美学

Es ist eine unleugbare Tatsache, dass die Dinge sichtbar werden. Das lasst uns folgendes vermuten : erstens dass die unendliche Natur ihrem Wesen nach unmittelbar fur uns sichtbar wird ; zweitens dass es hinter der Natur einen Gesichtssinn geben musse. Die schonen Kunste werden wahrscheinlich von diesem Gesichtssinn erschaffen und auch die Kunstler selbst als Kunstler.

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Drama can be classified from various points of view. The most important among them is, perhaps, the traditional distinction between tragedy and comedy. But, some objections have been raised against it. Since R. Petsch has in his "Zwei Pole des Dramas", contrasted the drama in the narrow sense of the word or "das geistige Drama" (the spiritual drama) and "Mimus" or "Theaterstuck" (stage play) as the two poles, such contrast has found some followers. Prof. P. Kluckhohn has criticized Petsch in his "Die Arten des Dramas", and himself divided drama into thndskinds : the drama in the narrow sense of the word or Entscheidungsdrama (drama of decision), Spiel (play) or Geschehensdrama drama of happening), and festival play. His division seems to be more appropriate than Petsch's. Once a famous French critic declared that "the Orientals have no drama, but they have novels". But, was he really right? If he had meant that "the Orientals have no drama of decision, but they have drama of happening", he might be right. In my opinion, the dramas of decision have been brought forth, also in Japan. And the question arises whether the drama of decision is more valuable than the drama of happening.

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In his novel "Idiot", Dostoevsky persued deeply into the essense of Russian beauty. What is the essense of of Russian beauty? According to Dostoevsky, it is a beauty of dynamic and prophesying nature which is well represented by the phrase in his novel, "Beauty saves the world". This phrase is tightly bound with the appearance of Duke Muishkin the hero of the story. By presenting Muishkin, Dostoevsky tried to creat image of Christ in Russian which flows out of the Gospel by Saint Johns.

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4) L'acte de la technique n'est que la diminuation du processus necessaire. Son idee est alors la nihilisation de la temporalite, qui est l'essence de la conscience humaine. Par consequent, l'orientation de la societe technique moderne est vers la diminuation de l'interieur humain. Or, l'experience esthetique est la duree pure et son acte est l'elevation de l'humanite. Donc, l'experience en question est un challenge contre la societe avec sa tendence terrible. 5) Meme dans la societe l'art evoque l'experience esthetique afin de faire retablissement de la conscience humaine que la societe reduit par sa technique. Au mouvement de cette retablissement se trouve la nouvelle fonction sociale de l'art. 6) Afin d'offrir combat a la tendence de la societe technique l'art ne doit pas se refugier de la realite. L'art modern est alors la conversation avec la realite. Au temps jadis l'acte de l'art etait la fuite. Mais l'acte modern de l'art est, sans aucune perte de son desir ideal, la reversion a la realite. On voit aussi ici une inversion. La societe technique joue un role d'un inverseur.

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