Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 11, Issue 4
Displaying 1-23 of 23 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    1961 Volume 11 Issue 4 Pages Cover1-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Cover1
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  • [title in Japanese]
    Article type: Cover
    1961 Volume 11 Issue 4 Pages Cover2-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Cover2
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  • [title in Japanese]
    Article type: Index
    1961 Volume 11 Issue 4 Pages Toc1-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Toc1
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  • Brahmanical Elements and their Forms in Ancient Indian Buddhist Art
    Teruo Ueno
    Article type: Article
    1961 Volume 11 Issue 4 Pages 1-14
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_1
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    Brahmanism is the religious system organized by Aryans who invaded India about 1500 B. C. The Aryan tradition was a worship of the power of nature by hymns and sacrifices without idols or temples. Aryans praised many kinds of gods in the hymns of Veda, among them the most prominent one was Indra, god of the atmosphere and thunder, then the sun-god Surya. On the other hand, Indus civilization flourished about 2500 B. C., and inhabitants of the Indus Valley worshipped folk deities, for example, Mother-Goddesses, Negas etc. Brahmanism included such non-Aryan deities in its system. About 5th century B.C. Buddhism arose in India. The religious character of Buddhism was quite different to that of Brahmanism, but Buddhism absorbed Brahmanical deities above mentioned into its own pantheon, and expressed as images, at the first stage, in the period between the end of 3 rd century B.C. and the fall of the Gupta dynasty. In this article, I demonstrated concretely the meanings of such deities, the process of the changes of their forms and the characteristics of Indian Buddhist Art observed from such point of view.
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  • Arnold Hausers Kritik uber Wolfflin
    Nihei Nakamura
    Article type: Article
    1961 Volume 11 Issue 4 Pages 15-34
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_15
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    Im zentralen Teil der "Philosophic der Kunstgeschichte", im Kapitel uber "Kunstgeschichte ohne Namen", versucht Hauser immer wieder auf die Herabsetzung des Individuums in der Wolfflinschen Theorie, auf die inhaltsleere Abstraktion der "Sehformen", sowie auf den Fehler der ungeschichtlichen Systematik in der autonomen Formentwicklung hinzuweisen. Ist es aber die Kritik von demjenigen, der die eigentliche Absicht Wolfflins versteht? Zum Bedauern kann ich nicht umhin, so zu sagen, dass seine Kritik gerade in der wesentlichsten Anschauung auf blossem Missverstandnis steht. Sicher ist es, dass die "Kunstgeschichtliche Grundbegriffe", die im Jahre 1916 erschien und in allen spatern Auflagen im wesentlichen unverandert abgedruckt worden ist, wie Wolfflin selbst bemerkt, eine Seite enthalten hat, welche solches Missverstandnis unvermeidbar macht. Deswegen hat er bei verschiedenen Gelegenheiten wiederholt die Erganzung und Revision der "Grundbegriffe" veroffentlicht. Durch diese Revisionen, indem er gerade die notwendige Zusammengehorigkeit der Sehformen mit der Ausdrucksmomenten erklart, weist er zugleich auf die innere Grundsatzlichkeit der optischen Formvorstellung hin ; gleichwie indem er die untrennbare Verbindung der Formgeschichte mit der Ausdrucksgeschichte genau bestimmt, erlautert er die eigene Ursprunglichkeit der Kunstgeschichte selbst. Und er kommt auch daran, die Rolle der schopferischen Personlichkeit in der gesetzmassigen Entwicklung, wie das Problem der Irrationalitat des geschichtlichen Lebens zu erwahnen. Freilich, jede Losung erzeugt neue Frage. Aber unverkennbar ist es, dass darin die tiefe Einsicht enthalten ist, welche die grundsatzliche Ursprunglichkeit und wesentliche Geschichtlichkeit der optischen Bildvorstellung andeutet. Das ist nicht nur die wichtige Erganzung zur fruheren Formulierung der "Grundbegriffe", sondern auch nichts anderes als das, was den tiefsten Ursprung der Kunstgeschichite selbst erklart. Vor allem ist es bedauerlich, dass Hauser, so scheint es, diese vertiefte Idee Wolfflins nicht beachtet hat.
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  • T. S. Eliot's View of Verse
    Tamotsu Abe
    Article type: Article
    1961 Volume 11 Issue 4 Pages 35-47
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_35
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    It seems that to elucidate the problem of poetry and verse must become one of the central problems in poetics of the day. Therefore it is of the most interest for us to learn what opinions the modern European poets have about this problem. If we can clarify the problem of poetry and verse, we not only shall be able to clarify the nature and tradition of European poetry, but also clarify the problem of poetry and prose. I attempted to trace the development of poetics by T. S. Eliot, in order to get at the most delicate or the most difficult core in the science of literature. In other words, the most difficult problem for us to understand poetry, though that problem occupies literally the most important place when we intend to study European literature, is relation and problem between poetry and verse, or between prose and verse. To throw light on these problems, I inquired into T. S. Eliot's essays, "Ezra Pound, " "Reflections on Vers libre", "Prose and Verse", "The Music of Poetry", and his idea of the auditory imagination.
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  • On the objectificaton of pleasure
    Daitsu Satake
    Article type: Article
    1961 Volume 11 Issue 4 Pages 48-61
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_48
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    G. Santayana says in the first formulation of his aethetics that beauty differs from most pleasures in being objectified in a manner similar to the objectifications of a sensation. And in the second formulation, Santayana says that pleasures need not be objectified, and if felt at all, pleasure is already an object of intuition. According to A. Singer, we cannot consider aesthetic enjoyment as either objectified or an an object of intuition, if our enjoyment is merged in the contemplated essence, As W. Arnett indicates, to analyse the basis of the aesthetic experience is one thing, but to express the nature and quality of the experience itself is another ; the former, I think, is Santayana's standpoint while the latter is Singer's one. Generally speaking, colors, shapes, textures easily become objectified as a result of past experience. But pleasures are tend to be associated with the organism and, we might say, subjectified. This is a description of fact. However, even in the latter case we are able to indicate a situation that pleasures are objectified if we consider the objectification of a pleasure from the standpoint of theoretical underpinning. Only when contrary to Singer we consider the objectification of a pleasure from such a viewpoint, it is possible to make it clear.
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  • [title in Japanese]
    H. Kitamura
    Article type: Article
    1961 Volume 11 Issue 4 Pages 68-70
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_68
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 70-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_70_1
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 70-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_70_2
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 71-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_71_1
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 71-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_71_2
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 71-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_71_3
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 71-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_71_4
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  • [title in Japanese]
    Article type: Bibliography
    1961 Volume 11 Issue 4 Pages 72-78
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_72
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  • [title in Japanese]
    K. Goto
    Article type: Article
    1961 Volume 11 Issue 4 Pages 79-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_79
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 80-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_80_1
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  • [title in Japanese]
    Article type: Appendix
    1961 Volume 11 Issue 4 Pages 80-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_80_2
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  • [title in Japanese]
    Article type: Bibliography
    1961 Volume 11 Issue 4 Pages Misc1-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Misc1
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  • [title in Japanese]
    Article type: Bibliography
    1961 Volume 11 Issue 4 Pages Misc2-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Misc2
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  • [title in Japanese]
    Article type: Bibliography
    1961 Volume 11 Issue 4 Pages Misc3-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Misc3
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  • [title in Japanese]
    Article type: Cover
    1961 Volume 11 Issue 4 Pages Cover3-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Cover3
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  • [title in Japanese]
    Article type: Cover
    1961 Volume 11 Issue 4 Pages Cover4-
    Published: March 31, 1961
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.11.4_Cover4
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