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Article type: Cover
2001 Volume 52 Issue 3 Pages
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Published: December 31, 2001
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Article type: Cover
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Akira BABA
Article type: Article
2001 Volume 52 Issue 3 Pages
1-13
Published: December 31, 2001
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La problematique du gout occupe une place difficile a negliger dans la pensee de Rousseau sur le beau ainsi que les beaux-arts, problematique que l'on n'a pas encore eclaircie suffisamment. En analysant d'abord la theorie du gout dans le livre IV de l'Emile, nous constatons l'approfondissement de la possibilite a la fois esthetique et sociale que cette faculte comportait depuis son origine au 17 eme siecle. Ensuite, nous voyons comment cette theorie s'insinue et se developpe dans ses autres ecrits concernant le beau et les beaux-arts. En particulier, si la notion de gout trouve sa signification veritable, c'est a travers ses rapports tendus avec celles de sensibilite et de sentiment qui saisissent plus directement derriere le beau l'existence ethique axee sur l'<<amour de soi>> moral. Tout en ecartant la suprematie du gout a cause de sa distanciation a l'egard de l'objet esthetique, Rousseau ne refuse pas necessairement sa collaboration riche et ideale avec le sentiment qui ne saurait s'actualiser dans la societe que grace a la raison. Ainsi le gout s'integre solidement comme supplement rationnel pour le sentiment dans son esthetique ou il s'agit avant tout de la communion morale de sentiment avec les autres semblables.
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Midori ISHIHARA
Article type: Article
2001 Volume 52 Issue 3 Pages
14-26
Published: December 31, 2001
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K. Fiedler made inquiries into the meaning and value of plastic arts by looking for these traits not in the art-works themselves but in the process where they are born. According to him, in the artistic process, the artist's hands can make the eyes more active and powerful, and if we want to properly appreciate art-works of this kind and catch their actual value, we should experience the very process itself. However, can we as non-artists do that in practice? Fiedler cared little about this problem. But we can never turn down his theory especially from the standpoint of the artist. In this paper, I will examine Fiedler's theory through the critical eye of E. Cassirer who suspected that Fiedler should have fallen under the heading of "subjectivism." On the one hand, I will clear Fiedler from this claim. On the other, I will explore further Cassirer's philosophy of culture and elucidate the a priori structure of the subject-object where our unique activities-linguistic, artistic, etc.-are based, so as to see how a visual world and its creators appear in the process and to grasp the possibility that artists and non-artists can hold a certain viewpoint or see an object in the same way.
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Akari KITAMURA
Article type: Article
2001 Volume 52 Issue 3 Pages
27-39
Published: December 31, 2001
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Seguendo le fruttuose ricerche condotte da J. Musacchio (1997), C. De Carli (1999), e R. J. M. Olson (2000), l'autore cerca di verificare l'esistenza del rapporto fra le pitture di "deschi da parto" e quelle dei primi "tondi" rinascimentale che fecero la loro apparizione alla fine degli anni trenta del Quattrocento. I principali soggetti dei primi deschi come "Giardino di Amore" e "la Scena di nascita" ai primi Quattrocento erano profani. Ma il Cardinale Giovanni Dominici (1401) raccomando ai cittadini di decorare le proprie case con numerose pitture di tenere Madonne con giovani santi per l'educazione di bambini, quasi "come un tempio". Dopo che l'attivita dei suoi seguaci a Osservanti Domenicani al convento di San Marco a Firenze a partire dal 1438 si intensifico, i deschi con soggetti dell'Antico Testamento come "l'Incontro di Salomone con la Regina di Saba" aumentarono, e contemporaneamente cominciarono a comparire i festosi desco-tondi con "l'Adorazione dei Magi". Dietro dei numerosi tondi rinascimentale con le Madonne, pertanto, bisogna leggere la tradizione dell'arte profana di deschi da parto e la figurazuone ideale della vita civile e famigliare.
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Akihisa KAWATA
Article type: Article
2001 Volume 52 Issue 3 Pages
40-53
Published: December 31, 2001
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"Circular forms" increasingly began to appear in the works of avant-garde painters in the Showa period. These distinct forms, such as circles in abstract paintings, figurative eyes, or holes, were, however, linked together by a common artistic approach. Many artists used these "circular forms" in their compositions as minimalist temporary subjects. This attitude can be compared to the circular scribbles produced by young children generally referred to in developmental psychology as "mandala". In other words, these artists used the unarticulated, blank canvas as an opportunity to experiment, and with each brushstroke they applied to the ground their individual self-expression naturally emerged. If one considers the parallels between early Showa avant-garde artists and the art of young children, then the artists. canvases, their exhibition spaces, and the art system that supported them are like the children's blank sheet of paper. The paintings from the early Showa period employing various kinds of circular forms reveal how the system that supported modern and contemporary art in Japan did not provide an open window out to the rest of the world, but was rather a straitjacket on artistic creativity.
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
54-58
Published: December 31, 2001
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Michihisa ICHIMURA
Article type: Article
2001 Volume 52 Issue 3 Pages
59-
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Hirokai ITO
Article type: Article
2001 Volume 52 Issue 3 Pages
60-
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Sumiko IMAI
Article type: Article
2001 Volume 52 Issue 3 Pages
61-
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Akira IMURA
Article type: Article
2001 Volume 52 Issue 3 Pages
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Yoko IWASAKI
Article type: Article
2001 Volume 52 Issue 3 Pages
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Takaharu OAI
Article type: Article
2001 Volume 52 Issue 3 Pages
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Junko KOGA
Article type: Article
2001 Volume 52 Issue 3 Pages
65-
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Naoko KOGO
Article type: Article
2001 Volume 52 Issue 3 Pages
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Nobuhiro SHIIHARA
Article type: Article
2001 Volume 52 Issue 3 Pages
67-
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Yuki SHIMADA
Article type: Article
2001 Volume 52 Issue 3 Pages
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Eri SHIRAISHI
Article type: Article
2001 Volume 52 Issue 3 Pages
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Published: December 31, 2001
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Kaoru TAKAKU
Article type: Article
2001 Volume 52 Issue 3 Pages
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Chiaki TAKAHASHI
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2001 Volume 52 Issue 3 Pages
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Emiko TANAKA
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2001 Volume 52 Issue 3 Pages
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Hitoshi TANAKA
Article type: Article
2001 Volume 52 Issue 3 Pages
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Chen Chen
Article type: Article
2001 Volume 52 Issue 3 Pages
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Isao TOSHIMITSU
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2001 Volume 52 Issue 3 Pages
75-
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Ryuji NAKAGORI
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2001 Volume 52 Issue 3 Pages
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Osamu NISHIMURA
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2001 Volume 52 Issue 3 Pages
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Junko NINAGAWA
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2001 Volume 52 Issue 3 Pages
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Akira BABA
Article type: Article
2001 Volume 52 Issue 3 Pages
79-
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jiang FU
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2001 Volume 52 Issue 3 Pages
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Shinichi FURUTA
Article type: Article
2001 Volume 52 Issue 3 Pages
81-
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Hirokazu MIZUNUMA
Article type: Article
2001 Volume 52 Issue 3 Pages
82-
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Su Chu LI
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2001 Volume 52 Issue 3 Pages
83-
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
84-
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Haruo OHKUMA
Article type: Article
2001 Volume 52 Issue 3 Pages
85-87
Published: December 31, 2001
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[in Japanese]
Article type: Article
2001 Volume 52 Issue 3 Pages
88-
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[in Japanese]
Article type: Article
2001 Volume 52 Issue 3 Pages
89-
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[in Japanese]
Article type: Article
2001 Volume 52 Issue 3 Pages
90-98
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
101-
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
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Article type: Appendix
2001 Volume 52 Issue 3 Pages
102-
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Article type: Bibliography
2001 Volume 52 Issue 3 Pages
103-
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Article type: Bibliography
2001 Volume 52 Issue 3 Pages
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Article type: Bibliography
2001 Volume 52 Issue 3 Pages
104-
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