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Article type: Cover
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Cover
2010 Volume 61 Issue 1 Pages
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
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Eske TSUGAMI
Article type: Article
2010 Volume 61 Issue 1 Pages
1-12
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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Sibley observed in "Aesthetic Concepts" that "many words have come to be aesthetic terms by some kind of metaphorical transference", though without specifying what kind. In the transference of e.g. "nostalgic" from its primary sense as having nostalgia (He was^1 nostalgic.) to its metaphorical, aesthetic sense as causing nostalgia (The song was^2 nostalgic.), a thing takes the place of a person as the subject. This process contains a reciprocal alternation (a) from an objective viewpoint (was^1) to a subjective and again (b) to an objective (was^2). I argue one bridge connecting both ends is the subjective verb feel, with its active (He felt nostalgic. =a) and quasi-passive use with a thing as the subject (The song felt nostalgic. =b). This theory enables us to trace the history of our sensibility by pursuing grammatical or lexical changes particular words underwent over a period. One example is a group of terms denoting mental diseases including "nostalgia". Most of them have positive aesthetic meanings. This illustrates our sensibility's tendency to approve of what is socially or morally repudiated. Since we are capable of dating the changes using the OED, such individual observations will add up to a history of our aesthetic sensibility.
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Futoshi HOSHINO
Article type: Article
2010 Volume 61 Issue 1 Pages
13-24
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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In this paper, I examine Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757/59), comparing it with Pseudo-Longinus' On the Sublime. In his book, Burke does not refer to On the Sublime but once, although he shares one of the main subjects with Pseudo-Longinus, namely the "Sublime". However, in the Part V of Sublime and Beautiful, one can find some descriptions where the tradition of rhetoric, including On the Sublime, is recognized. Especially, Burkian notion of "Passion", which is discussed at the last part of Sublime and Beautiful, draws a lot of attention. According to Burke, arousing the "sympathy" or "contagion of our passion" is made possible only by words, not by paintings, architectures, or natural objects. And he assumes that the sympathy is aroused by words without "picture" (namely, mental representation). This is the very reason why, I suppose, Burke excludes Pseudo-Longinus' theory from his book on the "Sublime and Beautiful". For Pseudo-Longinus assumes that, when the violent power of speech arouses a sympathy, it is mediated as vivid image (phantasia). To put it briefly, while Pseudo-Longinus considers that the mental representation is necessary to influence other's passion by words, Burke takes the standpoint contrast with that of Pseudo-Longinus.
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Hiroshi YOSHIDA
Article type: Article
2010 Volume 61 Issue 1 Pages
25-36
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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Scholars in many disciplines have talked about the "hegemony of vision" in the modern Western culture and philosophy. We also know that the most critical issue of modern philosophy of perception had been the compatibility between vision and touch, as viewed in the prolonged discussion of Molyneux's Question. But, on the contrary, we know very little about the significance of audition and hearing in the tradition of modern philosophy. This paper is thus intended as a historical sketch of the status of hearing, examining the texts of three philosophers. For Herder, the ear is the most nearest sense to the soul, and the audition stands in the middle of our five senses, dominating the others. But, at the same time, he also attaches great importance to touch, inheriting the tradition of Molyneux's Question, and therefore presupposes a kinship between hearing and touch. Kant exiles the ear from his conception of the critique of judgment, preferring the eye as a normative sense for disinterested and formal judgment. But he emphasizes a moral function of the ear in his critique of practical reason, as an organ hearing the voice of reason, i.e. the divine voice. The ear, finally, gains a definitive advantage over the eye with Hegel. He describes the progress of Romantic art from painting to music as a process of the "negation of dimension." In his view, time is negation (or sublation) form of space, and equally the audition is that of vision. We can say therefore that the hypothetical "hegemony of vision" was never stable, and the status of seeing has always been challenged and undermined by the hearing in the course of modern philosophy.
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Yuko TANAKA (SUZUKI)
Article type: Article
2010 Volume 61 Issue 1 Pages
37-48
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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Denis Diderot examined the notation of the cylinders that were used in barrel organs and explored the possibilities of these instruments in his 'Quatrieme Memoire-Projet d'un nouvel orgue' <<Memoires sur differents sujets de mathematiques>> (1748). His Projet was not regarded as being particularly important at the time and his suggestions were probably never put into practice; they might be dismissed as just another technical proposal in the long history of automatic musical instruments. However, the Projet is important as a documentation of Diderot's attitude towards music and musicians. Diderot criticized those musicians who were satisfied with the status quo and pointed out the advantages of developing automatic instruments which they might have perceived as a threat. On the other hand, he insisted that musicians should not be required to keep rigidly accurate time like a machine or chronometre. Although we see that an analogy is being drawn between musicians and machines, it is clear that he did not believe that one was a substitute for the other. Studying his text, we see that he neither rejected machines nor regarded them with blind admiration.
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Shoko KOMIYAMA
Article type: Article
2010 Volume 61 Issue 1 Pages
49-60
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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In diesem Aufsatz wird versucht, die Wandlungen der musikalischen Hauptmotive im Ring zu uberdenken, um das Grundthema der Tetralogie und seine Entwicklungen von seiten der Musik zu erhellen. Die Rhein-Motive zu Beginn Des Rheingoldes (Naturmotive, Rheintochtergesang, usw.) gelten als musikalische Sinnbilder der "Natur", so dass man oft versucht, auch ihre Varianten unter diesem Aspekt zu interpretieren. Die Grundbedeutung der "Natur" lasst sich jedoch so zusammenfassen, dass das Rheingold tief im Rhein gehutet wird, ohne irgendeinem anzugehoren. In der Erda-Szene weist die Moll-Variante des Naturmotivs darauf hin, dass der Ring nicht Wotan gehore, sondern dem Rhein. In der Nibelheim-Szene und "Hagens Wachtgesang" verdammt das stark dissonierende Rheintochterthema, die Besitzgier von Alberich und Hagen. Ausserdem singt der Waldvogel eine rhythmische Variante des Rheintochtergesangs, denn seine Pflicht ist es, das Gold dem Rhein zuruckzugeben, und somit den Urzustand der "Natur" wiederherzustellen. Darum bewegt er Siegfried dazu, dem Wurm den Ring zu rauben. Nach der Dramaturgie, namlich "der Verstarkung der Motive" in Oper und Drama, hatte Wagner die Rhein-Motive und die Varianten mit mehreren Bedeutungen versehen. Daraufhin fasste er die Motivgruppe unter der Grundbedeutung der "Natur" zusammen, damit das ganze Drama durch die Rhein-Motive musikalisch und auch semantisch vereinheitlicht wird. Das entspricht "der einheitlichen kunstlichen Form", die er in Oper und Drama als die vollendetste Kunstform konzipiert hat.
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Izuru OTAGI
Article type: Article
2010 Volume 61 Issue 1 Pages
61-72
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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A la partie inferieure des piliers de la nef de Bernay, les bases des demi-colonnes se plaquent contre le cavet des noyaux rectangulaires. Ce phenomene est interprete comme le resultat d'un changement de parti. Mais nous supposons que cette partie a ete construite d'un seul travail. Dans le choeur, on trouve des piliers composes plus complexes que dans la nef, mais cette forme derive de l'intention d'enbellir le chceur par les chapiteaux sculptes, que, selon M. Bayle, les moines auraient travailles soi-memes. En effet, l'exemen de la partie inferieure des piliers du choeur confirme que l'atelier de macons a de la difficulte a s'adapter a cette forme complexe. L'anomalie des piliers de la nef resulte, d'autre part, de la simplification de travail en l'absence des moines. Cette simplification de forme vis-a-vis du choeur peut se trouver a d'autres exemples romans, mais le pragmatisme franc de l'atelier de macons serait l'un des particularites uniques de l'architecture normande.
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Katsuhiko HAYASHI
Article type: Article
2010 Volume 61 Issue 1 Pages
73-84
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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Oggi di fronte al quadro cronologico delle opere di Piero della Francesca, modificato da diversi reperti accumulatisi a partire dalla fine del secolo scorso, si avverte inevitabilmente la grande lacuna della prima meta della sua carriera. Il che mi induce a riesaminare l'opinione comune riguardo all'andamento stilistico-cronologico di Piero. La spazialita della Leggenda della Vera Croce di Arezzo, che si puo considerare proprio come un punto di riferimento per le ricerche cronologiche concernenti l'artista e che la critica vuole collocare nella sua maturita, infatti, per la sua rigidita basata sulla composizione prospettica di zone cromatiche divise da contorni taglienti, e assai diversa da quella profonda e naturale delle sue produzioni mature. Recenti dati e ricerche hanno rivelato che Piero fu particolarmente impegnato intorno al 1455, epoca in cui, secondo molti studiosi, dovette concentrarsi nell'esecuzione degli affreschi aretini, e che la convinzione comune che egli avesse iniziato a lavorare ad Arezzo solo dopo la morte (1452) del pittore precedente, Bicci di Lorenzo, non ha piu fondamento. Qui si evince che lo stile specifico della Leggenda deriva dall'abbinamento dell'alta quanta scientifica della prospettiva con la "primitivita" che a sua volta puo essere attribuita all'esecuzione della prima maturita (prima del 1454).
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Motoko OKUI
Article type: Article
2010 Volume 61 Issue 1 Pages
85-96
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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There are three folding screens of the "Wind and Thunder Gods" created by three Rimpa school masters: Sotatsu Tawaraya, Korin Ogata (1658-1716) and Hoitsu Sakai (1761-1828). In the exhibition 'The National Treasure Screens of the Art of Rimpa' at the Idemitsu Museum in 2004, it was proven that the outlines of Sotatsu's and Korin's versions of the folding screen are almost the same. This gives an impression that Korin traced Sotatsu's work. However, by comparing both screens, I found out that Korin's work differs from Sotatsu's at several points. In this paper, I will present other possibilities of copying outlines other than by tracing, and I will examine how Korin created his work by comparing the details of both folding screens. Lastly, I will present a new way of looking at Korin's work, in that he did not merely trace Sotatsu's work. Instead, he may have used a preparatory drawing or a tracing outline prepared by another person, among other reasons to produce his own interpretation of the "Wind and Thunder Gods" folding screen.
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Tomohiro MASUDA
Article type: Article
2010 Volume 61 Issue 1 Pages
97-108
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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Francis Bacon (1909-1992) executed many portraits based on Velazquez's "Pope Innocent X" (1650) in mainly 1950's. In his paintings, "Study after Velazquez's Portrait of Innocent X" (1953) is considered one of Bacon's representative works. Contrast to Velazquez's Pope, Bacon's Pope is like disappearing with white streaks, and his mouth is opened like screaming. This painting has been ever defined as iconoclastic work; deconstruction of the symbolic father, "Pope," Bacon's real father and Velazquez as "peintre des peintres". But did Bacon only aim at denying and distracting "father" image through his executing paintings? Can we conclude his painting just as iconoclastic? In this paper, author focuses on his specific marks in his 1953's "Pope" painting; white streaks, "paint," and opening mouth of the figure. These two factors have been ever defined as assaulting the figure. But author suggests the other aspect of these. Then this paper concludes that Bacon's "Pope" is the monumental work as not only the iconoclasm but as the accomplishment for Bacon in terms of the way to represent.
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Ayako IKENO
Article type: Article
2010 Volume 61 Issue 1 Pages
109-120
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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The purpose of this research is to show one factor of the biginning of Arte povera, the most significant artistic movement of post-war Italy, through consideration of the urban space where the artists of 1960s lived. Arte povera, which was grouped up in 1967, is considered today as one of the currents of post-minimalism begun at the end of 60s. It is difficult, however, to define Arte povera by the form, since it developed various expressions in a short period. This research analyzes the works which were made throughout 60s at Turin - the major stage of Arte povera - in order to reveal the relationship between works and cultural-social situation of the city surrounding the artists. In sixties Turin was a city of FIAT as well as a center of industry in Italy, and was suffered various problems (lack of abitation and public space, conflict between classees...etc) caused by influx of workers from the southern Italy. This argument about a case of Turin, will make clear the fact that the environment of this city at that time inspired Arte povera to explore diverse expressions.
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Kohei SUZUKI
Article type: Article
2010 Volume 61 Issue 1 Pages
121-132
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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Charles Darwins evolutionstheoretische Werke erhalten viele Abbildungen. Wie eng allerdings seine Theorie mit der bildlichen Darstellung verknupft ist, wurde bisher wenig beachtet. Im Zentrum dieser Arbeit stehen u. a. Illustrationen in The Expression of the Emotions in Man and Animals von 1872. Da finden sich neben 21 Holzschnitten 7 Tafeln, auf denen zwischen zwei und sieben Fotografien gezeigt werden. Der Fotografie wurde in Expression die wichtigste Rolle zugeteilt. Fur Darwin war sie die Bedingung fur Visualisierung des Unsichtbaren der inneren Gemutsbewegungen, die wissenschaftliche objektive Betrachtbarkeit selbst vom Ausdruck der Gemutsbewegungen. Dass die Fotografie, die noch ein junges Medium war und bis dahin kaum Verbreitung in den Wissenschaften gefunden hatte, als wissenschaftliches Hilfsmittel dienen kann, war damals keine Selbstverstandlichkeit wie heute. Daruber hinaus war die Belichtungszeit noch nicht kurz genug, um das fluchtige Mienenspiel scharf aufnehmen zu konnen. Er musste deshalb in Expression nicht nur seine Evolutionstheorie des Ausdrucks der Gemutsbewegungen, sondern auch eine fur sie geeignete Illustrationsstrategie entwickeln: Charles Darwins fotografische Kunst.
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Yoshihiro KUWABARA
Article type: Article
2010 Volume 61 Issue 1 Pages
133-144
Published: June 30, 2010
Released on J-STAGE: May 22, 2017
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Robert Altman (1925-2006) is one of the famous film directors representing "Hollywood Renaissance", and his work is quite distinct from the classical narrative mode. He asserts that his goal of the film is to capture "Subliminal Reality". In preceding studies about his works, Robert T. Self defines characteristic representations of Altman's film as Subliminal Reality and positions it as an art cinema which is explicitly against Classical Hollywood Cinema. He is also well known by the ensemble film which focuses on multiple characters. Altman tried to make this mode of films concerning a view of subliminal reality. I have to deeply look into the film, Short Cuts (1993) in Altman's ensemble films, because it added a new aspect to previous films. The story of Short Cuts tracks the daily lives and interactions of a large cast of seemingly unrelated characters. Recently, other directors have also used the method of story telling like Short Cuts, which has the tendency to attract audience's attention and it has become a new form of narrative structure. But this movement means a certain contradiction. Even though Altman's ensemble film is based on subliminal reality which is antithetical to a mode of Classical Hollywood Cinema, why is it also received as Modern Hollywood movement? In this process, we can find a feature of Altman's subliminal reality as art cinema mixed with classical narrative mode.
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Masashi OISHI
Article type: Article
2010 Volume 61 Issue 1 Pages
145-148
Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
149-166
Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
167-168
Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
168-169
Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
169-
Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
169-170
Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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2010 Volume 61 Issue 1 Pages
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Article
2010 Volume 61 Issue 1 Pages
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Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
180-181
Published: June 30, 2010
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
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Article type: Appendix
2010 Volume 61 Issue 1 Pages
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Article type: Bibliography
2010 Volume 61 Issue 1 Pages
188-183
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Article type: Cover
2010 Volume 61 Issue 1 Pages
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2010 Volume 61 Issue 1 Pages
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