Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
Volume 55, Issue 1
Displaying 1-20 of 20 articles from this issue
  • Article type: Cover
    2004 Volume 55 Issue 1 Pages Cover1-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    2004 Volume 55 Issue 1 Pages Cover2-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages App1-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages App2-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Tomotaro KANEKO
    Article type: Article
    2004 Volume 55 Issue 1 Pages 1-13
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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    The early studies of Henri Bergson's aesthetics focused on his concept of intuition and supposed that a theory of art production does not exist in his aesthetics. Yet, after the re-examination of his concept of intuition, the possibility of Bergson's art production theory becomes more and more recognizable in recent years. In this essay, I propose an approach to his theory of art production, which based on the difference and the relationship between creation and fabrication in producing art. In Bergsonism, creation means endless self-creation, and the way life exists. On the other hand, fabrication is defined as the action giving forms to materials in Creative Evolution (1907). According to Bergson, the object of fabrication relates to the confrontation between life creating itself and matters interacting each other inevitably. In this confrontation, fabrication supports creation by making "indeterminations" within matters. I consider such difference and relationship between creation and fabrication could be found in Bergson's art production theory.
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  • Hidenori NAGASAKO
    Article type: Article
    2004 Volume 55 Issue 1 Pages 14-27
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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    Nishida Kitaro's term "artistic intuition" has four aspects. The first aspect is connected with creativity. The second is grounded in the body. And so, Nishida pays attention to "imitation" which is a means to obtain it, and "habit" which enriches it. The third, its subjectivity is moved by an "internal creative force", which is connected to "the unifying force of the universe". Nishida insists on "the unity of subject and object" grounded on "love". This is "a great world". The fourth, in this case, Nishida uses the word "unity", but he thinks that consciousness of the subject distinguishes objects. Nishida attaches importance to personality. Then Nishida focused on "a greater self", a sort of sublimated subject, and "a great world", a union of subject and object. The framework of Nishida's perspective on art is analogous to Ito Jinsai's framework of which benevolence(=ren) forms the undercurrent. Their framework is based on a kind of correlation between heaven and humans. And this correlation is grounded on love(or ren). Nishida and Jinsai see the dynamic relation between humans and nature as based on love, and the establishment of a new and great world.
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  • Keiko HASHIZUME
    Article type: Article
    2004 Volume 55 Issue 1 Pages 28-41
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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    The poetics and the scientific philosophy of Gaston Bachelard tend to be studied separately and there is a still unknown part about these relations. Therefore, in this paper, I consider the concept of the material imagination, paying attention to the relation between scientific philosophy and poetics. Bachelard made the problem of imagination the theme in "Psychoanalysis of Fire". It was written for consideration of science, and scientific philosophy and imagination are regarded there as being opposites. But afterward, this book became a part of poetics. Because of this conversion, the whole poetics is opposed to scientific philosophy, and one problem is posed. That is, the poetics has to discuss new, original images, which obtain people's consent. And to solve this problem, the new concept of imagination Is needed which is " material imagmation". This concept overcomes the difficulty by two ways. One is to attach importance to materiality, which is the concept discussed already in scientific philosophy. The second is to put to use the theory of psychoanalysis. Because of this solution, material imagination can serve as an important concept in early poetics, and it reflects the important influence of scientific philosophy on the poetics.
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  • Keiko ISHIDA
    Article type: Article
    2004 Volume 55 Issue 1 Pages 42-55
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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    Emmanuel Levinas definit l'Autre comme autrui qui existe en dehors du Moi. Le visage de cet Autre accuse et effondre l'existence du Meme en tant qu'egoisme. Ceci signifie que Levinas pense que la rencontre avec le << visage >> est une condition d'ethique. Mais peut-on considerer que 1'experience artistique egale cette rencontre ? Les reflexions portees sur ce probleme sont ambivalentes : d'une part, Levinas souligne l'irrespons-abilite de l'art, d'autre part, il reconnait que l'art peut etre passage vers l'Autrui. Cet article tendrait a expliquer l'ambiguite par un conflit entre representation et passivite de la sensibilite que l'on remarque dans ses reflexions sur l'art. Levinas pense que l'irresponsabilite de 1'art provient de l'idolatrie-<< representation >> car l'alterite de l'Autre est transformee en un << alter ego >> dans la representation meme de 1'art. Cependant, il devrait etre oblige d'admettre une contradiction dans sa pensee de 1'art : la sensibilite se rattache a la fois a la re-presentation et a 1'etat d'<< il y a >>, c'est-a-dire a l'envahissement de 1'impersonnalite d'<< element >>. Plus tard, Levinas redefinira la passivite de la sensibilite comme << vulnerabilite >> qui assure une relation a l'<< Autrui >>. Il faut donc comprendre que pour lui, 1'art est une experience double, c'est-a-dire l'<< Autre-dans-le-meme >>. Cette supposition est renforcee par le fait que Levinas traite l'art comme trace. Chez lui, l'art etant considere comme d'une nature extremement passive, il est possible d'imaginer un art qui ne retourne pas au Meme.
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  • Atsushi FUJIE
    Article type: Article
    2004 Volume 55 Issue 1 Pages 56-69
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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    I analyze the environmental sculpture of Michael Heizer's "trace" by his action in the desert and create the connection between Art and Archeology. The "Trace" has multiple meanings. The notion of "Displacement" which is related to "Trace", is defined as the displacement of the people, objects and matter. "Displacement" denotes the replacement or transfer. 1) I situate the historic context which has made the foundation for the interdisciplinary theory between actual art and archeology through the exchange of information of American art historians and anthropologists.2) I analyze the relation of the contemporary Land art and the notion of "Colossal", which also has multiple meanings, issued from 18th century philosophy of the Sublime, as evidence of connection between art and archeology. I also analyze "Diffracted Gestalt", the key concept in understanding the works of M. Heizer 3) I analyze the notion of "Displacement", in three cases: (1)Monument, (2)Connection of art and archeology, and (3)Copy. 4) 1 consider the actions of M. Heizer as ritual and analyze the meaning of his individual ritualistic action, referring the American Indian's ritual in the art context.
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  • Akiko YUZURIHARA
    Article type: Article
    2004 Volume 55 Issue 1 Pages 70-83
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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    The step named coupe was born with the birth of danse classique in the 17^<th> century and has continued to be in the current ballet vocabulary, while it has varied its form through ballet history. Literally coupe means 'cut,' but what does 'cut' mean for the dance and why has the form changed though the name has remained identical? To answer these questions I examined the various descriptions concerning coupe found in main dance books since the 16^<th> century and tried to identify their forms and functions in each century. Viewing over different coupe existing through ballet history, it can be noticed that the most pivotal role of coupe has been to articulate dance: to segment time and to give dance clear movement patterns. In the 17^<th> century coupe was the action for 'taking in breath' in advancing steps, articulated as pattern of 'temps', while since the 20^<th> century it has played a role as a conjunction connecting steps, articulated as visual patterns of body position. As the way of articulating dance movement has changed with time - and especially between the 18^<th> and 19^<th> century - the variety of coupe has emerged in ballet history.
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages 84-94
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages 95-98
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages 99-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages 99-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages 100-101
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages 101-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    2004 Volume 55 Issue 1 Pages 101-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Bibliography
    2004 Volume 55 Issue 1 Pages 104-102
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    2004 Volume 55 Issue 1 Pages Cover3-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    2004 Volume 55 Issue 1 Pages Cover4-
    Published: June 30, 2004
    Released on J-STAGE: May 22, 2017
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