@article{oai:naruto.repo.nii.ac.jp:00027810,
 author = {小川, 勝 and OGAWA, Masaru},
 journal = {鳴門教育大学研究紀要, Research bulletin of Naruto University of Education},
 month = {Mar},
 note = {Since the discovery of Parietal art from Altamira Cave in the late 19th Century, many interpretations have been presented. A major one is Magical Theory, on which we discussed before. Here, we focus to another attempt of interpretation that is Structualists’ Theory. In 1930’s, Max Raphael, German Marxist, had an idea that the Palaeolithic Artists had expressed the symbolical code of their society. The code had seemed to depend on mythical dualism for men and animals, that is, depicted bison had represented male and horse had been female. Max Raphael wrote his idea to Annette Laming−Empraire, French prehisitorian, to be followed his hypothesis by younger researcher. She introduced the symbolic dualism into the main stream of Cave Paintings Research World. Her colleague, Andre Leroi−Gourhan, French anthropologist, developed the idea to systematic thoughts. He changed the role of animals, i.e., bison had meant female and horse had become male. Nowadays, all the specialists of parietal art has denied such a mythical dualism of both sexes as the content of our earliest images. The successors of Leroi−Gourhan have persuaded the regularity in the Palaeolithic Cave Art, for more than forty years. They have not established an integrated hypothesis in the place of magical theory, I think. In the last half of this paper, we point out many problems of this leading proposition ; for example, Leroi−Gourhan had put the animal figures as equivalents to so−called signs, geometrical pattern expression, but as art historian, we cannot accept of this mechanical understanding of art. Franco−Cantabrian Parietal Art is just art itself, and we continue to think the meaning of this incomparable phenomenon by our ancestors.},
 pages = {319--329},
 title = {構造主義的解釈の諸問題 : 洞窟壁画の解釈をめぐって},
 volume = {27},
 year = {2012},
 yomi = {オガワ, マサル}
}