The reading mathematon (recognition) in the definition of tragedy (Ch. 6, 1449b28) contributes to a coherent understanding of the Poetics. The phrase translates as '[tragedy] by pity and fear accomplishes katharsis of such recognition, ' in which the meanings and implications of 1) 'katharsis of recognition' and 2) 'such' come into question. 1) The genitive mathematon denotes the subject of the action katharsis (making clear), as two passages from Plato (Sophists 230c4-d9 and Phaedo 67c5-d10) support. This view leads to the rendering 'recognition makes [the spectator's soul] clear [of ignorance].' In short, the truth comes out. 2) 'Pity and fear, ' referred to by 'such (ton toiouton), ' are aroused only with the spectator's realization about the tragic hero, such as 'It may be my own affair' (See Rhetoric, II, 5 and II 8). This coincides with the identification of the depicted image with reality, expressed in Ch. 4, 1448b12-15, in illustrating the pleasure of learning, as 'This man [in the painting] is that man [in the real world].' The hero, as a representative (paradeigma, 1454b14) of the like, is associated with one example after another, thus attaining universality (See Ch. 9, 1451b5-10) In Aristotle's system of wisdom, artistic representation (mimesis) is thus comparable with philosophy in illuminating reality.

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Adorno criticizes the "identifying thought" because it reduces things to abstract universal concepts, and attempts to deliver "the nonidentical" that cannot be captured by those concepts. For that purpose, Adorno introduces the "negative dialectics" in which the negation of negation retains its negativity by means of "definite negation", and strives to overcome defects of philosophical concepts through the idea of their "constellation". The nonidentical is, Adorno claims, "the thing's own identity against its identifications". And he also thinks that art, which is accoding to him a "refuge for mimesis", must be made according not to the ideal of the artist but to its own law. He, therefore, maintains that art that "follows identity with itself" "makes itself equal to the nonidentical", and that mimesis means the comportment of becom ing conscious of the nonidentical. This mimetic moment is "indelible" from all perception and human practice. Art and philosophy cooperate in this moment for the aquirement of truth that is for Adorno the affinity between diversities. Truth is, therefore, the utopia of which realization can never be described. Adorno promises it in the form of semblance.

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Tagasode-zu is one of the themes of screen paintings (byobu-e) which depicts images of kosode draped over clothes racks. On this paper, I clarified the establishing process of Tagasode-zu in early Edo period. Nowadays, it is popular that Tagasode-zu is classified in a type of early modern genre paintings (fuuzoku-zu). But the scenes depicted in Tagasode-zu was not always seen only in the fuuzoku-zu. Before the establishment of Tagasode-zu, Japanese poem (waka) which contains the word Tagasode is used as the motif of writing box decorated in maki-e. That represented the images of kosode draped over not clothes racks but the plum tree. I guessed that the plum tree was replaced by the clothes racks because they ware seen in ordinary life. On this process, I thought Tagasode-zu is established.

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Angele (1934) et La Fille du puisatier (1940) sont deux des filma de Marcel Pagnol qui se veulent explictement melodramatiques. Angele raconte l'histoire d'une fillemere. Le trajet narratif et les personnages ste reotypes de ce film relevent d'une imagination melodramatique aussi conventionnelle que celle de Way Down East (1920) de Griffith, un film manifestement victorien. Angele, a la difference de ce dernier, met l'accent sur le rapport conflictuel entre le pere et la fille, plutot que sur l'experience douloureuse de la fille. Cette preference pour la figure de pere caracterise le cinema francais des annees 30. La Fille du puisatier, concu et tourne en partie avant la debacle, a aussi pour theme le rapport pere/fille. Il s'ecarte neanns d'Angele en ce qui concerne la strategie narrative, notamment le point de vue, bien que l'histoire soit similaire. En effet, il fait surgir une figure ≪pere chatre≫ et decrit la subjectivite et le desir de la femme sans tomber dans la misogynie ordinaire de l'epoque, decelable dans Angele. L'ecart entre ces deux films pourrait etre defini a la maniere de Kaja Silverman : Angele representerait un film qui releverait de la ≪fiction dominante≫ et La Fille du puisatier, un film impregne de ≪traumatisme historique≫.

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