Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
Search
Advanced search
OR
Browse
Search
Volume 48, Issue 2
Displaying 1-19 of 19 articles from this issue
Show all abstracts
    • |<
    • <
    • 1
    • >
    • >|
  • [title in Japanese]
    Article type: Cover
    1997 Volume 48 Issue 2 Pages Cover1-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_Cover1
    JOURNAL FREE ACCESS
    Download PDF (23K)
  • [title in Japanese]
    Article type: Cover
    1997 Volume 48 Issue 2 Pages Cover2-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_Cover2
    JOURNAL FREE ACCESS
    Download PDF (23K)
  • [title in Japanese]
    Article type: Appendix
    1997 Volume 48 Issue 2 Pages App1-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_App1
    JOURNAL FREE ACCESS
    Download PDF (24K)
  • On the beauty of inteligible cosmos : The influence of Plotin to the philosophy of K. Nishida
    Haruo OHKUMA
    Article type: Article
    1997 Volume 48 Issue 2 Pages 1-12
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_1
    JOURNAL FREE ACCESS
    Show abstractHide abstract
    Kitaro Nishida introduced into the system of his philosophy various concepts of many western philosophers. He tried to join togehter the western philosophy and the experience of enlightment from Zen-buddism. As he felt unsatisfied with the philosophy of Kant, he sought for other models to systematize his own philosophy. He found many similar points to his system in the philosophy of Fichte and that of Plotin. He got the concept of "self-consciousness" from Fichte, and that of "the inteligible cosmos" from Plotin. In the system of Nishida, "self-concsiousness" works as an agency to transcend to the inteligible cosmos. But the inteligible cosmos of Nishida is not like that of Plotin. In the system of Nishida, the inteligible cosmos is not a place where IDEAI are existing as the forms of NOOS, but a place where IDEAI are looked as SKIAI (shadows) of Absolute Nothingness. And there in the inteligible cosmos of Nishida, IDEAI are looked as values, i.e. truth, goodness, beauty. But as these values are only shadows, the consciousness must transcend to the "TOPOS of Absolute Nothingness", which is the antithesis of TO HEN (The One) of Plotin. And there the three values are unified. Absolute Nothingness is the basic concept of Zen-buddism.
    View full abstract
    Download PDF (1035K)
  • Der Hintergrund des Naturschonen : Zur Asthetik Nicolai Hartmanns
    Kei FUKUDA
    Article type: Article
    1997 Volume 48 Issue 2 Pages 13-24
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_13
    JOURNAL FREE ACCESS
    Show abstractHide abstract
    N. Hartmanns Asthetik hat die Zweischichtigkeit des asthetischen Gegenstandes eingefuhrt : ein realer, die Sinne ansprechender Vordergrund und ein irrealer, hinter dem Vordergrund auftauchender Hintergrund. So definiert sich bei ihm das Erscheinungsverhaltnis des Schonen. Diesen Grundsatz hat Hartmann aus den von Menschen geschaffenen Kunstwerken gezogen. Bei einem Naturgegenstand kann von keinem produzierenden Geist die Rede sein. Das Erstaunliche ist aber das Auftreten von Formen, bei denen ein fur den Betrachter durchsichtiges Erscheinungsverhaltnis zu bestehen scheint. Um dieses metaphysische Ratsel, nach der Abstreifung aller systematischer Metaphysik, im Naturshonen zu losen, hat Hartmann sein Problemdenken der neuen Ontologie vorgelegt. Das heisst, "Im Grunde ist alles Erleben von Schonheit von weltanschaulicher Bedeutung : eben dadurch, dass es sinngebend fur unser Leben ist." Obgleich die Strukturanalyse des asthetischen Naturgegenstandes eben nicht eine Einigung mit der des Kunstgegenstandes zulasst, muss alles naturgewachsene Schone nicht herabgesetzt werden. Vielmehr konnte man sagen, dass das Naturschone die Urquelle allen asthetischen Erlebens, einschliesslich allen schopferischen kunstlerischen Tuns, ist.
    View full abstract
    Download PDF (1136K)
  • A Study of An kyon's "Dream Journey to the Peach Blossom Land"
    Jaeok KNOW
    Article type: Article
    1997 Volume 48 Issue 2 Pages 25-36
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_25
    JOURNAL FREE ACCESS
    Show abstractHide abstract
    The main purpose of this article is to consider what are the characteristic features of "Dream Journey to the Peach Blossom Land" painted by An Kyon and to interpret its hidden meanings in connection with prince An Pyung's dream. It is quite clear that "Dream Journey to the Peach Blossom Land" draws from the landscapes of Shangri-la which An Pyung visited in his dream, and due that fact the dominant opinion maintains that it is mere representation of that dream. However three important factors indicate that perhaps alternative interpretation should be considered. They are as follows. 1. The peach blossom land is situated on the rignt side of the painting, while traditionally it is painted on the left. 2. No people appear in the painting. This raised the question of why An Kyon would omit figures from his painting. 3. An Kyon used a style similar to that of Guo Xi which was marked break from the leading current of that time. I attempt to interpret these points in consideration of prince An Pyung's ambitious dream.
    View full abstract
    Download PDF (1033K)
  • Nicolas Poussin et le changement dans la composition de ses tableaux vers la fin de sa vie : de la Matiere
    Takiko SASAKI
    Article type: Article
    1997 Volume 48 Issue 2 Pages 37-48
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_37
    JOURNAL FREE ACCESS
    Show abstractHide abstract
    Dans ses tableaux, Nicolas Poussin a represente le paysage plus largement qu'auparavant vers la fin de sa vie. Pourquoi? Cet article est une introduction a l'etude de deux traits de sa peinture de cette periode : la large representation du paysage et l'independance des details representes par rapport au sujet du tableau. D'abord, en observant ses tableaux sous l'angle de la composition et de la maniere de representer le paysage, nous decouvrons que Poussin montrait un vif interet pour celui-ci et les details delivres du sujet vers la fin de sa vie. Ensuite, examinons les termes relatifs a la composition dans ses lettres, notamment la matiere. Poussin y dit : 'Premierement, de la Matiere'. Dans les etudes precedentes, on considerait cette matiere comme sujet. Cependant nous mettons en evidence qu'elle signifie non seulement le sujet mais tous les elements constitutifs du tableau pour Poussin. En effet, la lettre dans laquelle il l'exprime repond a ce que sa connaissance, R.F. de Chambray, a ecrit sur lui dans son ouvrage. Par consequent, il nous semble possible de trouver une clef pour expliquer sa peinture vers la fin de sa vie dans l'amitie avec ses connaissances de la meme periode.
    View full abstract
    Download PDF (944K)
  • Ecriture et image dans les collages de Kurt Schwitters
    Mari KOMOTO
    Article type: Article
    1997 Volume 48 Issue 2 Pages 49-60
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_49
    JOURNAL FREE ACCESS
    Show abstractHide abstract
    La peinture classique, qui se fonde sur la ressemblance, tente d'exclure, dans la mesure du possible, de son champ l'ecriture. Cependant, la deconstruction des lois de la perspective classique a entraine la reintroduction de l'ecriture dans l'espace pictural au moment du cubisme. Cela a permis a Kurt Schwitters de tenter de reunir les genres artistiques, et tout d'abord la peinture et la poesie, pour qu'ils se fondent dans le Merzgesamtkunstwerk. L'ecriture de Schwitters ne constitue pas un message clair ; fragmentee, elle reste subordonnee a l'esthetique. Elle se libere de la notion de langue-nomenclature, ou l'on nomme des objets qui existent en-dehors de la langue, et devient "materiau" en soi. Cette opacite de l'ecriture chez Schwitters designe une affinite avec l'ecriture cubiste. Dans le cas des inscriptions politiques, la fragmentation et l'illisibilite de l'ecriture sont le signe de son refus absolu d'un "art au service de l'ideologie" ; il se distingue ainsi de la propagande politique de Dada-Berlin. D'ailleurs, Schwitters recherche l'arbitraire du signe linguistique de facon plus radicale que les cubistes qui restent representatifs. Le signifiant du titre=ecriture ("und"), qui entre dans ses images non-representatives, ne se refere plus qu'au signifiant lui-meme comme dans Das Undbild. Cette absence de referent derange avec ironie notre code de lecture. A travers "Merz", Schwitters articule le monde et cree continuellement un nouveau sens.
    View full abstract
    Download PDF (1111K)
  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1997 Volume 48 Issue 2 Pages 74-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_74
    JOURNAL FREE ACCESS
    Download PDF (165K)
  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1997 Volume 48 Issue 2 Pages 75-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_75
    JOURNAL FREE ACCESS
    Download PDF (160K)
  • [title in Japanese]
    Article type: Appendix
    1997 Volume 48 Issue 2 Pages 76-77
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_76
    JOURNAL FREE ACCESS
    Download PDF (86K)
  • [title in Japanese]
    Article type: Appendix
    1997 Volume 48 Issue 2 Pages 77-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_77_1
    JOURNAL FREE ACCESS
    Download PDF (39K)
  • [title in Japanese]
    Article type: Appendix
    1997 Volume 48 Issue 2 Pages 77-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_77_2
    JOURNAL FREE ACCESS
    Download PDF (39K)
  • [title in Japanese]
    Article type: Appendix
    1997 Volume 48 Issue 2 Pages 77-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_77_3
    JOURNAL FREE ACCESS
    Download PDF (39K)
  • [title in Japanese]
    Article type: Bibliography
    1997 Volume 48 Issue 2 Pages 78-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_78_1
    JOURNAL FREE ACCESS
    Download PDF (42K)
  • [title in Japanese]
    Article type: Bibliography
    1997 Volume 48 Issue 2 Pages 78-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_78_2
    JOURNAL FREE ACCESS
    Download PDF (42K)
  • [title in Japanese]
    Article type: Bibliography
    1997 Volume 48 Issue 2 Pages 79-80
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_79
    JOURNAL FREE ACCESS
    Download PDF (116K)
  • [title in Japanese]
    Article type: Cover
    1997 Volume 48 Issue 2 Pages Cover3-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_Cover3
    JOURNAL FREE ACCESS
    Download PDF (23K)
  • [title in Japanese]
    Article type: Cover
    1997 Volume 48 Issue 2 Pages Cover4-
    Published: September 30, 1997
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.48.2_Cover4
    JOURNAL FREE ACCESS
    Download PDF (23K)
    • |<
    • <
    • 1
    • >
    • >|
feedback
 Top