The fantasy paintings that form the key genre in Cezanne's early years are generally taken as productions of his adolescent passion which is later superceded by his direct observatin of nature. But his inner invention in them is more difinitive factor in Cezanne's fomative method than his representation of nature. The scenes of lust and death such as L'Enlevement, Le Meutre, give the painter a process in which he identifies himself with various characters of his fantasy by transforming himself into them and becomes conscious of the painter=Cezanne, or the subject that sees and materializes his fantasy. He moves spatially in temporal literary stories, metamorphoses formatively, haunts and gazes the scene. There the subject seeing comes up to the surface from the motif of violence and death. In La Tentation de saint Antoine, its theme is not clearly represented, but literarily, psychologicaly, and formatively opposite or analogous elements face each other and make a circle that correspnds not with the linear perspective but, beyond it, wiht a formative state of picture plane as a movement which perpetually circulates and reiterates. In Le Dejeuner sur l'herbe, Cezanne himself obviously appears on the stage of picture where the characters seem to play a game of temptation and choice. Centering around its circle composition, some analoguous motives are repeated. Here painting is a game which unifies antagonism and alliance by the rule. The narrative which temporaly develops and the perspective whichi is based on the extension of straight line are dissolved by the game into a circle that always returns to and is identified with the picture plane, that is to say, the existential form of painting itself. The transformation and divertion of motives in Cezanne's fantasy painting are invented from his private sentiment, the literary refinement and the analogy of form. As the processe of them is abstracted and manifested while the narrative is ambiguous, he becomes conscious of the subject as painter and the formarity of picture plane.

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Selon Bergson, l'esprit differe de la matiere en ce qu'il est memoire. Cependant, du point de la duree, il n'y aurait qu'une difference de rythme entre l'esprit et la matiere. Bergson admet dans le monde de la matiere une succession analogue a noter conscience. La matiere, en tant que mouvement, nous est donnee sous forme de perception inconsciente et existe de facon immanente a travers nos sensations. D'autre part, c'est la memoire qui par contraction solidifie en qualites sensibles les successions de la matiere. Quand le mouvement de la matiere immanent a nos sensations, et la memoire se joignent a un certain degre de la duree, se realise une nouvelle perception qui nous est donnee a travers les oeuvres d'art. Et grace a ces deux mouvements, c'est a dire grace au mouvement de la matiere et a la contraction de la memoire, il nous est possible d'avoir une vision des choses qui est en meme temps mienne et non mienne.

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Is Edgar Degas an Impressionist, or is he the "Odd Man Out" of the Impressionists? The purpose of this paper is not to answer the question, but to point out the ambiguous treatment Degas has received in the recent literature on Impressionism and to reconsider the definition of Impressionism. It seems that the instability of Degas' identity derives from his artistic technique (for example, dark color, rigid drawing style, etc.) and his preference of figure paintings over landscape paintings. Those who have tried to define or analyze Impressionism theoretically (for example, R. Shiff, N. Broude) tend to exclude Degas, explicitly or implicitly, from the central group of Impressionists. For it seems that Degas fails to meet a critical condition for definition as an 'Impressionist', that is, his paintings lack the trinity of "landscape/plein-air/spontaneity." On the other hand, those who prefer a sociological reading of Impressionist paintings (for example, R. L. Herbert, T. J. Clark), have regarded Degas as Impressionist without reservation, because his paintings are full of important information for their studies. For further study of Impressionism, it is necessary to be conscious of the gap between the polarities of the two different scholarly methodologies and to clarify the ideologies of the Impressionist painters. Only after such examination, can we again ask why the landscape has been given such importance in discussions on Impressionism.

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Das Intresse fur 'Abstraktion' zu Beginn des 20. Jahrhunderts lasst Kunstler aus Gegenstanden zu abstrahieren in Frage stellen, wie auch die Behandlungsarten des Raums. Abstrakte Werke haben nicht mehr den bisher ublichen dreidimensionalen Raum. Wie ist der Raum bei Kandinsky, der zu einem Begrunder der abstrakten Malerei gezahlt wird? Das Quadrat, der Kreis und das Dreieck, die er selbst 'vollkommen abstrakte' genannt hat, sind in dem Werk "Einige Kreise" wie folgt zur Komposition verbunden : die Leinwand steht fur das Quadrat, der Kreis bildet das Motiv, das wiederum, im Dreieck angeordnet, die Komposition ergibt ; dieses Werk wurde bisher fast immer im Zusammenhang mit Russischen Avantgardisten oder Konstruktivisten genannt. Aber wenn man das Werk grundlich untersucht, kommen gestalterische Eigentumlichkeiten zum Vorschein, die sich allein aus den oben genannten Gesichtspunkten nicht erklaren lassen. Diese Eigentumlichkeiten entstehen hauptsachlich aus Versuchen einer Raumschopfung, die mit Farben und Formen nicht gemessen werden kann, sowie einer Schopfung des unebenen malerischen Raums von der Rahmenstruktur. Das ist Kandinskys komplizierten vieldeutigen Raumdarstellung, bei welcher Spuren des dreidimensionalen Raums vorhanden sind, Merkmale aus seiner Munchener Zeit. Bei so einer 'reinen Abstraktion' besteht eine Moglichkeit der Raumdarstellung darin, einen malerischen Raum zu schaffen, der Tiefe enthalt und Wirklichkeit assoziieren lasst.

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In many studies about Bruno Taut, the color of Bruno Taut's architecture seemed to be recognised as one of the characteristic which represented the 'visionary' 'fantastic', that was restricted within his expressionist era. Recently Dr. M. Speidel has stated his study about painting works of Taut. In this, Speidel come to the conclusion that the color of Taut's architecture originates from his landscape paintings in his early years, is not limited in his expressionist era, but the theme of his creative architecture that express the architecture by some colors. This paper is enlightened by the above-mentioned research, and considers Taut's color concerning some forms of architecture as an additional viewpoint. What was the architecture that Taut looked for, and in that architecture what kind of role the color played? By tracing the developement of color in Taut's architecture, and examining the color as an architectural technique, to think the color of Taut's architecture from a different standpoint is the aim of this paper.

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Qu'est-ce que l'expression dans la musique d'aujourd'hui? La musique, d'ailleurs exprime-t-elle quelque chose? Ou rien, comme le laisse entendre la these formaliste? En fait il est permis de penser qu'en matiere de musique, la forme ne s'oppose pas toujours au fond. Il faut discuter, des lors non pas du contenu musical mais du sujet expressif. Or, la musique contemporaine a cette particularite que ce sujet expressif renvoie a des notions tres variees ; le role qu'il y rempli n'est plus le meme que dans la musique classique ou romantique. Au fait, le sujet musical est d'autant plus difficile a definir qu'il comporte deux notions distinctes : l'auteur et l'executant. L'evolution du concept meme d'auteur dans la musique contemporaine, comme en temoigne la mise en oeuvre des nouveaux materiels ou de la citation, nous pose aujourd'hui le probleme du systeme complet. Quant a l'executant, c'est en fonction de la question de l'indetermination que nous nous interessons a son role comme sujet de l'expression : dans la musique a l'indetermination, en effet, c'est l'executant qui determine la structure de l'oeuvre, pour ainsi dire. L'expression de la musique contemporaine est determine par la facon dont se definit le sujet expressif. Aussi sa multiplicite tient-elle beaucoup a l'evolution de ce dernier.

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