Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 53, Issue 1
Displaying 1-21 of 21 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 53 Issue 1 Pages Cover1-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_Cover1
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 53 Issue 1 Pages Cover2-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_Cover2
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 53 Issue 1 Pages App1-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_App1
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  • Audience Teased : Underestimate and Rehabilitation of the Audience's Knowledge in Aristotle's Poetics and Agamemnon
    Masaya WAKABAYASHI
    Article type: Article
    2002 Volume 53 Issue 1 Pages 1-14
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_1
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    This paper examines two ways of managing the audience of Greek tragedies. The first is the concealment or suppression of the audience by interpreters. As emergency measure, Aristotle suggests that illogical events which may disjoint the causal connections in a play should be concealed from the audience through narration (apangelia). G. F. Else, however, went so far as to banish the audience's participation from tragedies. His interpretation of Aristotle's Poetics is still influential, but his policy must be considered as a result of his introduction of the "autonomous structure" to Poetics, just as the New Criticism desired. The second way of managing the audience is through tragedians' allusions to well-known legends. The murder of Agamemnon was surely known to Aeschylus' contemporaries. Alluding to this ending, he kept the audience in suspense during the play, Agamemnon, although classicists have underestimated the audience's knowledge. The inharmonious lines themselves (550-616) would not be comprehensible without the knowledge of the ending. Furthermore, Aeschylus took advantage of the knowledge of the performing system in which the number of actors was restricted. He made Cassandra, performed by the third actor, look like a taciturn role and sing her sanguinary vision unexpectedly.
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  • The Problem of Social Integration in Schiller's Thought : the "Aesthetic State" and its Prehistory
    Hitoshi TANAKA
    Article type: Article
    2002 Volume 53 Issue 1 Pages 15-28
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_15
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    In this paper, I analyse Schiller's critical and theoretical writings from his youth to the "Asthetische Briefe" (1795), focusing on his struggle with the problem of social integration. In the "Philosophische Briefe" (1786), the young Schiller argues that humans naturally want others to be happy, because they identify with others intuitively. But Schiller abandons this concept of "love" in the same work. The "Briefe uber Don Karlos" (1788) deal with the incompatibility between friendship and "republican virtue" based on an abstract idea of "mankind as a whole". To solve the conflict between natural feeling and rational idea, Schiller conceives of a modern "folk poet" (Volksdichter) to unify the intellectuals and the masses in "Uber Burgers Gedichte" (1791). In comparison with these foregoing attempts, the concept of the "Aesthetic State" in the "Asthetische Briefe" should be understood as the climax of Schiller's confrontation with the problem of social integration. There he analyses the desire of individuals to express themselves as aesthetic objects in social intercourse and be approved by disinterested aesthetic judgment. This desire lets them take the universal viewpoint, free from private interests, that Schiller calls "taste".
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  • Roger Fry's Art Criticism-What is an Aesthetic Reality?
    Mariko KANAME
    Article type: Article
    2002 Volume 53 Issue 1 Pages 29-42
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_29
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    "Significant form" usually tends to be considered as a famous version of formalist idea, that propounded by Clive Bell and Fry. But there seems to be some difference between them. I think that Fry's art theory was formed under his contemporary thoughts, exactly to say Russel's. Both these theories have the analytic method and their central idea is "form". In Russell's logical proposition as well as Fry's art-works, "form" is not a metaphysical idea, but a real object described as the so-and-so; it is the way the constituents are put together. In this essay, however, my emphasis is not only that the originality of Fry's theory can be derived from an analogy with Russell's Logic. Because the object of art criticism has the aesthetic aspect that cannot be apprehended in such a logical way. Fry proposed "aesthetic vision" as looking at the real art-works. This vision belongs to the critic with a higher refined sense, and can distinguish "significant form". Fry's "significant form" must be the plastic relations that an artist makes out on his canvas, where also lies an aesthetic reality.
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  • L'idee de la touche
    Akinori MUTOBE
    Article type: Article
    2002 Volume 53 Issue 1 Pages 43-56
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_43
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    Quelle est la touche qui caracterise les tableaux de l'impressionnisme? Feneon a d'une part critique la touche de l'impressionnisme comme "un sabrage au pinceau". D'autre part il a considere la touche de neo-impressionnisme en tant que l'equivalent de tache colorante, et il a denie la matiere dont tout la touche devrait etre. Cependant la touche n'est que l'entite substantielle ainsi que la couleur d'huile qui reste sur une image en tant que la matiere. La matiere de la touche nous indique le mouvement de la main de peintre en reproduissant l'objet. Les impressionnistes ont tente de peindre leur sensation en employant la touche. Ils ont voulu substantialiser leur sensation sur l'image en passant par la matiere ainsi que la couleur d'huile. La valeur de l'impressionnisme et l'idee de la touche peuvent etre trouvee dans cette conclusion.
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  • Gioseffo Zarlino's Mathematical View of Music and Music as a Language of Emotions : A Phase of Musical Thought in the Beginning of Baroque Music
    Takaharu OAI
    Article type: Article
    2002 Volume 53 Issue 1 Pages 57-70
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_57
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    While it has been often emphasized that Monteverdi's seconda pratica opens the way to the essential idea of Baroque music : musical expression of passions of the text, Zarlino has been supposed to be a great defender of the more conservative style, prima pratica. However, Zarlino also develops the idea of "imitation of words" on the basis of the medieval conception of music as quadrivium. Zarlino supports the traditional Pythagorean view defining music as Harmonia, which is based on the simple proportions of the integral numbers and accordingly connotes consonances which sound agreeably to the sense. His view of music is therefore primarily speculative and mathematically analyzable by the reason. On the other hand, in the Renaissance humanistic thought, Zarlino seeks restoration of emotional effects of music in antiquity. He asserts the arousal of passions is caused by the very words to be set, those Harmonia (tune) and rhythm which are suitable to their emotional contents, and moreover, he stresses on the ethical purpose of music. But, Zarlino admits only the polyphony composed of consonances, as device of expression. He considers mathematical harmonic match as the most intrinsic part of music, recognizing the important role of words in music.
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  • Der Begriff "Wiener Schule" : Entstehung und politische Ideologie
    Osamu NISHIMURA
    Article type: Article
    2002 Volume 53 Issue 1 Pages 71-84
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_71
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    Unter dem Begriff "Wiener Schule" versteht man heute Arnold Schonberg mit seinen Wiener Schulern (hauptsachlich Alban Berg und Anton Webern) sowie den Musikstil dieses Kreises, der sich mit der Atonalitat und der Zwolftontechnik auszeichnete. Dass die Bezeichnung oft mit Attributen zusammen gebraucht wird (die "neue" bzw. "zweite" Wiener Schule), stellt ihren engen Bezug zur Wiener Klassik dar. Der Begriff entstand in der ersten Halfte des 20. Jahrhunderts und fand durch die schriftstellerischen Tatigkeiten der Schonberg-Schuler Verbreitung. Indem sie ihre eigene Musik absichtlich mit der "Wiener klassischen Schule" - ein Ausdruck fur die Wiener Klassik bei Guido Adler, bei dem sie Musikwissenschaft studierten - stilistisch in Zusammenhang brachten, bedeutete der Stilbegriff nicht nur die Kontinuitat deutscher Musik, sondern auch die Zugehorigkeit zur Stadt Wien. Diese war nach ihrer und Adlers Vorstellung der Ort, wo verschiedene Volker unter der Obhut des Deutschtums integriert werden sollten. Solcher Vorstellung lag die politische Ideologie der Juden, sich an die deutsche Kultur zu assimilieren, zugrunde, was zusammen mit anderen Momenten zur Entstehung des Begriffes "Wiener Schule" hinfuhrte.
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2002 Volume 53 Issue 1 Pages 85-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_85
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2002 Volume 53 Issue 1 Pages 86-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_86
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 53 Issue 1 Pages 87-91
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_87
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 53 Issue 1 Pages 92-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_92
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 53 Issue 1 Pages 93-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_93_1
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 53 Issue 1 Pages 93-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_93_2
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  • [title in Japanese]
    Article type: Appendix
    2002 Volume 53 Issue 1 Pages 93-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_93_3
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  • [title in Japanese]
    Article type: Bibliography
    2002 Volume 53 Issue 1 Pages 94-95
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_94
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  • [title in Japanese]
    Article type: Bibliography
    2002 Volume 53 Issue 1 Pages 95-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_95
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  • [title in Japanese]
    Article type: Bibliography
    2002 Volume 53 Issue 1 Pages 96-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_96
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 53 Issue 1 Pages Cover3-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_Cover3
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  • [title in Japanese]
    Article type: Cover
    2002 Volume 53 Issue 1 Pages Cover4-
    Published: June 30, 2002
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.53.1_Cover4
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