Aesthetics

Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962

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Volume 59, Issue 2

Displaying 1-50 of 71 articles from this issue

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[title in Japanese]

Article type: Cover
2008 Volume 59 Issue 2 Pages Cover1-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_Cover1

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[title in Japanese]

Article type: Appendix
2008 Volume 59 Issue 2 Pages App1-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_App1

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[title in Japanese]

Article type: Appendix
2008 Volume 59 Issue 2 Pages App2-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_App2

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[title in Japanese]

Article type: Index
2008 Volume 59 Issue 2 Pages Toc1-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_Toc1

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T. E. Hulme's aesthetics and the ideology of protofascism

Keiko ISHIDA

Article type: Article
2008 Volume 59 Issue 2 Pages 2-15
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_2

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T. E. Hulme, an aesthetician and a critic, is famous for his contribution to Imagism, one of the most important movements of Anglo-American Modernism. This leading figure of Modernism is also notorious as a sympathizer of protofascism who celebrates Charles Maurras and Georges Sorel. In this paper, I try to analyze the relation between Hulme's aesthetics and the ideology of protofascism. In his essays, rejecting the sensibility of Romanticism, Hulme insists on the superiority of Classicism, which is, actually, deeply affected by the political and literary view of Maurras who regards Classicism as 'anti' to liberalism and democracy. Moreover his keen interest in geometric-abstract art reflects his worldview - reactionary modernism whose core is 'the religious attitude'. In this view, he supports Sorel's political theory in which he finds Classicism and the religious attitude. Finally I point out the homogeneity between Hulme's idea and protofascistic Weltanschauung by taking an overview on the rise of irrationalism and the vulgarized Lebensphilosophie. This close relationship between aesthetics and protofascism in Hulme's thought suggests that Modernism and fascism, the two concepts that are widely assumed to be antithetical, might partly have an profound kinship.

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On the Structure of the "Contradiction" in YANAGI MUNEYOSHI's Theory of Mingei Production : Focusing on his Articles in the 1920's

Shigeki IRIE

Article type: Article
2008 Volume 59 Issue 2 Pages 16-29
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_16

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This paper focuses on the production theory which was presented by YANAGI MUNEYOSHI (1889-1961), the leader of the Japanese Mingei movement. Analysing the contradiction of this theory, I indicate his unique view on the modern civilisation. In the 1920's, he insisted on the revaluation of Japanese traditional folk-crafts, and renamed them Mingei. According to him, the essential aesthetic quality of Mingei is the unconscious beauty (mushin-no-bi), and this beauty can not be created any more by modern artist-craftsmen who are too self-conscious. But, in the meantime, YANAGI demanded that these artist-craftsmen supervise Mingei production and conduct folk-craftsmen who are actual producers of Mingei. Is this YANAGI's methodological fallacy? Rather, we should think that this is an unavoidable paradox on the Mingei production. In YANAGI's view, aesthetic appreciation should be based on the modern consciousness and the latter is indispensable even when we appreciate the unconscious beauty of Mingei. Therefore, he could not help placing the modern artist-craftsmen as leaders in the Mingei production. In short, he thought that the "nonmodern" beauty of Mingei should be paradoxically realised in the gaze of the "modern" men.

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La possibilite de l'esthetique chez Foucault : l'esthetique du dehors

Hironari TAKEDA

Article type: Article
2008 Volume 59 Issue 2 Pages 30-43
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_30

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Cet article se propose d'expliciter le rapport de Michel Foucault a l'esthetique a partir d'un concept du dehors. Qu'est-ce que Foucault entend exactement par <<dehors>>? En reconstituant le jeu que joue ce concept ou en suivant les variations de ce <<dehors>> dans la pensee de ce philosophe, je voudrais formuler une hypothese: que ce concept, qu'il arrache aux textes de Maurice Blanchot dans La pensee du dehors se situe au centre de l'esthetique de Foucault. Une de ces variations, c'est <<l'enonce>> qu'il a propose dans L'archeologie du savoir. C'est une unite dans le discours a laquelle il a donne une certaine qualite de<<materialite incorporelle>>, qui est derivee du stoisisme ou la subjectivite est structuree selon un mode different de celui de la conscience. On peut entendre ici la resonance de <<l'autre dans le Meme>>, ce que Emmanuel Levinas a evoque dans son oeuvre. On voit egalement le dernier theme que Foucault s'est efforce a rechercher: la vie comme oeuvre d'art. Il a pense qu'il y a un moment d'une prise de relations avec l'exteriorite dans l'interiorite. Cette recherche conduit finalement a un chiasme de l'esthetique et de l'ethique. Il me semble que son attention sur l'ethique indique l'indifferenciation originaire des deux, que l'esthetique moderne a elimine.

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Melting Sur-face : A Study of prosopon in Ancient Greece before Hellenism

Marie SATO

Article type: Article
2008 Volume 59 Issue 2 Pages 44-57
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_44

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A classical Greek noun, prosopon originally means both face and mask. This paper takes advantage of the reason why this term connotes both of them, which seem directly-opposed ideas by our means. Prosopon is consisted of prefix pros and noun ops, and signifies the thing towards etes literally. It is, to sum up, appearance as surface-front, and dislocates structure of binomial confrontation between face and mask. Nevertheless, it is also impossible to disregard the rest of prosopon which is beyond description in just an aspect above-mentioned of it. Because, prosopon which need the others and is given by the exterior, is fated to be read by someone confront, for indeed its character it is open for and exists in the exterior. And, from a point of view of the watching it, these surface prosopon is a field presence and absence crossing. However, in the other side, in the ancient Greek texts, the action that restores its primary mean as appearance has applied to a moment for conquer a fear of death. Anyway, different from a modern concept, prosopon in the ancient Greek is heteronomous, the face that could not but start from the character of surface-front.

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Il Ritratto di Raffaele Zovenzoni della Biblioteca Trivulziana di Milano : una ipotesi per la ricostruzione della sua genesi e funzione

Chika SASAKI

Article type: Article
2008 Volume 59 Issue 2 Pages 58-71
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_58

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Un noto ritratto virile, oggi conservato alla Biblioteca Trivulziana di Milano su un foglio miniato, ci presenta un' immagine molto originate e simbolica. L'attenzione degli studiosi e stata lungamente ed esclusivamente attratta da problemi stilistici e di attribuzione, nonche dalla questione dell'identita del soggetto rappresentato, ma senza una adeguata considerazione della funzione dell'opera come ritratto dell'autore del testo della pergamena a cui l'immagine e ancorata come un dono. La Fletcher (1991) ha riconosciuto nel ritratto un'opera di Giovanni Bellini, finora ritenuta perduta, appartenente in origine al manoscritto del Istrias di Raffaele Zovenzoni. Sulla base di questa ipotesi da noi condivisa, ci sembra opportuno collocare l'opera sullo sfondo di una specifica e importantissima attivita tecnico-artigianale dell'epoca, quella della produzione e decorazione libraria. Si puo riconoscere nel ritratto l'effigie dell' autore del testo delle odi dell' Istrias, a cui si accompagna in un rapporto intertestuale di simbolicita-individualita determinato dalla finalita della sua destinazione. Il pittore idealizza l'immagine del poeta usando motivi architettonici e attributi tipici della tradizione della decorazione libraria, evocando una presence reelle dello sguardo dell'autore delle odi direttamente rivolto al dedicatario come un sostituto reale del donatore. Proprio questa, a nostro avviso, e la funzione originaria e it significato dell'immagine nel contesto funzionale e nella sua posizione cronologica nella seconda meta del Quattrocento.

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St. Augustine's Study : The Cycle of the Scuola Dalmata by Carpaccio

Yuko MORITA

Article type: Article
2008 Volume 59 Issue 2 Pages 72-85
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_72

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The cycle of Sts. George, Jerome and Tryphon for the Scuola Dalmata was executed by Vittore Carpaccio in ca. 1502-1511. The Vision of St. Augustine of the cycle is based on the apocryphal letters. Compared with the examples of same subject and the representations of the other study, it reveals that this work is different from the traditional iconography. The setting of study and chapel focused on both the contemplative life and the daily work of bishop. It finds also the details which demonstrate a kind of collectionism. These become the factors which remind anyone's portrait. When we concern on this problem, it's important to see it in the patronal context. The production of the cycle has been inspired by the donation of the relic by Paolo Vallaresso, and it's also important to remember that Maffeo Vallaresso is the archbishop of Zara. He is the humanist-ecclesiastic, interested with the art, which recorded in his letters. On considering these factors, the setting of study and art-conscious details, in the contemporary context, so it can say that the St. Augustine's study is intended to allude the intellectual and ecclesiastical figure of Maffeo Vallaresso.

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Der "Engel" bei Paul Klee : im Zusammenhang mit den "Stadt-Bildern"

Chikako MATSUTOMO

Article type: Article
2008 Volume 59 Issue 2 Pages 86-99
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_86

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Der Engel, den P. Klee (1879-1940) in seinen letzten Lebensjahren dargestellt hat, bedarf einer Untersuchung, die nicht nur auf seine individuelle Lebensgeschichte und seine psychologische Probleme, sondern auch auf die geistesgeschichtliche Situation seiner Zeit bezogen wird. In diesem Zusammenhang ist darauf zu achten, dass seine Engel-Bilder in einem engen Zusammenhang mit seinen Stadt-Bildern zu stehen scheinen. Zeitlich treten die erstere am meisten gegen Ende der dreissiger Jahren auf, wahrend die letzteren meistens in zwanziger Jahren hergestellt wurden. Inhaltlich betrachtet, kann die oft in den Stadt-Bildern dargestellte "Scheibe" so angesehen werden, dass sie in ihrer symbolischen Bedeutung spater mit der Gestalt des Engels ersetzt wird. Die beiden drucken dieselbe Atmosphare aus: die Hoffnung auf das bessere und die Angst um das miserable Leben, die Sehnsucht nach der verlorenen Natur, die Furcht vor dem heranschleichenden Schicksal der Katastrophe usw.. Der Ubergang von der Stadt-Bilder zur Engel-Bilder ist im Hinblick auf die bildnerischen Charaktere zu verfolgen. Der Grund fur den Wechsel der zwei Motive soll aber auch, wie oben gesagt, in vielschichtigen Perspektiven erklart werden. Der Engel stellt direkter und konkreter aus, was die "Scheibe" in den Stadt-Bildern symbolisch darstellt. Weiterhin: Klee's Engel ist geistesgeschichtlich im Hinblick auf den historischen Wandel der Auffassung des Engels der Neuzeit in Betracht zu ziehen.

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TSUCHIDA Bakusen's Flat Bed (1933) and House of Courtesan (1935) : Korean Aesthetics in Modern Japanese Art

Aya UEDA

Article type: Article
2008 Volume 59 Issue 2 Pages 100-113
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_100

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TSUCHIDA Bakusen (土田麥僊 1887-1936) was a modern Japanese painter in Kyoto. The purpose of this thesis is to consider his two works in his later years, Flat Bed (「平牀」) and House of Courtesan (「妓生の家」). Flat Bed is recently discussed in colonial studies and gender theories. Bakusen is an artist who treats the model as an object and therefore the kisaeng in his works is not treated as sexual object. The kisaeng's white folk dress line suggests "relief' in this work, which expresses the painter's artistic sense. House of Courtesan was sketched during his second visit to Korea and he could not finish this work because of his death. Here he depicted an old man, an old woman and a kisaeng; the theme differed from his former works. Therefore, I think this change was due to his visits to Korea where he was influenced by Portrait of Li Qixian, a famous scholar in Koryo Dynasty, and Portrait of Gonso Sojo, a Japanese religious picture. In his new portrait painting he tries to unite a portrait and a religious picture. By comparing his two works in this thesis, it can be stated that Bakusen is a modern Japanese painter who developed a new style of arts from the inspiration of Korean works.

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Musical Expression and Reception in the Second Symphony of Jean Sibelius

Satoru KAMBE

Article type: Article
2008 Volume 59 Issue 2 Pages 114-127
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_114

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The aim of this paper is to explore the nationalistic and modernistic aspects in the Second Symphony of Jean Sibelius through the examination of its musical expression and reception. By virtue of its historical backdrop, Finnish audiences have considered the symphony to be nationalistic. Sibelius's musical expression such as the insistent repetition of a short melodic phrase, which is related certainly on a Finnish folk ethos, strengthens that viewpoint. On the other hand, English audiences have perceived the Second Symphony to be modernistic and revolutionary because Sibelius succeeded to address the call for new principles of symphonic form. Cecil Gray, for example, believed that Sibelius radically redefined, in the first movement of the symphony, the formal process of the sonata structure. In England, the similar viewpoints were considered authoritative at least until 1960s. The above opinions, which can eventually influence our interpretation of the composition, suggest that the identity of a musical work reflects the historical situation of the pertinent culture.

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YAMADA Tadaaki, OTABE Tanehisa(eds.), Ontologia del desegno: sinfonia di etica con estetica(in Japanese)

Daisuke KAWAI

Article type: Article
2008 Volume 59 Issue 2 Pages 128-130
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_128

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[title in Japanese]

Article type: Appendix
2008 Volume 59 Issue 2 Pages 131-136
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_131

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Ein Versuch der Interpretation der dritten Strophe "Der ersten elegie" in "Duinser Elegien" Rilkes : hauptsachlich uber das Motiv der "Inschrift"

Makoto IKEDA

Article type: Article
2008 Volume 59 Issue 2 Pages 137-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_137

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Le travail est un merveilleux regulateur de sante morale et physique : The Science of Work and Rythme of Body in the Late Nineteenth Arts

Haruhiko ISHITANI

Article type: Article
2008 Volume 59 Issue 2 Pages 138-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_138

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The Cluster Account of Art Reconsidered and Applied

Saki ITO

Article type: Article
2008 Volume 59 Issue 2 Pages 139-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_139

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La force de la parole chez Novarina: autour de la question du sujet

Yuriko INOUE

Article type: Article
2008 Volume 59 Issue 2 Pages 140-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_140

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Dziga Vertov's "Man with a movie camera" and Russian Physiology

Kimi EMURA

Article type: Article
2008 Volume 59 Issue 2 Pages 141-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_141

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Sense Perception through Calculation of the Soul: Pietro Mengoli's Doctrine on the Perception of Musical Intervals

Takaharu OAI

Article type: Article
2008 Volume 59 Issue 2 Pages 142-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_142

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The Field of Imagination: Representations of the Self-reflective Relationship between Subject and Object, including the Formed Image of Object

Masashi OISHI

Article type: Article
2008 Volume 59 Issue 2 Pages 143-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_143

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Emil Nolde : The Turning Point of His Style

Itaru OURA

Article type: Article
2008 Volume 59 Issue 2 Pages 144-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_144

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Transformation of Travel Images in the Illustrated Travel Lecture

Mitsunori OHATA

Article type: Article
2008 Volume 59 Issue 2 Pages 145-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_145

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Chance Encounter Cinematographically Represented : The Counterpoint of Word and Image in Rohmer's La Boulangere de Monceau

Aya OGAWARA

Article type: Article
2008 Volume 59 Issue 2 Pages 146-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_146

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"Film music" from "Western art music" : A study of Max Steiner

Takashi OBANA

Article type: Article
2008 Volume 59 Issue 2 Pages 147-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_147

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Arte come forma di negoziato diplomatico: attraverso le raccolte delle lettere di Pietro Aretino

Shiori KATO

Article type: Article
2008 Volume 59 Issue 2 Pages 148-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_148

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Bergson's Theory of Senses and Modern Aurality

Tomotaro KANEKO

Article type: Article
2008 Volume 59 Issue 2 Pages 149-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_149

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Neudeutsche Schule : Its Adequacy as a "School"

Noriko KAMIYAMA

Article type: Article
2008 Volume 59 Issue 2 Pages 150-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_150

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Surface Matters in Burne-Jones's Painting : The Figures and All Over Planarity in The Golden Stairs

Mie KUBO

Article type: Article
2008 Volume 59 Issue 2 Pages 151-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_151

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On the Formative Expressions of Multi-armed Images : Focusing on Sahasrabhuja in Sigatu-do of Todai-ji, Nara

Takafumi KUMAGAI

Article type: Article
2008 Volume 59 Issue 2 Pages 152-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_152

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Transitional Drawings (Shashin, Shabo and Shasei), Words and Concepts of Classical Chinese Logic

Xinming ZANG

Article type: Article
2008 Volume 59 Issue 2 Pages 153-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_153

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Die Ikonographie der <Colonna Pieta> Michelangelos

Akihiko SHIMATANI

Article type: Article
2008 Volume 59 Issue 2 Pages 154-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_154

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Diderot, Music, and Machine : QUATRIEME MEMOIRE-Proget d'un nouvel orgue (1748)

Yuko SUZUKI

Article type: Article
2008 Volume 59 Issue 2 Pages 155-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_155

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Paul Gauguin's Representation of Brittany and Self-Portraits

Shoko SUMIDA

Article type: Article
2008 Volume 59 Issue 2 Pages 156-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_156

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Donatello's Cantoria: The relation to the construction of the chancel of the Florence Cathedral

Yoshiko TAKAGI

Article type: Article
2008 Volume 59 Issue 2 Pages 157-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_157

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Paul Gauguin's Ideas of Dream

Kaoru TAKAKU

Article type: Article
2008 Volume 59 Issue 2 Pages 158-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_158

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Dispoliticisation of Poetics and the Appearance of the Author in the Renaissance Humanism

Keisuke TANAKA

Article type: Article
2008 Volume 59 Issue 2 Pages 159-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_159

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The Idea of Nature in the Vision of J. M. W. Turner's Landscape : The Studies in Wales and Thomsonian Univere, Gray's Ode

Reiko TSUDA

Article type: Article
2008 Volume 59 Issue 2 Pages 160-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_160

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The Memory of Place : The Poetics of Ruins

Kiyokazu NISHIMURA

Article type: Article
2008 Volume 59 Issue 2 Pages 161-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_161

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On the Executors of the Tamamushinozushi Pictures : Examination from Pictorial Expressions

Tomoharu HASEGAWA

Article type: Article
2008 Volume 59 Issue 2 Pages 162-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_162

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Narcisse metamorphose et la genese de l'esthetique moderne : Pygmalionisme chez Rousseau

Akira BABA

Article type: Article
2008 Volume 59 Issue 2 Pages 163-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_163

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Early Works of Gordon Matta-Clark and the "Alternative" Space

Chieko HIRANO

Article type: Article
2008 Volume 59 Issue 2 Pages 164-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_164

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Lucrezia romana violata da Tarquino : Tarquinio e Lucrezia di Tiziano come mezzo Diplomatico

Kiyo HOSONO

Article type: Article
2008 Volume 59 Issue 2 Pages 165-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_165

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The Dynamic Relation of Image : Images and Sounds in Early Cinema

Yosaku MATSUTANI

Article type: Article
2008 Volume 59 Issue 2 Pages 166-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_166

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The Relation of Body to Floor, Wall and Ceiling in Trisha Brown's Dance

Hirotsugu MIBUCHI

Article type: Article
2008 Volume 59 Issue 2 Pages 167-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_167

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Entre l'image et le reel : la pensee de l'art chez le premier Sartre

Norihide MORI

Article type: Article
2008 Volume 59 Issue 2 Pages 168-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_168

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Formation of the Form in the Process of Production : Body, Skill, Material

Aki MORITA

Article type: Article
2008 Volume 59 Issue 2 Pages 169-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_169

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L'esthetique de la sympathie : Autour du reel chez Henri Bergson

Tomoki YAMAUCHI

Article type: Article
2008 Volume 59 Issue 2 Pages 170-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_170

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[title in Japanese]

[in Japanese]

Article type: Article
2008 Volume 59 Issue 2 Pages 171-
Published: December 31, 2008
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.59.2_171

JOURNAL FREE ACCESS

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