Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 46, Issue 4
Displaying 1-17 of 17 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    1996 Volume 46 Issue 4 Pages Cover1-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_Cover1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    1996 Volume 46 Issue 4 Pages Cover2-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_Cover2
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Index
    1996 Volume 46 Issue 4 Pages Toc1-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_Toc1
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  • William Morris and the "Anti-Scrape"
    Haruhiko FUJITA
    Article type: Article
    1996 Volume 46 Issue 4 Pages 1-12
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_1
    JOURNAL FREE ACCESS
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    By the mid-19th century, the restoration of medieval churches had gained great popularity in Britain. It was done with ecclesiastical and ecclesiological enthusiasm. But, it was also a profitable business for a few famous architects. At the end of the 18th century, some members of the Society of Antiquaries had protested against inadequate restoration, and afterwards an early foundation for preservation theory was laid by John Milner, Edward A. Freeman and some others. In the mid-19th century, John Ruskin revolutionalized the theory of preservation. Ruskin completely denied the identity between original and replica. For him, an ancient building was not a historical record but history itself. In comparison with this extreme view, what Milner and Freeman had thought was not preservation but a kind of restoration. William Morris undoubtedly followed Ruskin. But, it is also a fact that, before reading Ruskin, Morris had showed his own appreciation of the undistorted history which could be found in the fabrics of old buildings. In 1877, Morris founded the S.P.A.B. (Society for the Protection of Ancient Buildings) and started the "Anti-Scrape" movement, after gaining insight into social and political action through involvement with the Eastern Question Society. The S.P.A.B. is still active and playing an important roll in the British preservation movement. The "Anti-Scrape" was also significant in the development of Morris' philosophy. It was also a central idea in his first lecture, "The Lesser Arts" given in December 1877. The whole philosophy and art theory of Morris took definite shape from then on. Morris' activities in the "Anti-Scrape" have been regarded as an rather incidental part of his life, probably because he has been considered a founder of "Modern Design." But, those activities were much more important even for the whole history of design as well as for his own later public life.
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  • Neubarocke Architektur des Spathistorismus in Wien
    Miyuki YASUMATSU
    Article type: Article
    1996 Volume 46 Issue 4 Pages 13-24
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_13
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    Die vorliegende Arbeit versucht zunachst, anhand konkreter Beispiele von Bauwerken des Neubarockstils sowie der Dokumente der damaligen Zeit unter Berucksichtigung unterschiedlicher Formen, den Barockbegriff des Spathistorismus, bes. den der Architektur im Neubarockstil, zu untersuchen, der sich vor allem durch die Nachahmung des barocken Stils auszeichnet. In einem zweiten Teil befasst sie sich mit dem Verhaltnis zwischen dem Barockbegriff des modernen Architekten Otto Wagners und dem des Neubarockstils. Der Spathistorismus lasst zwei Verstandnisse des Barockbegriffes erkennen : zum einen die Erfassung des Barocks als Nachahmung des Formelements, zum anderen als Nachahmung der barocken Wirkung. Vor allem letzteres Verstandnis ist von Bedeutung, da es dem Barockbegriff Wagners entspricht. Gleichzeitig jedoch lasst sich ein Bruch zwischen dem Barockbegriff des Spathistorismus und dem Wagners feststellen, insofern als sich der Spathistorismus spater mehr und mehr zu den Formen der Vergangenheit hingezogen fuhlte. Betrachtet man den Barockbegriff im Spathistorismus und bei Wagner im zeitlichen Wandel, stellt man fest, dass Wagners Barockbegriff in immer geringerm Masse von Wagner selbst gepragt, sondern vielmehr durch die Widerspiegelung des Barockbegriffs des Spathistorismus herausgebildet wurde.
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  • A Consideration of the Relationship between Sculpture and Craft in Takamura Koun's Old Monkey
    Shoko SHIMURA
    Article type: Article
    1996 Volume 46 Issue 4 Pages 25-36
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_25
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    Takamura Koun's Old Monkey, exhibited at the World's Columbian Exposition held in Chicago in 1893, was heralded by American critics not only for the exoticism, but also for the work's realistic, volumetric sculptural rendering of the figure. Standing 119 cm high, Old Monkey attests to Koun's appreciation of the monumentality of Western sculpture. At the same time, the artist sculpted the rock upon which the monkey is perched to resemble a common okimono-an ornament placed in the traditional Japanese alcove-which is evidence of his continuing interest in Japanese craft traditions. For Koun, "sculpture" was not defined in terms of Greek conceptions of form, but rather was based on the Japanese traditions of Buddhist sculpture and okimono crafts. The origins of modern Japanese sculpture are rooted in Japanese craft traditions. Thus, even Koun's son, Kotaro, who was an admirer of Rodin and found the conception and execution of Old Monkey to be crude, sculpted small, craft-like works in wood such as Lotus Root and Pomegranate.
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  • L'esthetique musicale de Gisele Brelet : Le temps musical et l'audition du silence
    Kazutomo TANOGASHIRA
    Article type: Article
    1996 Volume 46 Issue 4 Pages 49-59
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_49
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    Chez Brelet, la sonorite, qui se deploie dans le temps, se fonde sur la conscience et lui est matiere docile. La conscience cree une oeuvre musicale en organisant le temps reel par le moyen de cette matiere. Mais il faut que l'oeuvre possede une origine et une fin absolutes pour se suffire parfaitement. Pour cela, la conscience tient compte des aspects formels de la sonorite et la considere comme matiere formelle, et en fait la source de la forme temporelle de l'oeuvre. C'est-a-dire que la conscience applique les categories de causalite, de finalite et d'identite au deploiement temporel de la sonorite, pour que l'oeuvre musicale se replie sur elle-meme. L'objet principal de l'audition est donc la forme temporelle de l'oeuvre. Cette forme a la fois s'incarne dans le deploiement de la sonorite et se deploie dans ce silence qui est au fond de celle-ci. L'auditeur doit susciter la presence spirituelle de l'oeuvre pour entendre sa forme temporelle comme telle. Cet presence s'accomplit finalement quand la musique cesse de resonner. Or le temps musical, chez Brelet, est l'essence metaphysique du temps et c'est l'eternel present. Donc, ce temps qui s'ouvre sur l'eternite est revele dans le silence de l'oeuvre.
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  • On the Mise en scene in the Crowd Scenes in the Theatrical Performances : Chiefly on Julius Caesar
    Masaru INOUE
    Article type: Article
    1996 Volume 46 Issue 4 Pages 60-70
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_60
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    The function of crowd scenes in theatrical performances was examined through many performances. The theatre today owes a great deal especially to some innovative methods undertaken by the naturalism movement. In the 19th century, performances by Saxe-Meinigen Company in Germany conquered the European theatres, partly because its realistic crowd scenes were appreciated everywhere. Julius Caesar was one of their most popular repertoires because the crowd was presented effectively. At the beginning of this century, Moscow Art Theatre produced Caesar under the strong influence of Meiningen Company. Nemirovic-Dancenko, the director, thought that Meiningen Caesar gave priority to the crowd scenes over the inner emotions of the main characters and that their feelings were sacrificed. He himself focused the citizens of Rome and made them the central figures in the play. As a result, the feelings of the main characters were sacrificed as in the Meiningen performances. It can be said that both Meiningen and Moscow Caesar had a common defect. Royal Shakespeare Company produced Julius Caesar in 1993 and treated the audience as a part of the crowd in the performance. This experiment itself failed, though it showed some possibility of making the crowd scene with the participation of the audience. Credit could be given to this attempt for they acknowledged the importance of the inner feelings of the main characters more than anything. We must not forget that they are the most important elements in the play, but were neglected in the two past productions I have mentioned above. Striking success of the crowd scene in Julius Caesar remains to be challenged by the future directors.
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  • [title in Japanese]
    Article type: Appendix
    1996 Volume 46 Issue 4 Pages 71-76
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_71
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  • [title in Japanese]
    Article type: Appendix
    1996 Volume 46 Issue 4 Pages 77-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_77_1
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  • [title in Japanese]
    Article type: Appendix
    1996 Volume 46 Issue 4 Pages 77-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_77_2
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  • [title in Japanese]
    Article type: Appendix
    1996 Volume 46 Issue 4 Pages 77-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_77_3
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  • [title in Japanese]
    Article type: Bibliography
    1996 Volume 46 Issue 4 Pages 78-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_78_1
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  • [title in Japanese]
    Article type: Bibliography
    1996 Volume 46 Issue 4 Pages 78-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_78_2
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  • [title in Japanese]
    Article type: Bibliography
    1996 Volume 46 Issue 4 Pages 79-80
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_79
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  • [title in Japanese]
    Article type: Cover
    1996 Volume 46 Issue 4 Pages Cover3-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_Cover3
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  • [title in Japanese]
    Article type: Cover
    1996 Volume 46 Issue 4 Pages Cover4-
    Published: March 31, 1996
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.46.4_Cover4
    JOURNAL FREE ACCESS
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