というより総括的で、建築や造形デザインのほとんどを呑込む様式である。デザイン的には伝統様式とモダンデザインの折衷の産物であり、それが故に広く受容され、両大戦間に世界的現象となる。芸術・建築・インテリアやプロダクトデザイン以外にも広範囲にその足跡を残した。その背景的要因として、この様式の象徴的地位を誇る1925年パリ博が、対ドイツ戦略として市場の地位の確保をねらった贅沢品の殿堂であったことがあげられる。それは必然的に衒示的消費を喚起し、パリ博にはエンドユーザーを意識した商業主義という宿命が伴うことになる。この要因は同時に、アヴァンギャルドデザインの持つ政治的メッセージや攻撃力をそぎ落とし、中庸化し、装飾の伝統との融和を促す。すなわちモダンデザイン波及の大きな動力を呈したのである。, This paper, 9 th issue of the serial work, Behind the Evolution of Modern Design, reports social and cultural circumstances surrounding the 1925 Paris international exposition, so called Art Deco Exposition; Exposition Internationale des Arts Decoratifs et Industriels Modernes. Successfully organized with commercialism toward luxury high market, this exposition consequently won the leading position to visualize the multiple images of the fashionable Art Deco Style. This style, ranging widely over architecture to household utensil since 1900's, however, has no specific features in fact, but rather quite opposite connotations, for example decorative VS simple, local VS urban or even traditional VS modern thanks to the various origins of this style. Naturally this ambiguous complexity also came from its commercialization itself; simple modern design had no established market since those pure and radical modernism never met welcome in mass society but hostility. There inevitably existed an incentive to compromise with each opposite connotations. As a result the visitors were to see a lot of decorative simple designs or traditional modernistic designs i.e. ART DECO at this exposition. That is to say commercialism came out to soften the hostile attitude toward avant garde modernism. This Paris expo commercialism has its origin in deep-rooted anti-German feelings. One of them is the economic nationalism; the fear, faced with this rapidly progressing nation the notion France would have surely lost her national prestige in retail market is the powerful driving force as well as anti German ideology, first and foremost, behind the French Art Deco exposition.},
 pages = {53--64},
 title = {モダンデザインの背景を探る : 1920-30年代諸事情その8 : アールデコ再考},
 volume = {5},
 year = {2015}
}