Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 52, Issue 4
Displaying 1-22 of 22 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 52 Issue 4 Pages Cover1-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_Cover1
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 52 Issue 4 Pages Cover2-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_Cover2
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  • [title in Japanese]
    Article type: Index
    2002 Volume 52 Issue 4 Pages Toc1-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_Toc1
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  • Heideggers Erd-Begriff
    Yoshiaki ISHIGURO
    Article type: Article
    2002 Volume 52 Issue 4 Pages 1-14
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_1
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    In der Kunst-Abhandlung Der Ursprung des Kunstwerkes hat Heidegger die Kunst als "den Streit zwischen Welt und Erde" bestimmt. Obwohl Heidegger, wie allgemein bekannt, den Begriff Welt schon in den 20er Jahren ofter benutzt hat, hat "die Erde" hier einen ganz neuen Klang. Die Kunst-Abhandlung kann man also als einen Begegnungsort von der bisherigen Terminologie und der neuen betrachten. Warum aber ist der Erd-Begriff vorgelegt? So besteht die Aufgabe dieser Uberlegungen darin, die Herkunft des Begriffs der Erde herauszustellen. Es kann dabei helfen, dass Heidegger das Erdhafte des Kunstwerkes auf das Dinghafte des Dinges bezieht. Wie in den Kant-Vorlesungen oder im Kant-Buch gezeigt wird, spielt die Frage nach dem Dinghaften um die Zeit der sog. "Kehre" eine grosse Rolle. Es scheint mir, dass Heidegger zuerst das Dinghafte des Dinges erortern muss, um den "Sinn von Sein" zu erlautern. Zu den anderen Worten liegt dieses Interesse am Ding von vornherein in Heideggers Denken zugrunde und fuhrt ihn zum Spatgedanken. In diesem Sinne ist sein Denken als "die Frage nach dem Ding" zu kennzeichnen. Unterwegs zum Dinge begegnet Heidegger das Kunstwerk. Sein Dinghafte wollte er doch nicht mit dem Stoff oder der Materie bezeichnen, weil das Kunstwerk weder das Zuhandene noch das Vorhandene ist. Daher ist der Erd-Begriff als eine conditio sine qua non fur die ontologische Bestimmung des Kunstwerkes aufgetreten. Diesen Begriff fuhrt Heidegger in die Kunst-Abhandlung, indem er zu den Gedanken der Vorsokratikern zuruckkehrt. Infolgedessen kommt es, dass uber die Erde zuruck zur Physis einmal nachgedacht werden muss.
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  • Adorno und die Idee einer "musique informelle"
    Keisuke TAKAYASU
    Article type: Article
    2002 Volume 52 Issue 4 Pages 15-28
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_15
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    Neue Musik gewinnt ihre eigene Kraft erst durch die jeweilige Distanzierung von der traditionellen und popularen Musik. Aber neue Musik neigt dazu, sich wegen dieser Distanzierung in der Gesellschaft zu isolieren. In diesem Dilenmma braucht neue Musik notwendigerweise eine philosophische Orientierung. Die Idee einer "musique informelle", die Adorno 1961 in "Darmstadter Ferienkursen fur Neue Musik" bekannt machte, hat immer noch eine wegweisende Bedeutung. Informelle Musik heisst keineswegs Musik ohne Form, sondern Musik, die nicht durch die vorgegebenen Schemata kontroliert wird. Folgende vier Punkte sind zu betrachten. Erstens konzipiert Adorno informelle Musik als die fur die Zukunft geoffnete, obwohl er die fruhe atonale Musik von Schonberg fur ein Modell der informellen Musik halt. Zweitens weist Adorno aufgrund dieser Idee darauf hin, dass die avantgardistische Einstellung nicht immer mit der Freiheit verbunden ist. Drittens impliziert Adornos positive Beurteilung der Musik von Mahler und Berg, dass die informelle Musik nicht das Populare ausschliesst, sondern daraus die unbekannte Form entstehen lasst. Viertens zeigt Adorno mit der Idee der informellen Musik nicht nur die Richtung der Komposition, sondern auch eine Moglichkeit der modernen Vernunft und die Bedingungen der sachhaltigen Erfahrung.
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  • Le Testament d'Eudamidas de Nicolas Poussin : l'effet moral et la "theorie des modes"
    Noriko MOCHIZUKI
    Article type: Article
    2002 Volume 52 Issue 4 Pages 29-42
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_29
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    Le Testament d'Eudamidas a ete peint par Poussin dans la seconde moitie des annees 1640 pour Michel Passart. Le tableau nous montre, suivant le recit de Toxaris ou De l'amitie de Lucien, le soldat Eudamidas dictant ses dernieres volontes sur son "lit de mort". Il s'agit d'un episode concernant l'amitie, mais que l'on ne peut comprendre a partir de la seule image. Cet article voudrait proposer l'idee que Poussin a eu l'intention de representer un modele de la bonne mort pour inviter les spectateurs a vivre toujours calmement en pensant la mort. Le mode de vie stoicien etait repandu chez les bourgeois de Paris comme Passart. Cette hypothese est verifiee par rapport au "Ars Moriendi" apparu au XVe siecle et qui connut un regain de popularite au XVIIe siecle. Ces livres de foi montraient aux fideles un modele de la mort du bon chretien. En outre, le fait que ce tableau etait en harmonie avec "le mode dorique" convenable aux sujets severes, indique qu'il avait une fonction moralisatrice. D'apres "la theorie des modes" developpee par Poussin en 1647, l'accord entre le sujet et le mode produit de "merveilleux effets" sur les spectateurs. Ces remarques sont extraites du traite de musique de Gioseffo Zarlino, selon lequel l'effet du mode dorique etait d'eveiller chez nous la prudence et la vertu.
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  • Social and Religious Functions of Jan van Eyck's Rolin Madonna : The Public and the Private in 15th-century Religious Paintings
    Sumiko IMAI
    Article type: Article
    2002 Volume 52 Issue 4 Pages 43-56
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_43
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    In Jan van Eyck's Rolin Madonna, Chancellor Nicolas Rolin is depicted kneeling directly before the Virgin and Child, praying without the intercession of a patron saint. As this painting is unique in its format and iconography, there has been much research regarding its sources and possible interpretations ; however, its original placement and function have not been sufficiently investigated. This paper addresses the painting's functions from a liturgical viewpoint, based on the pontifical dispensation given to Rolin in 1434. This dispensation permitted the celebration not only of a private mass at sunrise, but also of a mass in his own home. At that time, the Divine Office was said as preparation for the Mass, and laymen practiced the Office of Matins early in the morning ; this can explain why the Office of Matins is cited in this painting. Therefore, the Rolin Madonna seems to have been intended both as a devotional image for the Office of Matins and as an altarpiece for a private mass. Nevertheless, the case of the Medici's private chapel suggests that such dispensations could also be used for a political purpose. The bold depiction of Rolin can be understood in this context, leading to the conclusion that the Rolin Madonna had both public and private functions.
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  • NAKAMURA Hochu and His Time : Korin, Haikai, and Osaka
    Masumi FUKUI
    Article type: Article
    2002 Volume 52 Issue 4 Pages 57-69
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_57
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    NAKAMURA Hochu has been conventionally known as a Rimpa school painter who published Korin Gafu and whose folding screen work entitled "Flowers of the Four Seasons" is now possessed by The British Museum. Some scholars, however, have often pointed out that he was also well connected with other artistic schools led by Taiga, Buson, or Nichosai. Nevertheless, his raison d'etre as a distinguished painter in the late 1700s and early 1800s has been obscured. The main reason is that people have taken him just as one of many Rimpa schoolpainters and he flourished mostly in the Osaka art circles during the Edo period. This paper explains that it is not appropriate to discuss Hochu simply as a Rimpa school painter and explicates his views on Korin and the figure motifs illustrated in Korin Gafu. This paper also tries to put some light upon his close relationship with the world of Haikai and his personal involvement with the Bunjin circles in Osaka. In addition, this paper tries to show how versatile his artistry was and how critical his contemporaries were to his paintings. Through these topics, this paper elucidates Hochu in a wider context than ever before.
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2002 Volume 52 Issue 4 Pages 84-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_84
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2002 Volume 52 Issue 4 Pages 85-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_85
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2002 Volume 52 Issue 4 Pages 86-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_86
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 52 Issue 4 Pages 87-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_87_1
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 52 Issue 4 Pages 87-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_87_2
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 52 Issue 4 Pages 88-89
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_88
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 52 Issue 4 Pages 89-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_89_1
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 52 Issue 4 Pages 89-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_89_2
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 52 Issue 4 Pages 89-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_89_3
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  • [title in Japanese]
    Article type: Bibliography
    2002 Volume 52 Issue 4 Pages 90-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_90_1
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  • [title in Japanese]
    Article type: Bibliography
    2002 Volume 52 Issue 4 Pages 90-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_90_2
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  • [title in Japanese]
    Article type: Bibliography
    2002 Volume 52 Issue 4 Pages 91-92
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_91
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 52 Issue 4 Pages Cover3-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_Cover3
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 52 Issue 4 Pages Cover4-
    Published: March 31, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.52.4_Cover4
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