Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
Volume 45, Issue 2
Displaying 1-23 of 23 articles from this issue
  • Article type: Cover
    1994 Volume 45 Issue 2 Pages Cover1-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    1994 Volume 45 Issue 2 Pages Cover2-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    1994 Volume 45 Issue 2 Pages App1-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Teruaki AIZAWA
    Article type: Article
    1994 Volume 45 Issue 2 Pages 1-11
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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    Adam Smith says that when we sympathize with others, we exchange with them not only our "circumstances" but also our "persons and characters". Or, in the words of Samuel Taylor Coleridge, sympathy contains the dynamic element of "mental metamorphosis". My purpose in this paper is to demonstrate how, in the eighteenth century, there existed a theory of literary creation to the effect that a dramatist or novelist writing in direct speech can be, for some moments, sympathetically identified with even an evil person, and make a speech in the character of that person. For example, Thomas Twining, whose fame as a translator and commentator on Aristotle reached Germany, drew on the theories of imitation developed by Plato and Aristotle to submit a theory of dramatic imitation involving the act of speaking or writing "in the character of another person." Somewhat later, William Hazlitt called attention to our unconscious act of speech in dreams, likening them to the art of the ventriloquist ; in other words, one who dreams is not aware that the others who speak to him are, in fact, but a metamorphosis of the dreamer. Using this analogy of "ventriloquism" occurring in dreams, Hazlitt tried to represent the power of a genius to metamorphosize himself involuntarily into another character.
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  • Tomoko TAKAHASHI
    Article type: Article
    1994 Volume 45 Issue 2 Pages 23-33
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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    Titian's lost mural painting in the Sala del Maggior Consiglio in the Ducal Palace, Venice, has never been connected with Giorgione's "The Tempesta." One is large and official, representing a specific battle, the other is small and private, and the subject is still not known for certain. But the similarity of the compositions, the combination of a bridge and the lightning and the depiction of a delta under a bridge, cannot be ignored. Recently D. Howard has come to suspect that "The Tempesta"'s significance relates to the war of the League of Cambrai (1509-17), and P. H. D. Kaplan's more precise evidence has shown us that it was the picture commemorating the reconquest of Padua in 1509. I support Kaplan's interpretation and propose that Titian's lost battle piece also represents the recapture of Padua after the initial defeat of Agnadello in 1509. This interpretation would show that these two paintings reflect the delicate circumstances of the relation between patron and painter, which was inextricably linked to the historical event of the reconquest of Padua.
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  • Tsuneo ISHIKAWA
    Article type: Article
    1994 Volume 45 Issue 2 Pages 34-44
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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    Die Aufgabe dieser Forschung besteht darin, die Architektur-Theorie bei Leo von Klenze (1784-1864) in bezug auf die Idee einer "Stilsynthese" (Synthese der historischen Stile) zu betrachten. Dieses Synthesebestreben, die Idee, es musse zwischen dem als einseitig betrachteten Antiken (Heidnischen bzw. Griechischen) und Mittelalterlichen (Christlichen bzw. Gotischen) ein Drittes liegen, wo "Architravsystem" und "Gewolbesystem" in Harmonie ausgewogen ist, gilt als eines der Leitmotive in der deutschen Architektur-Theorie im 19. Jahrhundert, die Karl Friedrich Schinkel (1781-1841) als erster ergriffen hat. Durch sein Leben hindurch hat Klenze die griechische Architektur als "Baukunst der Welt und aller Zeiten" bezeichnet, die fur ihn ein Ideal war. Er konnte jedoch nicht ohne Interesse an der Idee einer Stilsynthese vorbeigehen, indem sein Auftraggeber, Konig Ludwig I. und Konig Maximilian II. sowie die zeitgenossischen Architekten wie Friedrich Gartner auf ihn stark wirkten ; d. h. er konnte nicht Klassizist bleiben. Es lohnt sich, beispielsweise seinen "Athenaum"-Entwurf (1852) zu beobachten, denn Klenze versuchte sich darin, das Formprinzip des Hellenismus zur Geltung bringend, alle heterogenen Stilelemente zum organischen Ganzen zusammenzuschmelzen. Daraus geht hervor, dass sein Standpunkt durch den von ihm genannten Begriff, d. h. durch das "Bewahren" der Antike prazisiert wird.
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  • Takashi HIROTA
    Article type: Article
    1994 Volume 45 Issue 2 Pages 45-55
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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    Seiho painted three famous figure-paintings in his life. "Dancing to the tune" (1909), "Posing for the first time" (1913) and "Day Laborer" (1917). I started my study with "Cherry Viewing" (=a skeleton looking back to cherry blossoms falling, 1897) and mainly study about "Dancing heavenly maid" (Only idea, Cealing-painting of the gate, Higashi-Honganji temple, 1910-15). He was interested in human-frame and body, before 1897. He visited Paris Exposition Universal 1900, and looked around the art-expositions fulled with nude-paintings and nude-sculptures. He was deeply impressed in nude-arts. When he was requested to paint the ceiling, 1910, he decided to paint female-nudes. He investigated old-type heavenly maid in Japanese paintings and on the other hand he skeched real nude-models day after day. Finaly he failed the ceiling-painting without two trial productions. Seiho painted the lion from his sketches at Antwerp zoo. It was very real from traditional style, and was the first-prize at Art Contest 1901. Analogically saying, he wanted to paint real nude-shape from real nude models. There is the pattern extremely similar in "Lion" and "Heavenly maid". He failed it by the gaps between Japan and Europe. It is necessary to study in the future.
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  • Seiichi MATSUMOTO
    Article type: Article
    1994 Volume 45 Issue 2 Pages 56-66
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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    It seems that the history of Western-style oil painting in Japan, especially that of landscape painting, had realized a change in form and content around the year 1900. A comparison between the terminology used and the actual works reveals this transformation very clearly. In the middle and late Meiji period, the painters belonging to the Meiji Bijutsukai (Meiji Fine Arts Society), founded in 1889, painted, so to say, great landscapes. Another group, the Hakubakai (White Horse Society) founded in 1896, chose landscape themes which demanded a closer, more intimate view of nature. Thus the landscapes painted by the White Horse Society were also dubbed 'a corner of nature.' The use of brilliant coloring in the White Horse Society's landscapes bears great meaning for the establishment of the landscapes genre in Modern Westernstyle Painting. The term 'landscape-painting' (Fukei-ga) appeared in 1897, just when the new type of intimate landscape painting was established. By 1899, at the time of the fourth exhibition of the White Horse Society, a complete change in nomenclature of the works, that is from sansui and kesiki to fukei, had already occurred. The appearance of the term, fukeiga, runs parallel to the appearance of landscapes painted mainly by the members of the White Horse Society. Thus, just before the turn of this century, landscape painting, as a theme independent of historicity and theory, was firmly established.
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  • Tatsuo FUKUDA
    Article type: Article
    1994 Volume 45 Issue 2 Pages 67-69
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • [in Japanese]
    Article type: Article
    1994 Volume 45 Issue 2 Pages 70-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • [in Japanese]
    Article type: Article
    1994 Volume 45 Issue 2 Pages 71-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • [in Japanese]
    Article type: Article
    1994 Volume 45 Issue 2 Pages 72-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • K. SASAKI
    Article type: Article
    1994 Volume 45 Issue 2 Pages 73-74
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • [in Japanese]
    Article type: Article
    1994 Volume 45 Issue 2 Pages 75-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • [in Japanese]
    Article type: Article
    1994 Volume 45 Issue 2 Pages 76-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    1994 Volume 45 Issue 2 Pages 77-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    1994 Volume 45 Issue 2 Pages 77-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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    Download PDF (45K)
  • Article type: Appendix
    1994 Volume 45 Issue 2 Pages 77-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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    Download PDF (45K)
  • Article type: Bibliography
    1994 Volume 45 Issue 2 Pages 78-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Bibliography
    1994 Volume 45 Issue 2 Pages 78-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Bibliography
    1994 Volume 45 Issue 2 Pages 79-80
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    1994 Volume 45 Issue 2 Pages Cover3-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    1994 Volume 45 Issue 2 Pages Cover4-
    Published: September 30, 1994
    Released on J-STAGE: May 22, 2017
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