Cet essai a pour but de reexaminer l'interpretation lyotardienne de la Critique de la faculte de juger de Kant, surtout celle du Sensus Communis, et d'en eclairer sa portee. En effet, jusqu'a maintenant un debat avait lieu autour de l'interpretation lyotardienne de la troisieme Critique, mais il se focalisait essentiellement autour des textes mineurs de Lyotard, comme les causeries ou les lettres, au detriment d'autres textes plus pertinents concernant ce sujet tels que ses Lecons sur l'analytique du sublime et "Sensus Communis". Il reste encore beaucoup de sujets a examiner dans son interpretation, surtout celle du Sensus Communis. Aussi, pour eviter de tomber dans le meme ecueil improductif et de mettre fin a l'examen du potentiel de la troisieme Critique qui est devenu a la mode dans le cercle des intellectuels francais des annees 1980, il faudrait reconsiderer l'interpretation lyotardienne en se referant aux interpretations contemporaines. Le Sensus Communis qui nous introduit a son interpretation originale constitue la base d'arguments ulterieurs.

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Dans la pensee de l'art chez le premier Sartre, l'image et le reel sont-ils distinctement separes? Sartre a-t-il meconnu la materialite de l'oeuvre d'art? Il serait excessif d'affirmer cela. Premierement, si l'on examine les concepts de <<spontaneite pre-volontaire>>, de <<degradation>>, et de <<motivation>> dans la theorie de l'image de Sartre, il apparait clairement que dans l'experience de l'oeuvre, le reel se maintient derriere l'imaginaire. La negation de l'existence de l'objet d'appreciations esthetiques ne signifie pas ne pas voir l'oeuvre. Deuxiemement, par comparaison avec le reve, l'experience de l'oeuvre d'art maintient des relations plus etroites avec le reel. Certes, le reve et l'experience esthetique constituent pareillement une experience de la conscience captive et concernent l'imaginaire, et Sartre lui-meme a d'ailleurs souvent decrit la ressemblance entre les deux. Mais dans L'imaginaire, a certains egards-notamment la distance vis-a-vis du reel, la facilite de la reflexion, et la nature du sentiment-, Sartre a clairement distingue l'experience esthetique de celle du reve. De ce point de vue, dans la theorie sartrienne, la realite de l'oeuvre, elle aussi, joue un role efficace.

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This paper aims to re-examine Heinrich Schenker's (1868-1935) thoughts of music under the frame of musical hermeneutics, by comparing the hermeneutics of Schenker and Hermann Kretzschmar (1848-1924) as representatives of music analysis and musical hermeneutics through Dilthey's hermeneutics. While Kretzschmar proposed inner understanding by listening into "affects" as spiritual content from tones (1902; 1905), the object of Schenker's "true hermeneutics" (1913) was "tonal life," in which movements of tones and human life were identical. Although both correlated tones with "spiritual life," the difference exists in what they regarded as internal: for Schenker, the criterion was to be inside music, but Kretzschmar contrasted internal mentality with external tones. The discrepancy about inner/outer difference corresponds to the discrepancy between Dilthey's general and musical hermeneutics. Dilthey's distinction in 1900 coincided with Kretzschmar's in that the "inner" and "spiritual" expressed in external signs should be understood. However, in Dilthey's "The Musical Understanding" (c.1905), experience was internalized in music and "the life itself" was to be expressed. Interestingly, such a view resonates with Schenker's intramusical hermeneutics.

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The development of Paul de Man's deconstruction as well as his theory of reading is closely related to the transformation of his discourse about music. In "The Rhetoric of Blindness (1971)", he states that melody is superior to harmony since the former deconstructs the mistaken illusion of imitation as his famous "deconstructive reading" does. Melody functions as a metaphor of the reading. What is at stake in "Shelley Disfigured (1979)", however, is neither melody nor harmony but measure. Measure is defined as articulated sound, present in both music and language. Reading merely according to the rules of measure or punctuation, called "syntactical or grammatical scansion", is another more important de Manian deconstruction, for the difference between the order of words (grammar) and their meanings (rhetoric), which de Man sees as most problematic, could be deconstructed by accident, as a result of failure to decide how to punctuate sentences in the process of the reading.

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Steve Reich (1936-), in his essay "Music as a Gradual Process" (1968), wrote that "a compositional process and a sounding music […] are one and the same thing." His aesthetic creed of "perceptible processes," indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of "Anti-Illusion: Procedures/Materials" (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich's music and postminimalist art in view of his involvement in the "Anti-Illusion" show. The theme of the "Anti-Illusion" show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones' swinging. This piece clearly demonstrates that Reich's claim in "Music as a Gradual Process" was propounded in connection with postminimalist art as an attempt to disclose musical processes and reveal the real.

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This paper examines Trisha Brown's dance in the early 1970s. In the field of dance, Judson Dance Theater was launched in New York in the early 1960s. As one of the members of it, Brown created experimental dance works which broke down the preconceived ideas of dance. The focus of her pieces in the early 1970s, such as Walking on the Wall and Floor of the Forest, is on the relation of body to space. In Walking on the Wall, the performers, suspended in special harnesses from a ceiling, moved at right angles along the vertical wall-face of a gallery; in Floor of the Forest, two people put on clothes which were densely threaded with ropes, while hanging by them in midair. In such pieces, the performers' soles touch the wall, or the ropes are used as ceiling. This changes the relation of body to floor, from vertical to horizontal. In the simple and yet radical transposition, the performers find themselves sensing different kinesthetic movements in each part of the body than usual. Regulating the caused kinesthesia enables them to create new body movements.

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The women's magazine Godey's Lady's Book was launched in Philadelphia in 1837 by Louis A. Godey. Although it enjoyed great popularity due to its original fashion plates, the fact that they were a topic of intense discussion is largely unknown. In this paper, I attempt to shed light on how the magazine legitimized the plates by researching distinctive fashion imagery and engaging in ongoing discussions over a ten-year period. In studying the magazine's editorial notes, I discovered that some readers had actually been quite critical of the plates. To counter those who were against fashion, however, the magazine printed positive comments from female readers, and stories depicting virtuous women who remained unaffected by trends. Moreover, as the magazine emphasized the decorative nature of the plates, fashion came to be connected to ornamentation; and as such, an appropriate part of a woman's role as a homemaker. In this era prior to the advent of the fashion magazine in the U.S., by promoting the plates as "authentic fashion," Godey's Lady's Book established the position of the fashion plate in women's magazines.

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Lo scultore Arturo Martini pubblica nel 1918 la raccolta di incisioni Contemplazioni, di espressione non figurativa, ma nella sua arte quest'opera non viene esaustivamente interpretata. Il presente lavoro mette in evidenza che la plasticita di Contemplazioni corrisponde ai principi plastici che Martini ha esposto negli ultimi anni della sua attivita. Innanzitutto, si verifica che una delle caratteristiche dell'espressione di Contemplazioni e il ritmo e che tale concetto e espressione di una concezione del mondo religiosa. Martini pero negli ultimi anni di vita afferma che Contemplazioni non manifesta tale concezione del mondo. Eppure, se si confronta la plasticita di Contemplazioni con quanto Martini dichiara negli ultimi anni, in primo luogo in La scultura lingua morta pubblicato nel 1945, si puo dire che il problema dei tre punti di incompletezza della scultura affermati in questo libro lo aveva gia risolto, anche se con espressione in piano, in Contemplazioni.

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The purpose of this paper is to explore how a prominent English nineteenth-century landscape painter, Joseph Mallord William Turner composed pictorial space from the viewpoint of comparison with contemporary French landscape and its theory. Contemporary French landscape painters including Pierre Henri de Valenciennes were deeply influenced by the style of neoclassical history painting and their pictorial space was ordered by the idea of plan. Valenciennes demanded in his perspective treatise landscape painting be composed with several plans disposed parallel to the picture plane. Objects were disposed tediously on plans, which Turner considered to show French inability to give depth in pictorial space. On the other hand, the idea of ground was used to represent pictorial space in the early nineteenth-century British landscape. This difference of idea to represent pictorial space was a reason why several Royal Academicians including Turner criticized spatial representation of contemporary French paintings for their inability to give depth. Turner himself aimed at representing depth of pictorial space with introducing deep ground and manipulating colour. That provided his landscape composition with great depth and recession which he considered French paintings could not represent.

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