Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 51, Issue 1
Displaying 1-20 of 20 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2000 Volume 51 Issue 1 Pages Cover1-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_Cover1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    2000 Volume 51 Issue 1 Pages Cover2-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_Cover2
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages App1-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_App1
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  • Le langage et le beau humain : la parole "chantante" chez Rousseau
    Akira BABA
    Article type: Article
    2000 Volume 51 Issue 1 Pages 1-12
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_1
    JOURNAL FREE ACCESS
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    Pour la pensee esthetique de J.-J. Rousseau (1712-78), la parole musicale ou "chantante" comme origine de la poesie et de la musique joue un role fort difficile a negliger. Tout en partant de la perspective linguistique sensualiste, surtout celle de Condillac, sur le langage sensible, Rousseau s'attache a constater l'essence de ce langage musical dans la dimension morale impliquee par celui-ci. En ce sens, il s'oppose finalement au sensualisme condillacien qui souligne et l'efficacite epistemologique du signe naturel visible et le statut primordial du monde physique. De la son insistance de la relation etroite de la temporalite du langage musical a l'actualisation communautaire de la sensibilite morale. Pour Rousseau, le mouvement temporel de la parole chantante symbolise en soi le beau dynamique de la subjectivite ethique dont la veritable perfection ne saurait s'actualiser qu'a travers la communion affective avec les autres semblables.
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  • Baudelaire's art criticism : romantisme and modernite
    Hajime OGINO
    Article type: Article
    2000 Volume 51 Issue 1 Pages 13-24
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_13
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    In this paper, I prove that C. Baudelaire developed his thought in the field of art criticism, by breaking with the theory of the imitation of nature and improving the image of "modern art". First, I analyze the concept of romantisme (romanticism) emphasized in Salon de 1846, and prove that Baudelaire's view of art is closely related to his estimation of E. Delacroix's paintings, which are regarded as "the most actual expression of beauty." Second, I analyze a new development of Baudelaire's ideas in the late 1850's. What I regard as important is two concepts, surnaturalisme (supernaturalism) and imagination (imagination). The latter is a faculty which can govern nature and create a new world. Finally, I take up Le Peintre de la vie moderne (1863), in which C. Guys's supernatural art is highly regarded. Baudelaire's manner of estimating it is similar to the manner Delacroix's paintings were treated. I make this similarity and its significance clear by comparing the concept of modernite (modernity) emphasized in Le Peintre de la vie moderne with his early theory of art, and by comparing Guys's genie (genius) with Delacroix's imagination.
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  • The Art of TAKEUCHI Seiho
    Takashi HIROTA
    Article type: Article
    2000 Volume 51 Issue 1 Pages 37-46
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_37
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    TAKEUCHI Seiho was born in 1864 and he started to study traditional Japanese painting under KONO Bairei. In 1886, he attended Ernest F. Fenollosa's lectures on Japanese painting, which made him consider the future of Japanese painting. While many of his contemporary artists tended to adopt Western style in modernizing Japanese painting without much success, Seiho was not particularly impressed by it. He made a careful comparison of Western with Japanese painting and came to the conclusion that what characterized Japanese painting was shai, "expressing the painter's inner lyrical inspiration using what he or she sees out there as a form of expressing it, " upon which he placed special emphasis in his attempt to innovate his painting. Convinced of his original idea after the visit to the 1900 Paris Exhibition, Seiho attempted to transcend the old style which was almost exclusively concerned with umpitu, "brushworking" and to combine shasei, "sketching to grasp the outer characteristics of objects, " with shai, "expressing his inner lyricism." At the same time, he made an effort to attain shohitu, "the utmost simplicity out of which no touch whatso-ever could be eliminated."
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  • Die Kontroverse Schering-Fellerer unter neuen Aspekten : Zur Auseinandersetzung um die Rhythmik in der Polyphonie des 16. Jahrhunderts
    Kinya OSUMI
    Article type: Article
    2000 Volume 51 Issue 1 Pages 47-58
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_47
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    Karl Gustav Fellerer widersprach gegen Ende der 1920er Jahre der Auffassung Arnold Scherings uber die Rhythmik in der vokalen Polyphonie des 16. Jahrhunderts und die sich daraus ergebende "richtige Taktstrichsetzung", die auf der Vorstellung des "musikalischen Organismus" beruht. Die von Fellerer angenommene "Deklamationsrhythmik" bedeutet zwar ebenso wie bei Schering einen unregelmassigen Wechsel der Gruppierungen von zwei bzw. drei Zahlzeiten, dieser beruht jedoch auf der sprachlichen Akzentuierung und kommt zudem nicht in allen Stimmen gleichzeitig, sondern in jeder Stimme eigenstandig zur Anwendung. Gerade die Unmoglichkeit, ein solches rhythmisches Gewebe beim Horen vollkommen zu erfassen, macht die transzendente Dimension dieser Musik aus, in der uns "das verklarte Wort" begegnet. Fur Schering ging es dagegen weniger um die liturgische Funktion der Musik, als vielmehr um die dem Werk innewohnende rein musikalische Ordnung, die sich im Erlebnis des Horers in ihrer Ganzheit offenbart und somit den eigentlichen asthetischen Wert der Musik begrundet.
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  • Rethinking Motoori Norinaga's Reflection on Kado : Starting with the Literary Autonomy of Beauty
    Hiroyuki FUKUI
    Article type: Article
    2000 Volume 51 Issue 1 Pages 59-70
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_59
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    Motoori Norinaga (1730-1801)'s argument on the literature ("Yamatouta" or "Utamonogatari") is two-fold : first, it should be autonomous as distinct from politics and morals : second, it should be of use for good governance. It is not simply that the literature should be independent as an intellectual field, but also that the autonomy of the literature resides in its aestheticism itself, from which he tried to draw a sense of publicity and sympathy, as well as a concept of what can be called autoformation through active imitation. Thus he was led to his own aesthetic/emotional amoralism ("mononoaware"). With such an amoralism-which is a kind of meta-moral-Motoori aimed to replace the Confucianist moralism, and overcome the closure of it. For, as the Confucianist transcendent, universalistic criterion is apathetic with the popular amoral realities, it forces people to be passive and subject to the rationalistic distinction between good and evil. It is true that his amoralism he reached through the reflection on kado has some potentialities of the modern aesthetic ethics. However it actually ended up with forming its own closure, which eventually endorses the Japanese particularism with sanctified imperial nation ("kokokushugi").
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages 71-73
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_71
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages 74-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_74_1
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages 74-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_74_2
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2000 Volume 51 Issue 1 Pages 75-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_75
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages 77-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_77_1
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages 77-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_77_2
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages 77-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_77_3
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  • [title in Japanese]
    Article type: Appendix
    2000 Volume 51 Issue 1 Pages 77-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_77_4
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  • [title in Japanese]
    Article type: Bibliography
    2000 Volume 51 Issue 1 Pages 78-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_78_1
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  • [title in Japanese]
    Article type: Bibliography
    2000 Volume 51 Issue 1 Pages 78-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_78_2
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  • [title in Japanese]
    Article type: Bibliography
    2000 Volume 51 Issue 1 Pages 79-80
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_79
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  • [title in Japanese]
    Article type: Cover
    2000 Volume 51 Issue 1 Pages Cover3-
    Published: June 30, 2000
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.51.1_Cover3
    JOURNAL FREE ACCESS
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