There exists no isolated branch of learning. Kant's theory of beauty must also be related to some other branch of learning. In his book "Critique of Judgement" (1790) his theory of beauty is put in relation to that of nature and moral. The form of this type of relation is the systematization. On the other hand his theory of beauty in the 1770's is essentially connected with the logic. The form of this relation is the equivalence. The latter form of the relation which his theory of beauty has to the logic secretly comes into his discourse in his "Critique of Judgement" which adopts the former structure of the relation. Thus Kant's thery of beauty in 1790 contains a double structure of the discourse.

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Le but de cet essai est de faire une lecture de la description sur le cercle de la mimesis dans l'ouvrage de Paul Ric〓ur (Temps et recit, tome I, 1983) en tant que problematique artistique. Au point de vue d'hermeneutique, Ric〓ur examine la mimesis sous ses trois aspects. C'est-a-dire, mimesis I qui fonctionne dans l'action, mimesis II dans la creation et mimesis III dans la reception. Celles-ci se mettent en circulation. En faisant la tournee de cette circulation, l'oeuvres d'arts font un monde pour nous comme l'ensemble des references de toutes oeuvres. Mimesis, donc, ne subordonne plus l'oeuvres a ce qui est suppose derriere elles-memes, mais elle se trouve en qualite de processus qui cree un monde. S'il en est ainsi, mimesis est toujours le probleme actuel. Notre tache est par consequent de chercher la nouvelle relation entre mimesis et diverses tendances d'arts contemporains qui a premiere vue semblent n'avoir aucun rapport avec elle.

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In the aesthetic appreciation of a visual work of art, in the experience of looking at it, we see something more, so to speak, through or in the work itself, than simply what is represented on the visual surface. A visual work also can be appreciated by the auditory sense, by the sense of smell, by the tactile sense or by the sense of taste. We can, moreover, think in the particular "world" realized by the work of art itself. What kind of experience is such an appreciation? The present essay is a comparative and analytic examination of the aesthetic experience of the author in response to three bathroom tableaux which are in striking contrast to each other : <<Bathing women 1>> by Yuki OGURA (1938), <<My Mother putting her hair up>> by Anthony GREEN (1974) and <<Bathroom>> by On KAWARA (1953). Through the description and examination of such issues as the cultural meaning of the bathroom ; color, lighting, perspective ; appreciation by the sense of smell, by the tactile sense ; and consciousness of the essence of water, the author investigates the nature of these particular kinds of experiences, and also addresses the difficulty of establishing a universal, generally valid, theory of such experiences.

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Among the many excellent critics of the Meiji Era, Chogyu Takayama (1871-1902) cut a remarkable figure, despite the short period of his activity and the winding nature of his thought, with his two conflicting attitudes : lyricism and intellectualism. His aesthetical paper, "On Beauty in a Moonlit Night" (1899), written while his views were changing from an ultranationalist to a radical individualist stance, is of particular importance. In it he consistently adheres to the idea that true beauty is essentially sorrowful-an opinion based upon the coherent idealism of his moral sensibility and upon the notion of the agony of thinking. Following this romantic line of thought, he even suggests that aesthetic pleasure and longing for beauty must, intrinsically, be sad and ephemeral.

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"Electronic Music" has three origins : elektronische Musik, musique concrete and tape music. Though these origins have been integrated from the mid fifties into "Electronic Music", we can still classify this music according to three electronically determined aspects of generating, transforming and restoring or composing sounds. Electronic music does not represent a new (avant-gardistic) style as once insisted by German composers, but a genre, and can be characterized by its use of a variety of musical elements : various sound materials, which have new timbres, "imagery space" and movement of sounds in space as materials of composition. But the most important influence of electronics on music is the change of fundamental characteristics in each process of musical communication : 1) the immediate feedback of sound results as essential part of composing, 2) absence of performer or interpreter, 3) emergence of discursive type of listening.

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