［1］ When introduced into a picture, the written word may lead to anomalies of space composition, a challenge to the modern reader's perception of the painting as a consistently ordered artistic whole. This device may seem less strange to one who is accustomed to medieval books in which words appear in the pictures as well as nearby on the written page, or to one who knows the comic strips of our own century and takes it for granted that words can be enclosed in pictures, as in the balloons issuing from the mouths of the ■gures. ［2］ In the past these were sometimes regarded as naive or vulgar, a lower though attractive art. For the Classic taste of the fourth century B.C. and for the Renaissance, and in certain phases of late medieval art, that insertion of the written word in the pictured action or landscape was felt to be bizarre. Aristotle, commenting on defective de■nitions of a concept or an object̶those in which one cannot tell what is being de■ned̶likened them to the works of the old painters whose subjects would be unintelligible if they were not explained by inscriptions in the space of the picture. The same idea was expressed by Giorgio Vasari in speaking of the use of inscribed rolls in pictures of an action; ［3］ they are, he said, a crutch for one who has not yet learned to walk alone on his two feet. In the later Renaissance, the conception of the painting as a uni■ed whole, given to the eye as a coherent visual object, excluded writing from a picture, since script, as a sequence of arbitrary marks, does not belong to the same order of signs as the pictorial ones that image recognizable bodies, faces, gestures, costumes, in a corresponding intelligible form. （from Meyer Schapiro, Words, Script, and Pictures: Semiotics of Visual Language [New York: George Braziller, 1996], 118-19. 本文に基づいて二種類記しなさい。 （1） 下線部［1］を和訳しなさい。 （2） 下線部［1］のようなことが比較的起こりにくい人としては、どのような人が考えられるか。 （3） 下線部［2］を和訳しなさい（“these”が具体的に何であるかを明示すること）。 （4） 下線部［3］とはどういうことか、和訳するのではなく、自分の言葉でわかりやすく説明しなさい。 （5） ルネサンス後期に絵から文字が排除された理由を、本文に基づいて説明しなさい。160Meyer Schapiro, excerpt from Words, Script, and Pictures: Semiotics of Visual Language. Copyright © 1996 by The Estate of Meyer Schapiro.Used with the permission of George Braziller, Inc. (New York), www.georgebraziller.com. All rights reserved. ※必要に応じて原文の一部を省略するなどした。） 2023年1月25日（水）実施著作権保護のため掲載を控えております各専攻、研究領域ごとに実施2023年1月25日（水）実施2023年1月25日（水）実施問題 ｜ 次の英文を読んで、設問に日本語で答えなさい。問題 ｜ 芸術作品における光について考えたことを、1,200字以内で自由に論じなさい。各専攻、研究領域ごとに実施芸術学専攻英語 ［60分］小論文 ［90分］面接提出論文
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