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Article type: Cover
2010 Volume 61 Issue 2 Pages
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Published: December 31, 2010
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Article type: Cover
2010 Volume 61 Issue 2 Pages
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Published: December 31, 2010
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Article type: Appendix
2010 Volume 61 Issue 2 Pages
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Published: December 31, 2010
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Article type: Appendix
2010 Volume 61 Issue 2 Pages
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Published: December 31, 2010
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Takashi SUGIYAMA
Article type: Article
2010 Volume 61 Issue 2 Pages
1-12
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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"Alltagsasthetik" ist eines der neuen Gebiete der Asthetik. Das ist ein Ergebnis des seit dem Ende des letzten Jahrhunderts versuchten Verstandnisses der Asthetik als der Theorie der sinnlichen Erkenntnis, welches ihre Gegenstande nicht auf die Kunst und das Schone beschrankt, und sucht das Asthetische aus alltaglichen Dingen zu sehen. Ist das aber bloss Erweiterung der Gegenstande oder Anwendung der Methode der traditionellen Asthetik auf alltagliche Dinge? Auf diese Frage mochte ich in diesem Aufsatz am Beispiel der Asthetik und Rhetorik des Geldes (2002) von Gottfried Gabriel, einer Pionierstudie der "Asthetik des Geldes", antworten. Gabriel versucht aufzuzeigen, wie sich die quantitative Grosse Geld der asthetischen Qualitaten bedient hat. Diese Fragestellung ist deshalb von Bedeutung fur die "Alltagsasthetik", weil sie das Dogma der modernen Asthetik dekonstruieren will, dem zufolge das Asthetische nicht in Materie sondern in Form bestehe. Andererseits behauptet er aber durch den Vergleich der Pfennig-Munzen der BRD und DDR, dass die Kontinuitat der Munzbilder die Abwertung der Munzmaterien ausgleicht. Das ist eine Zuruckziehung von der Materie zur Form. Es ist der Begriff der "Schwelle" in der von Gabriel kritisierten Philosophie des Geldes (1900) und den anderen gleichzeitigen kleinen Schriften von Georg Simmel, der Gabriels Unvollkommenheit erganzt.
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Genta OKAMOTO
Article type: Article
2010 Volume 61 Issue 2 Pages
13-24
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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Dans le De gli eroici furori (1585), Giordano Bruno (1548-1600) interprete la fable d'Acteon, mythe grec d'un chasseur metamorphose en cerf par Artemis (Diane) au bain et dechiquete par sa propre meute, comme destin de ceux qui cherchent a voir la verite divine. Pour cerner l'enjeu de cette interpretation, qui constitue certainement l'un des points forts du De gli eroici furori, le mieux est d'examiner comment Bruno fait face au petrarquisme a travers la variation de la figure d'Acteon. Car, a la Renaissance, la figure d'Acteon se diffusait comme allegorie de la melancolie amoureuse petrarquiste. Mon hypothese est que l'interpretation brunienne de la fable d'Acteon met en cause la conception petrarquiste de l'art comme activite melancolique. Selon Bruno, l'art n'est pas l'activite melancolique qui tente de perpetuer l'aimee, mais le processus des <<vicissitudes>> comme la metamorphose d'Acteon le suggere.
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Yuriko INOUE
Article type: Article
2010 Volume 61 Issue 2 Pages
25-36
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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Valere Novarina, dramaturge francais ne en 1942, est connu pour son theatre hors du commun qui s'affranchit de toutes formes d'intrigues et de psychologie. Consideres comme poemes plutot que comme pieces, ses textes n'ont ete analyses jusqu'alors que d'une maniere litteraire. En analysant La Scene, mise en scene en 2003 par l'auteur luimeme, nous tentons dans cet article de reveler son dynamisme theatral, structure par <<le sacrifice>> et <<le carnaval>>. Comment echapper a l'opposition entre l'esprit et le corps, a l'egolsme et a l'orgueil qui sont propres a l'etre humain? Voila les questions autour desquelles tourne la piece. En ayons recours a la parodie et au rire, <<le carnaval>> de La Scene fete alors tout a la fois la mort d'un monde ancien et la naissance d'un nouveau monde. Sur la scene, l'acteur mange ce texte comme it mange de nourriture: d'une part en mangeant, it se laisse envahir par le son et le rythme du langage, d'autre part it fait bruler le corps, en parlant, jusqu'au <<sacrifice>> pour revenir a un etat ou les separations, notamment entre le corps et l'esprit, n'existent pas.
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Shoichi YAMASHITA
Article type: Article
2010 Volume 61 Issue 2 Pages
37-48
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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Nous nous proposons dans cet article, en analysant le geste et la technique dans l'art musical, d'examiner la relation entre l'esthetique musicale de Gisele Brelet et l'ethnomusicologie d'Andre Schaeffner. Certes, it y a leurs differences : l'ethnologie de Schaeffner porte principalement sur le geste instrumental qui represente une societe dans sa singularite, tandis que l'esthetique de Brelet traite du concept de geste vocal en tant que principe universel du beau, independant du social. Mais l'examen du concept de geste technique corporel nous montre leur unite. En effet, chez Brelet comme chez Schaeffner, la technique gestuelle est realisatrice d'une musique : l'esthetique brelettienne revele que le geste corporel devient musical a travers la technique de l'interpretation, de meme l'ethnologie de Schaeffner enseigne que la technique du corps social donne au geste corporel une valeur musicale authentique. Ainsi, c'est dans ce geste technique corporel que s'exprime l'etre musical.
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Tomoya KIMURA
Article type: Article
2010 Volume 61 Issue 2 Pages
49-60
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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This paper aims to discuss the meaning of the revolution that happened to animation in Japan from the 1950's to the 60's. There are two features to which I pay attention: the historical peculiarity of the revolution, and the common trend of the animation movies for commerce and those for non-commerce. There are three topics that are the points of the discussion: the trends of domestic production companies, the introduction of overseas animation movies, and the transition of criticisms. This paper clarifies the following: first of all, the revolution of the animation expression at that time invented a new image by the abstraction of form or movement and by the unification with sound; secondly, the revolution supported the attempt of small-scale productions or independent animators who opposed to major movie companies; and thirdly, however, the same revolution contributed to the lowering of the cost of commercial studios. These phenomena can be related to the revolution of the expression of the audiovisual arts that happened widely from the 1950's to the 60's.
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Aya KOMATSUBARA
Article type: Article
2010 Volume 61 Issue 2 Pages
61-72
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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Nel presente saggio viene trattato il trittico del Mantegna commissionato dall'abate Gregorio Correr per la basilica di San Zeno a Verona. L'obiettivo dell'articolo e riconsiderare le peculiarity del dipinto, ricercando l'origine concettuale della forma della pala e della sua composizione spaziale nell'arte fiamminga che il Mantegna potrebbe avere visto a Ferrara. Gli studiosi ritengono che questo trittico sia derivato dalle due pale patavine, aventi soggetto uguale a quella mantenesca. Il presente saggio, invece, focalizzando l'attenzione sull'espressione spaziale, esamina la possibility di altre fonti del trittico, che vengono individuate nell'arte settentrionale, soprattutto in quella di Rogier van del Weyden. Inoltre, riesaminando la composizione spaziale, si suggerisce che il Mantegna abbia creato in maniera originale un nuovo spazio pittorico, una volta appresa l'espressione spaziale della pittura toscana e di quella flamminga. Sulla base di cio e possibile concludere che il trittico in esame sia la rappresentazione di un nuovo spazio, tanto sacro quanto profano, della sacra conversazione, e che costituisca un modello iconografico veneto dello stesso tema, caratterizzato da una complessa composizione spaziale e da un magnifico trono.
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Hiroko UCHINO
Article type: Article
2010 Volume 61 Issue 2 Pages
73-84
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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Some of Penn's experimental photographs show fluctuant blurs on unanimated objects in the work. These blurs refuse our usual mode of perceiving blurredness. Looking carefully into the nature of this refusal will therefore shed light on our usual perception of photographic images. His experiment in the shooting process consists in a fluctuant temporal-spatial relation between reality and its photographic image within a single shot. The result makes clear two important points of our usual assumption about photography: that the relation between reality and the photographic image is constant at the time of shooting, and that our usual perception of the photographic image relates it to reality only under this shooting condition, that is single moment-single focus. Jonathan Crary articulates in terms of its historical specificity the classical technique of observing modeled on camera obscura. He suggests that the intention of the classical observer determined the specific schema for perceiving objects in the world. If we may extend his theory to our case, single moment-single focus is not only the objective structure specific to the photographic image but also its subjective schema which enables us to perceive time and space of the real world through the image by quantifying them.
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Bunmei SHIRABE
Article type: Article
2010 Volume 61 Issue 2 Pages
85-96
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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This paper aims to consider how photography can incorporate "imagination" in itself despite the fact that it is limited to representing something in front of a camera. For this consideration, the nineteenth-century British photographer H. P. Robinson is the key figure, because he continued to think the relationship between photography and imagination throughout his photographing career. In Pictorial Effect in Photography (1869), he regarded imagination as faculty for composing something that did not exist, for example, angels. He insisted, therefore, that a photographer violated fitness as a picture-maker when he depended on imagination. But in The Art and Practice of Silver Printing (1881), Robinson focused on a photographer as a picture-viewer and turned to look upon imagination as faculty for forming a picture of something as it should be. Moreover, Robinson implied in Picture Making by Photography (1884) that when the photographer's imagination was stimulated by something instantaneous that was fixable only by gelatin plate, he might try to set up an event in the real world as it looked instantaneous and to photograph it. In my reading, Robinson believed such an operation of imagination enabled the photographer to demonstrate his imagination without violating fitness.
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Chieko HIRANO
Article type: Article
2010 Volume 61 Issue 2 Pages
97-108
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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Gordon Matta-Clark (1943-1978) is best known for his 'building cuts', which involved the physical invasion of vacant urban buildings. Through these works, he criticized urban renewal and the standardization of space in order to achieve industrial efficiency. Though they received less attention than his architectural works, Matta-Clark was also heavily involved in 'culinary' projects from the outset of his artistic career. The most important of these was 'Food', a restaurant he opened in 1971 along with a group of collaborating artists. At the restaurant, Matta-Clark emphasized human activity and allowed for the purchase, preparation and serving of food to act as a metaphor for cultural transformation. Later, in 1975, he built on 'Food' by giving a performance called 'Cuisse de Bceuf' that involved his roasting 750 pounds of beef in front of the then under-construction Pompidou Center in Paris. Earlier in his career, Matta-Clark also used food as a motif in works such as 'Agar' and 'Museum', which highlight the natural ability of mold to transform the ingredients of food. These projects set out to demonstrate the variety and vitality of unrestricted nature. I divide Matta-Clark's culinary projects into representations of 'natural' and 'cultural' transformation (after Levi-Strauss' The Raw and the Cooked') in order to discuss how Matta-Clark's motif of 'food as symbol of transformation' compliments his architectural work by criticizing the scientific and functional basis of urban renewal.
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Article type: Appendix
2010 Volume 61 Issue 2 Pages
109-112
Published: December 31, 2010
Released on J-STAGE: May 22, 2017
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Hiroshi ASHIDA
Article type: Article
2010 Volume 61 Issue 2 Pages
113-
Published: December 31, 2010
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Shiro ARAI
Article type: Article
2010 Volume 61 Issue 2 Pages
114-
Published: December 31, 2010
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Keiko ISHIDA
Article type: Article
2010 Volume 61 Issue 2 Pages
115-
Published: December 31, 2010
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Hidekazu ICHIKAWA
Article type: Article
2010 Volume 61 Issue 2 Pages
116-
Published: December 31, 2010
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Shigeki IRIE
Article type: Article
2010 Volume 61 Issue 2 Pages
117-
Published: December 31, 2010
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Akiko OKUDA
Article type: Article
2010 Volume 61 Issue 2 Pages
118-
Published: December 31, 2010
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Yoshiaki KAI
Article type: Article
2010 Volume 61 Issue 2 Pages
119-
Published: December 31, 2010
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Mari KAWAKAMI
Article type: Article
2010 Volume 61 Issue 2 Pages
120-
Published: December 31, 2010
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Natsuko KUWABARA
Article type: Article
2010 Volume 61 Issue 2 Pages
121-
Published: December 31, 2010
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Naoko KORITA
Article type: Article
2010 Volume 61 Issue 2 Pages
122-
Published: December 31, 2010
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Bunmei SHIRABE
Article type: Article
2010 Volume 61 Issue 2 Pages
123-
Published: December 31, 2010
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Hiroaki SUGIYAMA
Article type: Article
2010 Volume 61 Issue 2 Pages
124-
Published: December 31, 2010
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Soin SEN
Article type: Article
2010 Volume 61 Issue 2 Pages
125-
Published: December 31, 2010
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Kaoru TAKAKU
Article type: Article
2010 Volume 61 Issue 2 Pages
126-
Published: December 31, 2010
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Keisuke TERAMOTO
Article type: Article
2010 Volume 61 Issue 2 Pages
127-
Published: December 31, 2010
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Wataru NAKAGAWA
Article type: Article
2010 Volume 61 Issue 2 Pages
128-
Published: December 31, 2010
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Kunihiro BAI
Article type: Article
2010 Volume 61 Issue 2 Pages
129-
Published: December 31, 2010
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Arata HAYASHIDA
Article type: Article
2010 Volume 61 Issue 2 Pages
130-
Published: December 31, 2010
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Tomoaki KITADA-HARUKI
Article type: Article
2010 Volume 61 Issue 2 Pages
131-
Published: December 31, 2010
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Katsumi FUKICHI
Article type: Article
2010 Volume 61 Issue 2 Pages
132-
Published: December 31, 2010
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Shingo FUJISAKA
Article type: Article
2010 Volume 61 Issue 2 Pages
133-
Published: December 31, 2010
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Mai MICHIHIRO
Article type: Article
2010 Volume 61 Issue 2 Pages
134-
Published: December 31, 2010
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Kaoru MIYAZAKI
Article type: Article
2010 Volume 61 Issue 2 Pages
135-
Published: December 31, 2010
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Midori MORIYAMA
Article type: Article
2010 Volume 61 Issue 2 Pages
136-
Published: December 31, 2010
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Fumiaki YANAGISAWA
Article type: Article
2010 Volume 61 Issue 2 Pages
137-
Published: December 31, 2010
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Tomoki YAMAUCHI
Article type: Article
2010 Volume 61 Issue 2 Pages
138-
Published: December 31, 2010
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Shoichi YAMASHITA
Article type: Article
2010 Volume 61 Issue 2 Pages
139-
Published: December 31, 2010
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Sae YAMAMOTO
Article type: Article
2010 Volume 61 Issue 2 Pages
140-
Published: December 31, 2010
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Yuuki YAMAMOTO
Article type: Article
2010 Volume 61 Issue 2 Pages
141-
Published: December 31, 2010
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Naoko YOSHIDA
Article type: Article
2010 Volume 61 Issue 2 Pages
142-
Published: December 31, 2010
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[in Japanese]
Article type: Article
2010 Volume 61 Issue 2 Pages
143-
Published: December 31, 2010
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[in Japanese]
Article type: Article
2010 Volume 61 Issue 2 Pages
144-147
Published: December 31, 2010
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[in Japanese]
Article type: Article
2010 Volume 61 Issue 2 Pages
148-
Published: December 31, 2010
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[in Japanese]
Article type: Article
2010 Volume 61 Issue 2 Pages
149-
Published: December 31, 2010
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[in Japanese]
Article type: Article
2010 Volume 61 Issue 2 Pages
150-
Published: December 31, 2010
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[in Japanese]
Article type: Article
2010 Volume 61 Issue 2 Pages
151-
Published: December 31, 2010
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