Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 54, Issue 4
Displaying 1-17 of 17 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2004 Volume 54 Issue 4 Pages Cover1-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_Cover1
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  • [title in Japanese]
    Article type: Cover
    2004 Volume 54 Issue 4 Pages Cover2-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_Cover2
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  • [title in Japanese]
    Article type: Index
    2004 Volume 54 Issue 4 Pages Toc1-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_Toc1
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  • Max Dessoir's allgemeine Kunstwissenschaft and The 1st International Congress of Aesthetics
    Manabu KATAYAMA
    Article type: Article
    2004 Volume 54 Issue 4 Pages 1-13
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_1
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    Max Dessoir, German aesthetician, played an important role in the idea and the movement of allgemeine Kunstwissenschaft (general science of art) which occurred in Germany at the beginning of the twentieth century. His merits consist of publishing the first journal concerning aesthetics and studies of arts, establishing the organization of studies, and holding the congress. Particularly the congress in Berlin in 1913 which was recognized as the 1st International Congress of Aesthetics in 1937 is the climax in the activities of allgemeine Kunstwissenschaft and reflected Dessoir's idea clearly. Dessoir's idea about allgemeine Kunstwissenschaft is to make aesthetics and studies of art autonomous studies separated from philosophy and historical studies by uniting the various studies concerning arts. Dessoir's idea spread to other countries and contributed to the organization of aesthetics and studies of arts there. Allgemeine Kunstwissenschaft was weakened by two world wars and at present is seldom reviewed. But Dessoir's idea about allgemeine Kunstwissenschaft is the origin of aesthetics and studies of arts of today.
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  • Die Poetik des politischen Pantheismus. Zur Fragmentsammlung Glauben und Liebe des Novalis
    Tanehisa OTABE
    Article type: Article
    2004 Volume 54 Issue 4 Pages 14-27
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_14
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    In diesem Aufsatz wird die politische Fragmentsammlung Glauben uud Liebe (1798) Friedrich von Hardenbergs, genannt Novalis (1772-1801), untersucht. Statt Glauben und Liebe als konservatives Elaborat abzutun, zieht der Verfasser die Fragmentsammlung in Zusammenhang mit der von Kant in seiner Kritik der Urteilskraft (1790) formulierten Theorie der "Versinnlichung der Ideen" in Betracht und versucht sie als ein Projekt der "Romantisierung der Welt" auszulegen. Novalis geht es nicht darum, die zeitgendssische Monarchie de facto zu rechtfertigen, sondern sie zu "romantisieren", d.h. in ihr die unsichtbare Idee des idealen Staates "sichtbar" zu machen. Durch die Romantisierung des Konigs und der Konigin romantisieren wir uns selbst, indem wir uns in ein romantisiertes Konigspaar verwandeln, welches das politische Ideal der Vereinigung von Monarchie und Demokratie bzw. Republikanismus symbolisiert. Novalis stellt fest, dass diese Vereinigung, die er mit der Verschmelzung von Entheismus und Pantheismus vergleicht, im "politischen" Pantheismus zu verwirklichen sei, dem zufolge "alle Menschen ... thronfahig werden" konnen und sollen. Daraus ergibt sich, dass die Fragmentsammlung Glauben uud Liebe, welche die Idee des politischen Pantheismus theoretisch behandelt und sie zugleich durch die Romantisierulg des Konigspaars (und aller Staatsburger) "anschaulich" macht Novalis' romantisches Denken par excellence veranschaulicht.
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  • Walter Benjamin's theory of photography : What is the actuality of photographs?
    Mika JOMARU
    Article type: Article
    2004 Volume 54 Issue 4 Pages 28-41
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_28
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    According to Walter Benjamin, the photography is the first revolutionary reproduction technology, and the invention of it has brought a certain critical situation, "a poverty of experience" or "a decline of experience". It has progressed with the change in the communicative form from the story to the information. The photography reproduces traumatic shocks, and it has two opposite functions, repetition and reproduction. On the one hand, repeating shocks is a fragmentation of time and space. On the other, reproducing shocks is a reconstruction of a new spatial-temporal order by re-arranging those fragments. And this re-arrangement (=construction) is done by means of words (characters). The construction is that people read a (non-sensitive) similarity between words and fragments of various things which are released from all relations, and by doing so, set them in a new context where things can expose their new meanings. This new context is the place where things can gain the actuality. The function of photography is to form the space where all possible words can exist toward an image, and Benjamin found out the possibility of new collective experience in this space.
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  • On the Historiated Initials of the Saint Albans Psalter
    Midori TSUZUMI
    Article type: Article
    2004 Volume 54 Issue 4 Pages 42-55
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_42
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    The St. Albans Psalter (ca.1123-35, Hildesheim, St. Godehard) is one of the most important manuscripts of English Romanesque art. The illumination consists of 44 full page cycles and 192 historiated initials for each Psalm and prayer. Every initial contains motifs based on the verse while Psalmist and Christ appear as main character. This paper focuses on the visualization of tropes of the St. Albans Psalter initials. It analyses the method to turn similes, metaphors and metonymies into images in the St. Albans initials. The artists or designer selected a few verses and made up compact motifs to fit for dialog scenes of Christ and the Psalmist. We found that Psalmist often pointed motifs and related verse or caption to let readers follow designated way of identification. The St. Albans initials reveal that the Psalm illustration became designed for systematic reading after the 12th century.
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  • "Combat of the Bird and the Serpent" : An Illustrated Christian Allegory in the Beatus Manuscripts.
    Mieko KEZUKA
    Article type: Article
    2004 Volume 54 Issue 4 Pages 56-68
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_56
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    The imagery of "Combat of the Bird and the Serpent" symbolizes Christ defeating the devil. According to its text attached to the illustration, the battle is an allegory of the Incarnation of Christ. This illustration appears in several manuscripts produced in the early medieval Spain, especially in the Beatus Manuscripts: the commentary on the Apocalypse compiled by the monk Beatus. The unique depiction of the text and the full-page illustration are outstanding in the pictorial tradition of the manuscripts. In previous studies, particular sources of the text and iconographic traditions have been investigated, but the biggest question was overlooked: why was this illustration inserted? In this article, I examine its earliest surviving example in the Girona Beatus, completed in A.D.975, and argue that this imagery was represented with a certain intension, which enables us to relate the Old Testament to the Apocalypse. I also indicate that the very text of the illustration has much in common with the exegesis written by Beatus, if it is compared with the legenda derived from the Physiologus, the Christianized animal allegory gathered around the 2nd century. It is its allegory that includes the key to relate this illustration with the Beatus Manuscripts.
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  • Sculpture as "Sacrifice" : Alberto Gracolnetti's Surrealist Work and Georges Bataille
    Azusa HASHIMOTO
    Article type: Article
    2004 Volume 54 Issue 4 Pages 69-82
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_69
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    The purpose in this study is to reconsider the relationship between Alberto Giacometti and Georges Bataille. This relationship was first noticed by Rosalind Krauss. In her study, she claimed that Giacometti's work has horizontality, and this responds to Bataille's "Bas Materialisme" which is an idea established in Documents. However, I think her argument is not complete because she undervalued another important character of Giacometti's work. That is violence, which means exactly death. Violence is also an important moment for "Bas Matreialisme" which is intended to collapse the philosophical hierarchy. According to Bataille's later works, this violence is banned ("interdit") in our daily life, but since we are attracted by it, it must be transgressed. Bataille claims the importance of death by showing "sacrifice" in which executor kills living thing or destroys non-living thing. In Giacometti's surrealist work, we can find some motives of murder or destruction. Those works represent the moment before the execution of murder or destruction. This Giacometti's work's special structure causes an impulse to destroy. In other words, it demands that the spectator should play the role of executor of "sacrifice". For example, in Fleur en danger, the spectator may want to cut the string which is pulling the wood bar, and that will cause the white thing ( it may symbolizes flower) to be destructed. The work provokes the spectator to confront the idea of death, both killing and being killed. Viewing Giacometti's work as "sacrifice" can be a false-experience of death.
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  • [title in Japanese]
    Article type: Appendix
    2004 Volume 54 Issue 4 Pages 83-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_83_1
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  • [title in Japanese]
    Article type: Appendix
    2004 Volume 54 Issue 4 Pages 83-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_83_2
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  • [title in Japanese]
    Article type: Appendix
    2004 Volume 54 Issue 4 Pages 84-85
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_84
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  • [title in Japanese]
    Article type: Appendix
    2004 Volume 54 Issue 4 Pages 85-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_85_1
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  • [title in Japanese]
    Article type: Appendix
    2004 Volume 54 Issue 4 Pages 85-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_85_2
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  • [title in Japanese]
    Article type: Bibliography
    2004 Volume 54 Issue 4 Pages 88-86
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_88
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  • [title in Japanese]
    Article type: Cover
    2004 Volume 54 Issue 4 Pages Cover3-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_Cover3
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  • [title in Japanese]
    Article type: Cover
    2004 Volume 54 Issue 4 Pages Cover4-
    Published: March 31, 2004
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.54.4_Cover4
    JOURNAL FREE ACCESS
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