Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 53, Issue 4
Displaying 1-22 of 22 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 53 Issue 4 Pages Cover1-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_Cover1
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 53 Issue 4 Pages Cover2-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_Cover2
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  • [title in Japanese]
    Article type: Index
    2003 Volume 53 Issue 4 Pages Toc1-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_Toc1
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  • Is Visual Metaphor Possible?
    Kiyokazu NISHIMURA
    Article type: Article
    2003 Volume 53 Issue 4 Pages 1-14
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_1
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    In his film "Strike", Eisenstein abruptly cuts from a shot of the slaughter of workers to one of the slaughter of a steer. Such a cutting is understood as a typical example of film metaphor, while it has been not incontrovertible among theorists whether it is a real metaphor. Do film metaphors or, more generally, visual metaphors exist in the world? We could enumerate three types of traditional theories of metaphor, i.e. the substitution, the comparison, and the interaction theory. These have a conception in common that metaphor is, just like synecdoche and metonymy, a relation between two things referred to by two words. Meanwhile, influenced by Max Black's epistemological view of metaphor, philosophers often use the word 'metaphor' in the expanded sense including 'analog-model' or 'symbol'. It is sure that an analog-model is a mode of recognizing the world based on the relation between two things. But metaphor is, we claim, nothing other than a linguistic phenomenon of predicative modification of a subject. If it is true, it follows that metaphor in its proper form can not appear at the dimension of such visual images as paintings and films.
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  • Mythos and Epeisodion in the Poetics of Aristotle
    Masahiro KITANO
    Article type: Article
    2003 Volume 53 Issue 4 Pages 15-27
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_15
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    In the seventh and eighth chapters of Poetics, Aristotle tries to derive several general requirements for the tragic μυθοζ. Μυθοζ should have the unity and the wholeness. In this paper, the contributor will re-evaluate the concept of the μυθοζ and try to show that it is not the "combination of the Incidents" performed before the audience, but that imitated through a work. To use Russian Formalists' terms, Aristotle's μυθοζ is fabular in that it contains actions outside the drama. This interpretation of the tragic μυθοζ sheds new light on the meanings and dramatic functions of two important but cumbersome terms discussed in Chapter 17, namely, λογοζ καθολου and επεισοδιον. Λογοζ καθολου is neither a kind of Ur-μυθοζ nor it cannot be identified with the μυθοζ itself. Rather, it is a chronological structure of the essential events abstracted from the somewhat concrete μυθοζ for the sake of the determination of the scenes performed before the audience. 'Επεισοδιουν, then, means the sjuzhetization of the fabula regardless of whether each επεισοδιον belongs to the μυθοζ or is taken from the other elements of tragedy that concern the 'object of imitation', namely, ηθοζ and διανοια.
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  • Conflict in Representations, or Representations in Conflict : On Sodoma's Two Works for the Confraternity of the Rosary
    Tomoo MATSUBARA
    Article type: Article
    2003 Volume 53 Issue 4 Pages 28-41
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_28
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    In the church of San Domenico in Siena, there survive two works painted by Sodoma for the Confraternity of the Rosary. In the center of the first work, a so-called "picture tabernacle," is embedded a medieval Virgin with Child, and beneath the icon is depicted the northern area of the city called Camollia. Additionally, the predella representing the Fifteen Mysteries of the Rosary is attached to it. Thus, this icon protecting Camollia is transformed into the Virgin of the Rosary. The second painting is a processional banner representing the Assumption of the Virgin. Around her, a crowd of angels is scattering roses over Camollia depicted at the lower left. These works were painted shortly after the Battle of Camollia of 1526, fought by the Florentine and the Sienese who won. Sienese people attributed this "miraculous" victory to the Immaculate Conception, a mystery over which the Franciscans (for it) and the Dominicans (against it) had held a series of intense disputes. By situating the representation of Camollia under the Virgin of the Rosary (or roses alluding to it), the Dominicans probably tried to claim that it was in fact thanks to the Virgin of the Rosary that Siena won, and to divert people's piety from the Immaculate Conception.
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  • The apse of the secondary building of Speyer cathedral and sepulchral architecture
    Yasuyuki OGURA
    Article type: Article
    2003 Volume 53 Issue 4 Pages 42-55
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_42
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    The apse of Speyer cathedral was not a semicircular plan but a rectangular one originally. In the 1080s it was probably rebuilt by Benno von Osnabruck, a well-known architect of the time. Most scholars have explained that the purpose of this rebuilding was either a repair of the chancel eroded by the Rhein, or the reinforcement to support the weight of the tunnel vault. However we should note that there are no signs of river erosion on the foundations and also that the foundations of Speyer I are structurally sturdier than those of Speyer II. These facts suggest that the alteration of plan could not have been for purposes of repair or reinforcement. Furthermore I assume that flood prevention was not performed by rebuilding the cathedral itself but by the construction of the bank. My conclusion is that the alteration from a rectangular plan to a semicircular one, the composition of the elevation of several horizontal layers and the line of niches were all actually created with the mausoleum of Salian Kaiser in mind. In short, Benno von Osnabruck rebuilt the apse of Speyer cathedral in order to manifest visually the attributes of sepulchral architecture.
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  • The Power of Display : "Road to Victory" and the Display Design of Herbert Bayer
    Mika KOBAYASHI
    Article type: Article
    2003 Volume 53 Issue 4 Pages 56-69
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_56
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    This paper deals with "Road to Victory", a wartime propaganda exhibition held at the Museum of Modern Art, New York in 1942. This exhibition was a collaborative achievement of three men; a photographer Edward Steichen composed a sequence of 150 photographs, a poet Carl Sandberg made the captions that accompanied with the photographs, and a graphic designer Herbert Bayer designed the exhibition with the photographs and captions. This paper focuses on the role of Herbert Bayer who established the theory of exhibition design and illustrated it by the diagrams of "the Field of Vision". In "Road to Victory", he used the methods of photo-story and advertising photography to convey the message effectively and controlled the relationship and the position of the photographs and captions in order to persuade the audience to join the war effort. The mural sized photographs or "photo-murals" were especially effective means to overwhelm the audience.
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  • Compositional Process of Charles Ives's Fourth Symphony
    Tomoyuki HATTORI
    Article type: Article
    2003 Volume 53 Issue 4 Pages 70-83
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_70
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    Our vision of Charles Ives's music and his career has been changed by the redating of his manuscripts and many other researches in recent years. With reference to these researches, in this paper, I reconsidered about the chronological date, compositional procedures, techniques, and backgrounds of Ives's Fourth Symphony which had been regarded as a synthesis of his music. Based on the recent chronology, this symphony was started to write in an unusual year: the next year of his serious heart attack. This redating has made it possible to think about the reason of the religious program and massive use of self-borrowing in this symphony. Based on the recent analysis of his composition itself, this symphony is an unusual piece, even for Ives himself. But, from a viewpoint of the compositional procedures, this symphony is the piece that shows most purely one of Ives's own compositional manners, that is, to write some musical backgrounds or contexts that transfigure sounds of the borrowed materials.
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  • YAMAMOTO Masao, "Beauty and Types of Arts", (in Japanese)
    Takao OTA
    Article type: Article
    2003 Volume 53 Issue 4 Pages 84-86
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_84
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  • YAMADA Tadaaki, OTABE Tanehisa(ed.), "The Poetics of Style : Chiasm of Ethics and Aesthetics", (in Japanese)
    Katsushi NAKAGAWA
    Article type: Article
    2003 Volume 53 Issue 4 Pages 87-89
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_87
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2003 Volume 53 Issue 4 Pages 90-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_90
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 53 Issue 4 Pages 91-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_91
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 53 Issue 4 Pages 92-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_92
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  • [title in Japanese]
    Article type: Bibliography
    2003 Volume 53 Issue 4 Pages 93-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_93_1
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  • [title in Japanese]
    Article type: Bibliography
    2003 Volume 53 Issue 4 Pages 93-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_93_2
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  • [title in Japanese]
    Article type: Bibliography
    2003 Volume 53 Issue 4 Pages 93-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_93_3
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  • [title in Japanese]
    Article type: Bibliography
    2003 Volume 53 Issue 4 Pages 93-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_93_4
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  • [title in Japanese]
    Article type: Bibliography
    2003 Volume 53 Issue 4 Pages 96-94
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_96
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  • [title in Japanese]
    Article type: Bibliography
    2003 Volume 53 Issue 4 Pages 94-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_94
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 53 Issue 4 Pages Cover3-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_Cover3
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 53 Issue 4 Pages Cover4-
    Published: March 31, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.4_Cover4
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