Aesthetics

[title in Japanese]

Article type: Cover
1976 Volume 26 Issue 4 Pages Cover1-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_Cover1

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[title in Japanese]

Article type: Cover
1976 Volume 26 Issue 4 Pages Cover2-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_Cover2

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[title in Japanese]

Article type: Index
1976 Volume 26 Issue 4 Pages Toc1-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_Toc1

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God, man, mousike : An interpretation of Plato's Poietike

Kazuyoshi FUJITA

Article type: Article
1976 Volume 26 Issue 4 Pages 1-12
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_1

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In Plato's dialogues analogy is thought to be one of the most important method of his thinking. Indeed, it plays a major role in his theory of Poietike. According to his thought, there is a God who should be regarded as the first cause both of being (einai) and of valuableness (e. g. agathon, kalon, dikaion, etc.). This God is called, in his dialogue <<Timaeus>>, a creator (demiourgos) of the universe (kosmos) as the best-ordered. The universe is the most beautiful (kalos) of all beings as the work of the God who is the best (aristos). By the way, mousike is, in the most celebrated sense of the word, one of the best (kallistos) human performances. The beauty (to kalon) of the work produced by mousike is, according to Aristotle, determined by magnitude and order. In other words, the work of mousike in the strictest sense of the word must have a whole and complete body. It is the purpose of this paper to interpret the ontological and theological meaning of the <poiema as to hen kalon> as the imitation of the kosmos, i. e. as the <pseudomikrokosmos>.

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Der Bau des Dramas : Zum Verstandnis von Sophokles

Hiroe NITTA

Article type: Article
1976 Volume 26 Issue 4 Pages 13-24
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_13

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1) Der Gehalt des Dramas liegt im Dialog der Personen. Jede Rede wird dabei doppelsinnig, indem sie der vorhergehenden sowie der nachfolgenden Rede entspricht. Der ersten Rede des ganzen Dramas geht die letzte Rede voran, und auf die letzte folgt die erste, wodurch nun der dramatische Dialog als ein Kreis geschlossen wird. 2) Der Chor reprasentiert aber den Aspekt des Publikums. Er gehort innerhalb des Dramas zu derjenigen Welt, die auf einer ganz anderen Ebene als die Welt des Dialogs steht. Mit episch eindeutigen Worten erklart der Chor, jedesmal interpretierend und kritisierend, die dramatische Handlung. 3) Durch die obenerwahnte Selbstandigkeit des Dialogs und den Gesichtspunkt des normativen Publikums, der sich als Chor darstellt, wird nun der mimetischfiktive Charakter eines Dramas immer behalten. Wahrend die epische Fiktion, von einem allwissenden Erzahler hergestellt, einschichtig bleibt, zeigt sich die dramatische Fiktion im Wesen als eine zweischichtige.

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Zu den "Paradoxien der Bestatigung"; diskutiert als ein Problem der Kunstforschung

Takashi MASUNARI

Article type: Article
1976 Volume 26 Issue 4 Pages 25-30
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_25

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Die Hempel'schen "Paradoxien der Bestatigung", eines der wohlbekannten wissenschaftstheoretischen Problemen, diskutieren wir mit einigen Umanderungen als ein Problem der Kunstforschung. Es scheint nun plausibel, dass ein Objekt eine Hypothese von der Gestalt "Alle P sind Q" (d. h. eine universale konditionale Hypothese) bestatigen kann, wenn es sowohl ihr Antecedens als auch ihr Konsequens erfullt : z. B. die Hypothese "Alle Gemalde Fra Angelicos sind religios" (S_1) konnte durch die religiosen Gemalde Fra Angelicos bestatigt werden. Auf dieselbe Weise konnte die Hypothese "Was nicht religios ist, ist kein Gemalde Fra Angelicos" (S_2) bestatigt werden durch solch ein Objekt, das weder religios noch ein Gemalde Fra Angelicos ist, z. B. eine Landschaftsmalerei "Montagne Sainte-Victoire" Paul Cezannes. S_2 ist aber mit S_1 logisch aquivalent. Also muss solch ein Objekt, das weder religios noch ein Gemalde Fra Angelicos ist, z. B. Cezannes "Montagne Sainte-Victoire", die Hypothese "Alle Gemalde Fra Angelicos sind religios" bestatigen. Ahnlich kommen andere Paradoxien hervor. Wie sind solche Paradoxien zu behandeln? Durch diese Diskussion schlagen wir die Notwendigkeit vor, die Zusammenhange zwischen der Theorie und den empirischen Daten im Bereich der Kunstforschung einer wissenschaftstheoretischen Prufung zu unterziehen. Einen konkreten Versuch von dieser Art finden Sie in unserem anderen Aufsatz : Wie beziehen sich empirische Daten und Theorie in Hegels Asthetik aufeinander? (auf deutsch), in : Gengo-Bunka-Ronshu (=Studien zur Sprache und Kultur), Die Universitat Tsukuba/Japan 1976.

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The meaning of 'Artistic Creation' in K. Fiedler's art theory

Masanori KIMURA

Article type: Article
1976 Volume 26 Issue 4 Pages 31-40
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_31

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His thesis "Uber den Ursprung der kunstlerischen Tatigkeit" (1887) represents the fundamental point of his thought. He considers that the art is an activity of sensible cognition, the essence of which is to grasp intuitively the meaning of the world and also to master it. The art is not unnecessary but indispensable for man, when he wants to be a spiritual being. The art as such also aims at grasping the clear concept of a thing, which must be not only seen, but also expressed by the artist. In painting, for instance, a painter makes efforts to see clearly the thing and to constitute firmly a form of its visual concept. The artist is distinguished from the rest, not because he can see clearly or accurately, but because he can express or represent. Thus his vision grows intense and becomes pure through expressing, and at the same time a visual aspect of the object comes to appear out of the object itself and a form of visual concept is clearly shaped in his consciousness. This activity, however, does not simply mean that the artist represents a visual form of a thing, but that he does create the very work of art which is a kind of realization of the world. There we may be able to find a true meaning of 'Artistic Creation'.

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Semiotical Consideration on Art

Shin WATANABE

Article type: Article
1976 Volume 26 Issue 4 Pages 41-50
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_41

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In the semiotic study of art till today, the main subject has usually been the meaning of art. It is presupposed that the art as work of art has a meaning. A sign or sign-complex, however, comes to function properly and its meaning ton be posited. only through sign behaviors of interpretants This fact shows us that the previous semiotic research is not satisfactory and that we must pay attention to this aspect of art and the relation between works of art and conducts of artists. This important problem has been already suggested by many critics of modern art, who regard the meaning of artists' conducts as more meaningful than that of works of art themselves. But the possibility of objectification of such approach must be examined more accurately.

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Quelques aspects de l'esthetique de J.-B. DuBos (1670-1742)

Yoshiharu IGARASHI

Article type: Article
1976 Volume 26 Issue 4 Pages 51-64
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_51

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L'abbe DuBos met en relief la faculte de sentir chez l'homme, en regardant la recherche du plaisir et des passions comme un besoin fondamental de l'homme. Cette mentalite s'accorde, d'une part, avec la philosophie empirique ainsi qu'avec la pensee des intellectuels innovateurs de son epoque, et, d'autre part, avec l'hedonisme epicurien qui vise a "la mediocrite". Elle est soutenue aussi par le sentiment du monde rococo. Notre estheticien considere la valeur artistique comme ce qui procure aux hommes les plaisirs moderes et artificiels. Elle se tient a un equilibre precaire entre le repos et l'agitation, entre l'irreel et la realite. Son hedonisme mondain ne va pas a la recherche approfondie de la realite, ni a de moments de depassement. DuBos cherche cet ideal du plaisir artificiel pour le faire repondre au besoin radical de l'homme. Il estime donc que l'art est quelque chose d'utile. Sa conception sur l'utilite de l'art montre en d'autres endroits les idees moralisatrices. D'ou, le positivisme a sa maniere qu'on trouve dans ses remarques sur les fonctions sociales de l'art. Selon DuBos, l'art qui est l'imitation de la nature nous donne le plaisir pur. Il s'agit la de la nature et de la purete du naturel. D'apres son idee, l'art ne consiste pas a copier la nature telle qu'elle est, mais a parvenir a un naturalisme irrealiste. L'imitation est, chez DuBos, mise en rapport avec l'expression. Parce qu'il insiste sur l'importance de l'expressivite de l'oeuvre d'art, en cherchant des elements d'expression, il prete son attention aux sources sociales de I'art. Cependant, son analyse de ce probleme n'est pas suffisante.

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[title in Japanese]

T. Imamichi

Article type: Article
1976 Volume 26 Issue 4 Pages 65-67
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_65

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[title in Japanese]

A. Tanigawa

Article type: Article
1976 Volume 26 Issue 4 Pages 72-76
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_72

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[title in Japanese]

A. Tanigawa

Article type: Article
1976 Volume 26 Issue 4 Pages 76-77
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_76

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[title in Japanese]

Article type: Appendix
1976 Volume 26 Issue 4 Pages 78-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_78_1

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[title in Japanese]

Article type: Appendix
1976 Volume 26 Issue 4 Pages 78-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_78_2

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[title in Japanese]

Article type: Appendix
1976 Volume 26 Issue 4 Pages 78-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_78_3

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[title in Japanese]

Article type: Appendix
1976 Volume 26 Issue 4 Pages 78-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_78_4

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[title in Japanese]

Article type: Appendix
1976 Volume 26 Issue 4 Pages 78-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_78_5

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[title in Japanese]

Article type: Bibliography
1976 Volume 26 Issue 4 Pages 79-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_79_1

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[title in Japanese]

Article type: Bibliography
1976 Volume 26 Issue 4 Pages 79-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_79_2

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[title in Japanese]

Article type: Bibliography
1976 Volume 26 Issue 4 Pages 80-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_80

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[title in Japanese]

Article type: Cover
1976 Volume 26 Issue 4 Pages Cover3-
Published: March 30, 1976
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.26.4_Cover3

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