Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 34, Issue 4
Displaying 1-20 of 20 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    1984 Volume 34 Issue 4 Pages Cover1-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_Cover1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    1984 Volume 34 Issue 4 Pages Cover2-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_Cover2
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  • [title in Japanese]
    Article type: Index
    1984 Volume 34 Issue 4 Pages Toc1-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_Toc1
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  • Asthetik als Spielraum des Asthetisierens : Ein Versuch zur Wesensbestimmung der Asthetik
    Akira ISHIDA
    Article type: Article
    1984 Volume 34 Issue 4 Pages 1-12
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_1
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    R. Bubner erhebt Einwendungen gegen die Asthetik des Kunstwerks als Erscheinungsorts der Wahrheit und sieht in der Asthetik der asthetischen Erfahrung die Moglichkeit der gegenwartigen Asthetik. Um diese Moglichkeit zu suchen mussen wir aber anstatt der Alternative der beiden Standpunkte der Asthetik noch grundlicher bei der Differenz zwischen einzelnen Asthetiken nach dem Wesen der Asthetik anfragen. Dann finden wir z.B. zwischen dem Begriff der Vollkommenheit der sinnlichen Erkenntnis bei Baumgarten und dem Prinzip der subjektiven Zweckmassigkeit bei Kant Asthetisieren in der Bestimmung der Schonheit, zwischen dem Vorzug der Naturschonheit vor der Kunstschonheit bei Kant und der Ausschliessung der Naturschonheit aus der Asthetik bei Hegel Asthetisieren der Selbsterkenntnis des Geistes in der Kunst, zwischen der Lehre vom Ende der Kunst bei Hegel und der Lehre der korperlichen Darstellungstatigkeit des reinen Sehens bei Fiedler Asthetisieren in der Wesensbestimmung der Kunst, zwischen dem korperlich-psychischen Monismus der kunstlerischen Erkenntnistatigkeit bei Fiedler und dem Gedanken der Erkenntnis der Wahrheit im Kunstwerk bei Heidegger und Gadamer Asthetisieren der Wahrheit geschehen. So kann man sagen, Asthetisieren macht das Wesen der Asthetik aus, die sich durch einzelne Asthetiken hindurch geschichtlich entwickelt, und die Asthetik ist also nichts anderes als Spielraum des Asthetisierens. Wenn es so ist, dann ist die Moglichkeit der gegenwartigen Asthetik davon abhangig, ob die Asthetik noch heute auf irgendeine Weise genug kraftig fur Asthetisieren ist.
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  • Der Einfluss Schellings auf Schleiermachers Asthetik in der Zeit ihrer Konzeption
    Hiroshi OKABAYASHI
    Article type: Article
    1984 Volume 34 Issue 4 Pages 13-24
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_13
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    Wird das Verhaltnis der beiden Philosophen in Betracht gezogen, so pflegt man stets "die Anschauung des Universums" fur den Knotenpunkt ihrer Denkweisen zu halten. Dennoch : vergleicht man den Standpunkt des einen Denkers mit jenem des anderen, zeigt sich ein klarer Unterschied : die Schelling'sche objektive Anschauung steht dem Schleiermacher'schen subjektiven Gefuhls-Standpunkt gegenuber. Fur die Formulierung seiner Asthetik ist die "Ethik" (1804/05, 1805/06) grundlegend. Die Entstehung dieses Werkes wurde begunstigt durch die Rezension (1804) von Schellings "Vorle. uber d. Metho. des aka. Studiums (=Methodologie) (1803)". Um aber die "Methodologie" mit seinem eigenen Denken zu vereinbaren, bedurfte Schleiermacher einer Vermittlung. Weil sich Schelling negativ zum Problem der Individualitat stellte, nahm Schleiermacher jenen Gedanken von Steffens zu Hilfe, wonach der ganze Entwicklungsprozess der Natur ein immer zunehmendes Individualisieren ist. Dadurch wurde die Entwicklung von der Naturphilosophie auf seine Ethik hin moglich.-Nach Schleiermacher gibt die Naturphilosophie der Ethik den Menschen als ein Naturwesen. Danach soll sich die Ethik dieses zum Organ fur die menschliche Intelligenz bilden und das Organ beseelen. Hier kann man den gleichen Entwicklungsprozess zeigen, den man gerade in dem "System des transzendentalen Idealismus" als ein unaufhorliches Potenzieren vom unbewussten zum bewussten Ich erkannte. Spater in den "Vorlesungen uber Asthetik" spielt dieses Schema von der "Beseelung des Organs" die grosse Rolle als die "Begeisterung des Organismus", die das Wesen der Kunst in Schleiermachers Asthetik bestimmt.
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  • Hogarth's "Pictur'd Morals" : Modern Seven Deadly Sins
    Yoko MORI
    Article type: Article
    1984 Volume 34 Issue 4 Pages 25-40
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_25
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    David Garrick dedicated for Hogarth's tombstone an epitaph with the inspired words, "pictur'd Morals". The present author interprets these words as being the embodiment and the key to Hogarth's art. This paper will discuss how Hogarth intended to warn - and to preach to - viewers of his prints about human vices that could be traced back to the medieval Christian iconography of "Seven Deadly Sins". For this purpose Hogarth chose the subject matter of his prints from topics of contemporary newspapers and journals, that is, "modern moral Subject". In my opinion "Pride" can be found in The Bench ; while "Gluttony" in Plate VII of Industry and Idleness, may have been inspired by Bruegel's Fat Kitchen. "Luxury" is one of the main vices in Hogarth's Progresses. The marriage of the Rake with an old, one-eyed, rich but ugly maid reminds one of the Northern tradition of "an unequal couple" of which the most popular pictures were painted by Cranach. Also, Hogarth's A Rake's Progress might be compared with Jacques Callot's series The Prodigal Son which faithfully illustrated a well-known parable. However, Callot's Prodigal Son has a happy ending, while Hogarth leads his Rake-and most of his other protagonists-to a tragic death as a result of their vices. Finally the author will point out that the works of Hogarth's contemporary, Jonathan Richardon (The Theory of Painting, Essay on the Art of Criticism and The Science of a Connoisseur), may have been theoretical sources for Hogarth's notion of the utility of painting, namely for the entertainment and the improvement of the mind. Previous authors have seemingly overlooked this important relationship.
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  • Story of Reading : Structure and Reader
    Hisashi MUROI
    Article type: Article
    1984 Volume 34 Issue 4 Pages 41-51
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_41
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    Literary studies have always been led by a question ; "what is the meaning of the work?" And literary theories have also been assumed to be the servants, whose task is to provide instruments for the better interpretation of a work as the ultimate purpose of study. The traditional theorists, identifying this meaning of work with the author's intention as the origin, have attempted to reconstitute it in various ways : until the 20th century, Literature had been nothing but the example of Humanity, the storeroom of Truth and the bearer of Value, made by the great masters. Therefore, it used to be believed that the holy duty of literary studies in general was to elucidate their secrets. However, all this was fundamentally reversed after the Structuralism, for it demonstrated sufficiently that a text, itself, has no center and is multiple from the outset, separated from the domination by the author. And the activity of the reader has recently become decisive for literary studies. In this essay, we examine these theories of reading (hermeneutics, reader-response criticism, Rezeptionsasthetik...), surveying their limits, which seem to shape the main stream after the Structuralism.
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  • Jan van Eyck : Madonna of Canon Van der Paele : Why was it commissioned?
    Masayasu SAMEJIMA
    Article type: Article
    1984 Volume 34 Issue 4 Pages 52-66
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_52
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    The Paele Madonna (1436, Bruges, Town Gallery) is one of the most important works by Jan van Eyck, and traditionally it has been regarded as an altarpiece. The work was placed over the altar of St. Peter and St. Paul in the collegiate church of St. Donatian at Bruges for a certain period, but there is evidence that it was not commissioned for the altar. As the Paele Madonna is so similar in composition to the northern epitaphs of 14th and 15th century, it leads us to believe that the painting had also been commissioned as an epitaph. R. Terner points out in his paper that the inscription style on the frame of the Paele Madonna corresponds exactly with these epitaphs. In particular, he says, the Bursner Epitaph (ca. 1348, Cathedral of Augsburg) is a good example of the similarity of composition. Jan van Eyck selected a composition which draws the observer into the painting. His technique is so perfect that we are invited to listen to the "sacra conversazione". On the shield on the shoulder of St. George, there is a reflection of a man who is believed to be Jan van Eyck himself. The painter along with the observer may be witnesses to some event, such as a wedding as is the case of the double portrait of G. Arnorfini and his wife (1434 London, National Gallery) which also has the reflection of the artist. Similarly with the Paele Madonna, maybe we are observers of the initiation of the foundation of a choral chaplain in St. Donatian's church by Van der Paele in 1434. Therefore it seems possible that Paele commissioned Jan van Eyck to paint the epitaph at the time he founded the chaplain. It took Van Eyck 2 years to complete this masterpiece which today can still be seen in its original condition. It therefore appears that the Paele Madonna is not an altarpiece as originally thought but an epitaphf for the foundation in 1434.
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  • [title in Japanese]
    Article type: Appendix
    1984 Volume 34 Issue 4 Pages 73-74
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_73
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  • [title in Japanese]
    Article type: Appendix
    1984 Volume 34 Issue 4 Pages 75-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_75_1
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  • [title in Japanese]
    Article type: Appendix
    1984 Volume 34 Issue 4 Pages 75-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_75_2
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  • [title in Japanese]
    Article type: Appendix
    1984 Volume 34 Issue 4 Pages 75-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_75_3
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  • [title in Japanese]
    Article type: Appendix
    1984 Volume 34 Issue 4 Pages 76-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_76_1
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  • [title in Japanese]
    Article type: Appendix
    1984 Volume 34 Issue 4 Pages 76-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_76_2
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  • [title in Japanese]
    Article type: Appendix
    1984 Volume 34 Issue 4 Pages 76-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_76_3
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  • [title in Japanese]
    Article type: Bibliography
    1984 Volume 34 Issue 4 Pages 77-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_77_1
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  • [title in Japanese]
    Article type: Bibliography
    1984 Volume 34 Issue 4 Pages 77-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_77_2
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Bibliography
    1984 Volume 34 Issue 4 Pages 78-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_78
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  • [title in Japanese]
    Article type: Bibliography
    1984 Volume 34 Issue 4 Pages 79-80
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_79
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  • [title in Japanese]
    Article type: Cover
    1984 Volume 34 Issue 4 Pages Cover3-
    Published: March 31, 1984
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.34.4_Cover3
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