Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 49, Issue 4
Displaying 1-18 of 18 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    1999 Volume 49 Issue 4 Pages Cover1-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_Cover1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    1999 Volume 49 Issue 4 Pages Cover2-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_Cover2
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Index
    1999 Volume 49 Issue 4 Pages Toc1-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_Toc1
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  • Reading and Image
    Kiyokazu NISHIMURA
    Article type: Article
    1999 Volume 49 Issue 4 Pages 1-12
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_1
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    What kind of experience is reading a novel? They often said that it is seeing images with their minds eye which the verbal descriptions of things, incidents and characters etc. evoke. Such discourse is based on a traditional thought that the meaning of a word is an 'idea' as a kind of picture, i.e. a mental image. We must recognize that here is a compound problem consisting of two different questions. One question is whether the meaning of a word is indeed a mental image, and the other is whether imagination is actual perception in the mind. In terms of the first question, we could rely on Wittgenstein's investigation who says : it is not essential for understanding a sentence to imagine something. Imagining is a different activity from understanding the meaning. In terms of the second question, for the reason that mental images have no horizon, therefore no details nor multi-dimensional aspects as perceptions have, we should distinguish between both. Yet images could at times contribute to understanding sentences in their proper way. The act of reading a novel is not always imagining. But there are some cases where the text urges readers to imagine in order to understand the visual and complex descriptions of characters, places and things. Images can though not always but sometimes contribute to reading.
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  • Onishi Yoshinori and the 'Eastern' Spirit of Art
    Tanehisa OTABE
    Article type: Article
    1999 Volume 49 Issue 4 Pages 13-24
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_13
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    Onishi Yoshinori (1888-1959) was one of the leading figures in aesthetics from 1930s to 1950s in Japan. Mostly influenced by neo-Kantian H. Cohen, Onishi argued that the whole system of aesthetics must be deduced from the a-priori principle that constitutes 'aesthetic experience.' He claimed that the Japanese or the Western aesthetic characteristics per se are irrelevant to the system of aesthetics, because they are merely historical issues. On the other hand, he dealt with comparative studies between Eastern and Western aesthetics within his systematic aesthetics. He tried to derive Japanese aesthetic categories from the 'fundamental aesthetic categories' that can be deduced from the a-priori principle and to incorporate the former into the universal theoretical system of aesthetics. For him, the deductive system of his aesthetics can be compatible with his comparative studies. It follows, however, that his comparative studies incorporated into the deductive system of aesthetics lack the insight into the historicity of individual aesthetic categories. His a-priori system suppressed the fact that his argument was aimed at justifying Japanese traditions against the modern West. In this sense his aesthetics is to be characterized as a kind of 'orientalism.' See my article 'Some Aspects of Japanese Aesthetics : How has it Discussed "Japanese Qualities"?' in International Yearbook of Aesthetics 2 (1998), pp.63-80.
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  • Mirror and Painting : In the Early Netherlandish Painting
    Junko NINAGAWA
    Article type: Article
    1999 Volume 49 Issue 4 Pages 36-47
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_36
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    The metaphorical relationship between mirror and painting occasions the most provocative recent discussions in the field of the Early Netherlandish Painting because it concerns the origin of representational painting. Herewith I discuss how mirror is related to painting in the Early Netherlandish Painting, especially in the oeuvre of Jan van Eyck. In the Arnolfini Portrait (The National Gallery, London), his awareness of painting as mirror is well demonstrated through the painting itself as well as the painted mirror. The mirror and the painting share not only semiotic and representational functions but also a physical one as supports of images, which is realized in the letters on the surface of the painting and through the distorted image in the mirror. Additionally, the awareness also inheres in his oil-painting techniques. First, he prepared a rubbed white support which gives the illusion of a mirror filled with light reflection. Then he proceeded to shelter the reflected light by using pigments and the semitransparent medium of oil. The process is a conversed procedure of mirror, which is originally dark, catching light. Such awareness might be cultivated in a possible paragone with mirror, which was one of the traditional metaphors of painting, and was incorporated in the following paintings with the aforementioned oil painting techniques.
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  • L'interno e l'esterno della statua : Ebe di Canova
    Tadashi KANAI
    Article type: Article
    1999 Volume 49 Issue 4 Pages 48-58
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_48
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    Paragonando due versioni dell'Ebe canoviane, si trova la diversit a dei sostegni : uno e la nuvola che iconograficamente funziona nell'opera stessa, e l'altro e il tronco dell'albero aggiungendosi come emblema di classicismo, che in senso stretto non c'entra per il soggetto rappresentato. Pertanto se si chiamasse la nuvola l'interno dell'opera, sarebbe il tronco un posto oscillante tra l'interno e l'esterno dell'immagine. Oltre a questi due sostegni, troveremmo, anche se fosse difficile, un'altro molto piccolo tra le dita della seconda Ebe. Questo terzo sostegno, non avendo nessun significato figurativo, si chiamerebbe l'esterno dell'immagine. E trascurato, come si sa, dai discorsi della storia dell'arte perche e dominante la diffusione dell'immagine statuaria mediante i calchi e le incisioni dove manca il terzo sostegno. Vorrei sostenere che il guardare bene il dettaglio tra le dita non e l'attitudine miope ma un modo di accostarisi alla superficie marmorea dove metteva Canova "l'ultima mano".
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  • Realismo e neorealismo : attorno a La nave bianca di Roberto Rossellini
    Minori ISHIDA
    Article type: Article
    1999 Volume 49 Issue 4 Pages 59-70
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_59
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    La nave bianca (1941), il primo lungometraggio di Roberto Rossellini, Viene considerato come una delle origini del neorealismo che e il movimento cinematografico del secondo dopoguerra, anche se il Centro ministero navale lo produsse con l'intenzione della pubblicita per le armi navali. Perche questo film venne prodotto nella maniera che assomiglia a quella del neorealismo (attori non professionali, filmare all' esterni, racconti reali) e la scena della battaglia navale e molto diversa dalla retorica propagandistica. Per o dal punto di vista del suo effetto e del suo significato, ha il carattere assolutamente diverso da neorealismo, infatti e la propaganda eccellente. Usando la strategia di low politics come l'immagine di Elena, una infermiera volontaria, e il racconto d'amore tra lei e Basso, un soldato ferito, questo film pote avvicinarsi agli spettatori e trasmettere il messaggio fascistico piu efficacemente che urlare l'ideologia fascistica. In questo saggio, provo a analizzare la sua mise-en-scene e mettere a fuoco il nuovo problema nell'opera di Rossellini che si cela sotto i discorsi d' auteur, cioe la relazione tra l'immagine delle donne e l'ideologia.
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  • [title in Japanese]
    Naoko TANIMOTO
    Article type: Article
    1999 Volume 49 Issue 4 Pages 71-75
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_71
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  • [title in Japanese]
    Article type: Index
    1999 Volume 49 Issue 4 Pages 76-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_76
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  • [title in Japanese]
    Article type: Appendix
    1999 Volume 49 Issue 4 Pages 77-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_77_1
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  • [title in Japanese]
    Article type: Appendix
    1999 Volume 49 Issue 4 Pages 77-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_77_2
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  • [title in Japanese]
    Article type: Appendix
    1999 Volume 49 Issue 4 Pages 77-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_77_3
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  • [title in Japanese]
    Article type: Bibliography
    1999 Volume 49 Issue 4 Pages 78-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_78_1
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  • [title in Japanese]
    Article type: Bibliography
    1999 Volume 49 Issue 4 Pages 78-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_78_2
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  • [title in Japanese]
    Article type: Bibliography
    1999 Volume 49 Issue 4 Pages 79-80
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_79
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  • [title in Japanese]
    Article type: Cover
    1999 Volume 49 Issue 4 Pages Cover3-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_Cover3
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    1999 Volume 49 Issue 4 Pages Cover4-
    Published: March 31, 1999
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.49.4_Cover4
    JOURNAL FREE ACCESS
    Download PDF (24K)
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