Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 54, Issue 2
Displaying 1-17 of 17 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 54 Issue 2 Pages Cover1-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_Cover1
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 54 Issue 2 Pages Cover2-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_Cover2
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 54 Issue 2 Pages App1-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_App1
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 54 Issue 2 Pages App2-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_App2
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  • The Middle Voice in the Experience of Art
    Aki MORITA
    Article type: Article
    2003 Volume 54 Issue 2 Pages 1-14
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_1
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    The middle voice, distinct from the active and the passive, is almost forgotten in our days. We could adopt this linguistic category as an alternative category in thinking about the experience of art. According to the linguists' discussions, in the middle voice the subject is inside the process and is affected from it. The process arises of itself without any agent. The middle voice is to grasp a matter not depending on identical terms or units, but starting from an event itself. As the middle voice event takes place, something is slipping off from itself; there is neither 1 nor 2. It concerns between 1 and 2. It is difficult to describe the experience of art in the schema of <<subject - object>> , <<active - passive>> ; both in creation and reception, there takes place something middle. It is also difficult to distinguish the sensible and the signification, the expression and the expressed in the experience; two moments are differentiated and mediated at the same time. In this sense the experience of art seems to be middle. The middle phase in the experience of art is a foundation event from which <<subject - object>> , <<the sensible - the signification>> are deriving.
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  • The Origin and Ideology of Cultural Pluralism in Aesthetics
    Kin-ya NISHI
    Article type: Article
    2003 Volume 54 Issue 2 Pages 15-27
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_15
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    Ever since J. G. Herder (1744-1803) elaborated his idea of "culture" as particular groups' traditional values in contrast with more cosmopolitan "civilization", the concept of cultural differences has served as a vehicle for the critique of universal values. But has this tradition of anti-universalism of culture with emphasis on the aesthetic contributed, as A. Kuper, J. Hutchinson and other social scientists assume, merely to induce nationalist ideology? This paper reexamines the origin and the discursive function of the concept of cultural diversity in aesthetic theories. In his pluralist reading of Kant's The Critique of Judgement, Herder granted the notion of culture a two-fold function which allowed him to steer between the solipsism of artistic experience and the over-generalization of the sense of beauty. This balance-act is still required today in handling the concept of culture, as this consists in an ambivalence between external difference and internal homogeneity. Bearing this ambivalence in mind, we always have to be aware both of the particularist ideology of culture, and of the ideal of pluralism as its critical-utopian moment, which still has great influence on such theories as feminist aesthetics.
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  • Unusual Illustrations in the Headpiece of the Mytilene Gospel Book : A Combination of Christ and the Four Evangelists
    Mika TAKIGUCHI
    Article type: Article
    2003 Volume 54 Issue 2 Pages 28-41
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_28
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    The Mytilene Gospel Book (Lesbos, Mytilene Boys Gymnasium, cod. 9) is an illustrated Greek manuscript, dating from the early thirteenth century. Illustrations in the Mytilene Gospel Book consist of a frontispiece (the Tree of Jesse), four Evangelist portraits, four headpieces at the beginning of each Gospel, and eighty-nine illustrations of the life of Christ. In this paper, unusual illustrations in the headpiece are focused on, where each Evangelist is combined with the second person and one of the three images of Christ (the Emmanuel, the Pantokrator, and the Ancient of Days). How were the three images of Christ related with the four Evangelists? Here, the Evangelist Matthew is accompanied by persons from the Old Testament who represent the past, Luke by the other Evangelists who represent the contemporary, and John by the angel who represents the future. Thus the epithet of Christ (the Lord who is, and who was, and who is to come) is laid to embellish the Evangelists. Furthermore, the frontispiece (the Tree of Jesse) expresses the genealogy of Christ, and together with the extensive narrative cycle, they emphasize the life of Christ on earth. On the other hand, the headpieces with the three images of Christ express the eternal life of Christ. Thus the unusual illustrations of the Mytilene Gospel Book visualize the two nature of Christ, the incarnated man on earth and God with the eternal life in parallel.
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  • The Palazzo Medici Adoration by Filippo Lippi : A New Nativity
    Azusa KENMOCHI
    Article type: Article
    2003 Volume 54 Issue 2 Pages 42-55
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_42
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    In 1459, Filippo Lippi painted the altarpiece The Adoration of Infant Christ for the chapel of Palazzo Medici, which was the private palace of Cosimo de' Medici. Considering the famous fresco cycle of the Journey of Magi by Benozzo Gozzoli in the same chapel, evidently Lippi's altarpiece represents the traditional Christian theme of the Nativity. But, compared with other contemporary paintings, it has two unusual iconographical aspects. The first is the appearance of St. Bernard of Clairvaux and Infant John the Baptist. The second is the setting in which this holy event happens. Why did Lippi paint two saints and the setting of a dark forest? Concerning the question of these two saints, the most important reason was the political ambitions of the Medici. Traditionally, these two saints were very important for the city. The Medici gave political and public character to their chapel by depicting the saints in the altarpiece. As for the question of the forest setting, in the 15th century, these two saints were recognized to have a deep relationship with Nature or the forest. So the forest setting was very natural for them. It functions as a device that makes the characters in this holy event harmonize.
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  • Color Circle as a Microcosm : Mural Paintings of R. Delaunay and A. Gleizes in the 1930s
    Yukiko KATO
    Article type: Article
    2003 Volume 54 Issue 2 Pages 56-69
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_56
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    In the 1930s a number of mural-painting projects such as those of the Universal Exhibition in Paris (1937) were executed by Robert Delaunay (1885-1941) and Albert Gleizes (1881-1953). Their chief characteristic was the use of complementary colors arranged in concentric circles. Since this could already be seen in Delaunay's <Disque> (1913), the later work has attracted little attention. This paper, however, demonstrates that these projects could not have been realized without Gleizes' theory which saw colors as fundamental elements of the universe, not as secondary qualities subordinate to form. Referring to the physiological color studies of Ch. Henry and of F. Forichon, Gleizes claimed that the color order in our perception constitutes a universal law. The ability of complementary contrasts to generate the perception of light was, he believed, an effect of the order of the universe. In 1928, therefore, he proclaimed that through its use of color Delaunay's <Disque> was a microcosm; he saw it as a pioneering work in a new age of architectural painting. This thought attracted Delaunay as well. Following the western tradition seeing architecture as a reflection of the universe, they tried through mural-paintings to realize a new world based on color order.
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  • Reconsideration of the "Competition" between Mozart and Salieri at Schonbrunn Palace in February, 1786
    Satoshi MATSUDA
    Article type: Article
    2003 Volume 54 Issue 2 Pages 70-83
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_70
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    In February, 1786, the Emperor Joseph II gave a feast at Schonbrunn Palace. On this occasion, Der Schauspieldirektor, a comedy with music by Mozart, was given its first performance, together with Salieri's opera buffa Prima la musica e poi le parole. So it has long been widely accepted that the two composers' music competed with each other in the feast. But, in fact. Der Schauspieldirektor is a unique stage work, of which the first half is formed as a German Play and the latter as a Singspiel. This fact necessitates reconsideration of the "competition". From October, 1785, three genres of stage work, German Play, Singspiel and Italian Opera, were performed at Viennese court theatres, so the feast can be regarded as an epitome of this system of performance in operation. This system marks an epoch in the Viennese performance history of opera, because, till then, it had never occurred that both the Italian Opera and the Singspiel were performed at court theatres in the same period. The two works performed in the feast share the same subject, that is the rivalry and the harmony between the different genres, and through it, the Emperor demonstrated his new idea to treat both German and Italian theatrical genres equally.
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 54 Issue 2 Pages 84-87
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_84
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 54 Issue 2 Pages 88-89
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_88
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 54 Issue 2 Pages 89-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_89_1
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  • [title in Japanese]
    Article type: Appendix
    2003 Volume 54 Issue 2 Pages 89-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_89_2
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  • [title in Japanese]
    Article type: Bibliography
    2003 Volume 54 Issue 2 Pages 92-90
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_92
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 54 Issue 2 Pages Cover3-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_Cover3
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  • [title in Japanese]
    Article type: Cover
    2003 Volume 54 Issue 2 Pages Cover4-
    Published: September 30, 2003
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.2_Cover4
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