Das Ziel der Untersuchung besteht darin, den "Begriff des Kunstwollens" von Panofsky angemessen zu interpretieren, weil er fur das Verstandnis seines Gedankenganges unentbehrlich ist. Panofsky unterteilt die bisherigen Auffassungen von Riegls Kunstwollen in eine psychologistische und eine diskursive Auffassung, aber er beweist, dass beide das Wesen des Begriffs nicht treffen. Panofsky bestimmt das Kunstwollen weder als eine psychologistische Wirklichkeit noch als einen abstrahierten Gattungsbegriff, sondern als letzten Sinn im kunstlerischen Phanomen, was als die epistemologische These betrachtet werden kann. Bezug nehmend auf Kants a priori Begriffe des Verstandes definiert er das Kunstwollen als den reinen Verstandesbegriff und die Grundbegriffe, "optisch" und "haptisch", als die Kategorien, die an das Kunstwollen als Bestimmumgsmassstabe angelegt werden. Durch das als ein a priori Begriff bestimmte Kunstwollen versucht Panofsky, ein a priori System von der Kunstwissenschaft zu bilden, das den kunstlerischen Erscheinungen ausserhalb des Seins-Kreises erklaren kann. Zum Schluss stimmt seine Auffassung beinahe mit derjenigen Riegls uberein, dass das Kunstwollen mit der "Weltanschauung" praktisch parallel lauft.

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The Pre-Raphaelite Movement was a remarkable continuous aesthetic force of the third quarter of the last century, which began in 1848 when seven young artists formed a semi-secret society, "the Pre-Raphaelite Brotherhood". This group published a short-lived magazine, "The Germ", to enlarge the scope of their activities, of which four issues appeared between January and May 1850. But the Brotherhood itself went into a decline in the early 1850s and by 1855 had dissolved altogether. After that, the second flowering of Pre-Raphaelite centers around the work of Dante Gabriel Rossetti, William Morris, and so forth in book design, furniture, wall papers, and last, but not least, in houses. This paper, with full use of abundant source material, deals with the formative years of the Pre-Raphaelite Brotherhood and the progress of the Pre-Raphaelite Movement related to changing in the relation between fine arts and decorative arts. The paper argues that the Pre-Raphaelite Movement played a remarkable role in the revival and popularization of decorative arts in the Victorian Age, and attempts to throw much additional light upon the leading ideas and practices.

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Woman's eye is one of the most important motives in Man Ray's works. However, in his images of woman's eye, the organ of sight is quite often manipulated, sometimes even violently, and the images acquire a very uncanny nature. This uncanny manipulation of woman's eye in Man Ray's oeuvre, both in photographs and objects, can be divided into four categories : "the Gazing Monster or Surrealist Medusa, " "the Enucleated Eye, " "the Closed Eye, " "Beheading." The last can be regarded as the manipulation of woman's eye, because it is a way of punishing a woman with evil eyes like Medusa, who is exterminated by Perseus through decapitation. The uncanny nature created by these manipulations squarely corresponds to the Freudian concept of the Uncanny. In his analysis of uncanny effects in E, T, A, Hoffmann's novel, The Sand-Man, Freud defines the source of the uncanny as the castration anxiety symbolized by the eye torn out. All the four types of manipulations in Man Ray's images of woman's eye can be found in this or other Freud's essays on the castration anxiety. By visualizing this anxiety repressed in the unconscious or "the return of the repressed, " Man Ray created the true Surrealist image of the emancipation from the reason and order through the direct manifestation of the unconscious.

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