Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 57, Issue 4
Displaying 1-22 of 22 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2007 Volume 57 Issue 4 Pages Cover1-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_Cover1
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  • [title in Japanese]
    Article type: Cover
    2007 Volume 57 Issue 4 Pages Cover2-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_Cover2
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  • [title in Japanese]
    Article type: Appendix
    2007 Volume 57 Issue 4 Pages App1-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_App1
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  • Die Schonheit als das nicht in den Begriff ≫Vollkommenheit≪ Auflosbare : Uber den Begriff ≫ZweckmaBigkeit≪ in Kants Asthetik
    Masashi ITO
    Article type: Article
    2007 Volume 57 Issue 4 Pages 1-14
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_1
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    In §15 der Kritik der Urteilskraft fragt Kant: ≫ob sich auch die Schonheit wirklich in den Begriff der Vollkommenheit auflosen lasse≪. Kant kritisiert Baumgartens und Meiers Asthetik, welche die Schonheit als die nur in verworrener Weise vorgestellte Vollkommenheit begreift, und baut auf der Grundlage des ZweckmaBigkeitbegriffs seine eigene Asthetik auf. Freilich ubernimmt Kant verschiedene Begriffe aus Baumgarten und Meier. Vor allem der Begriff ≫Lebhaftigkeit≪ ist ein ihnen gemeinsames Merkmal der asthetischen Erfahrung, der eine wichtige Roll in ihren Theorien spielt. Baumgarten und Meier gebrauchen diesen Begriff als Metapher, um eine Erfulltheit der asthetischen Erkenntnis zu kennzeichnen, die durch die Abstraktion der Vernunft nicht beschadigt wird. Dagegen wirkt der Begriff ≫Lebhaftigkeit≪ bei Kant nicht mehr metaphorisch. Denn fur Kant bedeutet die Schonheit zuerst die Naturschb'nheit, die man in der lebendigen und organischen Natur wahrnehmen kann. Also liegt zwischen leibnizwolffischen und kantischen Asthetik eine Wende, die dieser Aufsatz die teleologische Wende vom Schonen nennt. Dieser Aufsatz geht dem Weg Kants zu dieser Wende nach und versucht zu zeigen, welche neuen Moglichkeiten Kants Asthetik dadurch eroffnet hat, dass sie die ZweckmaBigkeit anstelle der Vollkommenheit als Leitfaden des Gadankens uber die Schonheit auffaBt.
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  • Valery's 'Pure' Poetry and His Physiological Concern for Body
    Asa ITO
    Article type: Article
    2007 Volume 57 Issue 4 Pages 15-28
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_15
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    What I try to indicate in this paper is that what Paul Valery called 'pure poetry' concerns the 'physiological' sensation of the body that cannot be conveyed by prose. Curiously Valery found the ideal type of art experience in the physiological phenomena due to the nature of retina-that is to say perception of complementary colors. Complementary colors produced by the eye as antidote against colors that stimulate itself are certainly subjective impressions and imply fear of disturbing objective recognitions. However, Valery regards this pure sensation which is set free from external objects to refer, as a perception of our own body whose functions are normally imperceptible to us. We directly find out about our body only when it doesn't function properly. By using means such as rhythm, rhyme, inversion and surprise, poetry captures and restrains the reader's body and interferes its smooth and automatic that is to say prosaic activity. This is the point where pure poetry and the physiology intersect. Both, guiding our attention to physical disorder, help us to gain the representation of our body, which, according to Valery's idea, is a system consisting of various functions.
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  • Hugo von Tschudi und die franzosische moderne Kunst
    Ikuo SAITO
    Article type: Article
    2007 Volume 57 Issue 4 Pages 29-42
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_29
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    Als Direktor der Nationalgarelie in Berlin erwarb Hugo von Tschudi Werke des Impressionismus, auch des Neo- und Postimpressionismus, die bisher in keinem Museum vertreten waren. Seine Kunstanschauung uber die modernen Kunst wurde in seinem Festvortrag "Kunst und Publikum" am kaiserlichen Geburtstag 1899 in der Berliner Akademie der Kunste dargestellt. Seiner Meinung nach vollzieht sich der erhoffte kunstlerische Aufschwung in der Richtung der naturalistischen Entwicklung, und fur die Kunstler steht die Gestaltungskraft als die personliche schopferische Kraft an erster Stelle. Seine Ansicht ist von Abhandlungen Konrad Fidlers gepragt, worin die eigentliche Bedeutung der naturalistischen Bewegungn gegen die alten idealistischen Anschauungen dargestellt wird, und neue kunstlerische Begabungen erwartet werden, die die Natur und die Wirklichkeit nicht nachahmen, sondern produzieren konnen. Fiedler, der theoretische Vorlaufer der modernen Kunst, muB Tschudi mit seiner Theorie einen Ausblick auf die spateren Kunstrichtungen eroffnet haben. Dadurch hat er ungeachtet der Giebelinschrift "Der Deutschen Kunst MDCCCLXXI" des nationalen Tempels deutscher Kunst Hauputwerke moderner franzosischer Kunstrichtungen erworben und auch Kandinskys "Zukunftsmalerei" entdecken konnen.
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  • Photographic, realite et verite : Le realisme photographique selon Roland Barthes
    Genta OKAMOTO
    Article type: Article
    2007 Volume 57 Issue 4 Pages 43-54
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_43
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    Dans La chambre claire, Roland Barthes essaie de theoriser sur le ≪realisme photographique≫ (le mot ≪realisme≫ etant a entendre au sens philosophique, et non artistique), autrement dit sur le lien de la Photographic a la realite. Ce lien n'est pas seulement denie (la Photographic n'a pas de realite, mais de l'arbitraire), mais aussi surinterprete (la realite de la Photographic ne consiste que dans la vraisemblance), pour autant que la Photographic est produite et regardee a travers differentes mediations. Or ce deni aussi bien que cette surinterpretation ne font que meconnaltre le realisme photographique tel qu'il est concu par Barthes. Car, selon lui, la Photographic se met en rapport avec la realite par l'intermediaire de la verite de l'image, et la verite, qui se trouve dans la ressemblance, le lignage et l'air, est inseparable des souvenirs et des passions du sujet qui voit une photo. Avec cette theorie du realisme photographique, Barthes tente de sortir de la conception qui oppose l'image au reel, alors que la meme conception marque largement la societe moderne. Si cette conception est toujours dans l'air, comme le fait remarquer d'ailleurs Jacques Ranciere, le realisme photographique de Roland Barthes n'en parait pas moins actuel.
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  • Kepler's Views on Consonance
    Takaharu OAI
    Article type: Article
    2007 Volume 57 Issue 4 Pages 55-68
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_55
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    Johannes Kepler, one of the most famous astronomers during the period of scientific revolution, illustrates a unique view on consonance in Harmonice mundi (1619). First, Kepler rejects the Pythagoreans' symbolism of numbers (discrete quantity) that defines their concept of harmony and consonance. Instead, he defines consonance using geometrical figures that consist of concrete lengths (continuous quantity), treating numbers only as the values of the lengths. For explaining the concept of consonance, Kepler underlines the function of human soul to recognize harmony. He classifies harmony into two types: "sensible" and "pure." Sensible harmony (i.e., consonance) is realized by the human soul while comparing things that are perceived by sense (i.e., sounds). Pure harmony, on the other hand, functions as the archetype of sensible harmonies. It is an abstract mathematical idea, inherent in the human soul, and it certifies sensible harmonies as such. Moreover, this archetypal harmony is associated with God himself. Thus, Kepler hypothesizes on consonance based on his own metaphysics, which differs from the Pythagoreans' reflections on the subject.
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  • The Founding of Bunriha Kenchiku Kai : "Art" and "Expression" in Early Japanese Architectural Circle, 1888-1920
    Daiki AMANAI
    Article type: Article
    2007 Volume 57 Issue 4 Pages 69-82
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_69
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    The author examines architectural theories that lead to the founding of Bunriha Kenchiku Kai (Secessionist Architectural Group) in 1920, in line with four phases focusing on the understandings of "expression". First of all, the notion of architecture was divided into "art" and "science/utility" when it was introduced to Japan from the West. Secondly, the "art" was relegated to a lower importance through Sano Toshikata's nationalistic view of architecture. Sano's follower Noda Toshihiko subordinates architectural design only to the theory of structural mechanics. Their understandings of "expression" were unilinear. Thirdly, Goto Keiji, Noda's adversary in study, believed that principles of architectural design are to be rediscovered within architects' self: he became an predecessor of Bunriha. Moreover, a Bunriha architect Horiguchi Sutemi insisted on "life" and "faith" within one's instinct. But their discussions deemed architecture only as reflections of the "self/life". Finally, the integration of self and architecture took place when another Bunriha architect Morita Keiichi discovered "inner demand" in the "beauty of dynamics" of the building. However, his understanding of "expression" remained unargued by the surrounding architects due to the theoretical constraints. This has affected our view of Bunriha.
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  • AMAGASAKI Akira, Dance Critique
    Hiroe NITTA
    Article type: Article
    2007 Volume 57 Issue 4 Pages 83-85
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_83
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2007 Volume 57 Issue 4 Pages 86-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_86_1
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2007 Volume 57 Issue 4 Pages 86-87
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_86_2
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2007 Volume 57 Issue 4 Pages 87-88
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_87
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2007 Volume 57 Issue 4 Pages 88-89
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_88
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  • [title in Japanese]
    Article type: Appendix
    2007 Volume 57 Issue 4 Pages 90-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_90
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  • [title in Japanese]
    Article type: Appendix
    2007 Volume 57 Issue 4 Pages 91-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_91_1
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  • [title in Japanese]
    Article type: Appendix
    2007 Volume 57 Issue 4 Pages 91-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_91_2
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  • [title in Japanese]
    Article type: Appendix
    2007 Volume 57 Issue 4 Pages 92-93
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_92
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  • [title in Japanese]
    Article type: Appendix
    2007 Volume 57 Issue 4 Pages 93-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_93
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  • [title in Japanese]
    Article type: Bibliography
    2007 Volume 57 Issue 4 Pages 96-94
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_96
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  • [title in Japanese]
    Article type: Cover
    2007 Volume 57 Issue 4 Pages Cover3-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_Cover3
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  • [title in Japanese]
    Article type: Cover
    2007 Volume 57 Issue 4 Pages Cover4-
    Published: March 31, 2007
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.57.4_Cover4
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