Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 62, Issue 1
Displaying 1-34 of 34 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    2011 Volume 62 Issue 1 Pages Cover1-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_Cover1
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  • [title in Japanese]
    Article type: Cover
    2011 Volume 62 Issue 1 Pages Cover2-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_Cover2
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  • [title in Japanese]
    Article type: Appendix
    2011 Volume 62 Issue 1 Pages App1-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_App1
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  • [title in Japanese]
    Article type: Appendix
    2011 Volume 62 Issue 1 Pages App2-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_App2
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  • Poetry as literature without description : Valery's focusing on a reader's body
    Asa ITO
    Article type: Article
    2011 Volume 62 Issue 1 Pages 1-12
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_1
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    The aim of this paper is to investigate Paul Valery's criticism of description in literature and to clarify his ideal of poetry. Description is a technique to represent an object visually. Though an author chooses arbitrarily what he/she describes, he/she expects his/her reader to abstain the self and to obey him/her. Valery criticized this passiveness of reader and dominance of author. For Valery both reader and author have productive roles and they are completely separated two systems just like a producer and a consumer in a market economy. Through an act of reading, a reader finds abilities of his/her body which were unknown to himself/herself. This focusing on a reader's body is an ideal effect of poetry for Valery. While description involves a false reality, a pure poetry explores a reality of body. A work is not a messenger of feelings or thoughts of an author but a machine to make a reader's body act. A comparison with Breton's solution will make points of Valery's discussion more clear.
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  • Bachelard's phenomenology of the imagination
    Keiko HASHIZUME
    Article type: Article
    2011 Volume 62 Issue 1 Pages 13-24
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_13
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    In The Poetics of Space (1957), Gaston Bachelard adopts a phenomenological approach to the literary image for the first time. In the volume, he introduces the notion of "Retentissements" (echoes)-the creative reception of image-which is given a central role in the work. This paper aims to examine the evolution of his theory, particularly in relation to his epistemology and earlier theory of art. When Bachelard refers to Husserl's phenomenology in his epistemological work, he criticizes it as too "formal." To Bachelard, the examples Husserl gives do not provide a sufficient understanding of the relationship between subject and object in science. In his earlier theory of art, Bachelard also establishes his distance from Sartre's phenomenology, which draws a clear distinction between the reality and the image. For Bachelard, they are intimately interwoven and escape from the fact-imagination opposition. Paradoxically, although he seems hostile toward phenomenologists, his critique eventually leads him toward a new phenomenology of the imagination. In the process of his debate with them, Bachelard appropriates some features of their theories in order to forge his own. In this way, he evolves his theory of the imagination and, in this sense, he is influenced by other phenomenological thought and, in turn, echoes (retentir) them.
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  • Kraft der Kunst : Herders Theorie der Plastik von Pygmalion-Motiv
    Naoko YOSHIDA
    Article type: Article
    2011 Volume 62 Issue 1 Pages 25-36
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_25
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    Seinen Plastik von 1778 untertitelt J. G. Herder, Einige Wahrnehmungen fiber Form und Gestalt aus Pygmalions bildendem Traume. Das Pygmalion-Motiv hat Herder von Rousseaus musikalischem Drama (1770) ubernommen. Nach Rousseau bringt Pygmalion Plastik zum Leben, und da lebt er. Dazu schreibt Herder "Wir werden mit der Natur [der Korper der Plastik] gleichsam verkorpert oder diese mit uns beseelet", wenn wir "Ausdruck der Kraft im Gefasse der Menschheit" in dem Korper fuhlen. In der vorliegenden Arbeit wird diese kunstlerische Erfahrung als pygmalionische Verkorperung bestimmt wie folgt: (1) Dabei ist man in anfanglichem Zustand, das den gebildeten Vermogen des Subjekts vorhergeht, wenn er nicht durch den Gesicht, das "der kunstlichste, philosophischste Sinn" ist, sondern durch das Gefuhl, das das Grund legendste erfassen kann, erfahrt. (2) In diesem Zustand kann er durch "Mitempfindung" fur die Seelenkraft in der Korper anfangliches-Ich werden. (3) Nach Herders Vom Erkennen und Empfinden (1778), bedeutet dieser anfangliches-Ich "unser reizbares Ich", das Herder auf Albrecht von Haller gefuhrt wird. Ich mochte diese kunstlerische Erfahrung nach dem Pygmalion-Motiv uberlegen, um Herders Plastik nicht nur auf die Umwandelung der modernen Hierarchie der Sinne, sondern auf Herders weitere anthropologische Philosophie zu beziehen.
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  • Direction and Presentation of Sacre Rappresentazioni : Particular focus on Pentecoste
    Hiroaki SUGIYAMA
    Article type: Article
    2011 Volume 62 Issue 1 Pages 37-48
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_37
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    This Paper provides detail of Pentecoste, a kind of sacred plays called Sacre Rappresentazioni, which were presented in Florence in fifteenth century. Little is known so far about direction and presentation of Sacre rappresentazioni except for Annunciazione and Ascensione because of lack of document by the audience. However, checking the text by Giuseppe Richa of the eighteenth century and the documents of congregation makes us realize the detail of Pentecoste. This verification suggests two distinctions of the direction: overwhelming illumination with calorific value and replacement of wooden dolls with live performers. The former distinction naturally leads us to speculate interesting stimulus to the audience: on their sense of sight, hearing, smell and touch. In addition, the latter character suggests us a possibilitiy that the audience would receive the representation as a kind of heretic image of imparting life. Therefore, direction and presentation of Pentecoste coincidence with the fact that Sacre Rappresentazioni had cross-fields character.
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  • The Central Predella of the Barbadori Altarpiece by Fra Filippo Lippi : A Study of the Choice of Subject
    Natsuko KUWABARA
    Article type: Article
    2011 Volume 62 Issue 1 Pages 49-60
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_49
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    This paper examines the reason for why Fra Filippo Lippi chose Annunciation of the Death of the Virgin and Arrival of the Apostles as subjects for the central predella of his Barbadori Altarpiece. In addition to being very rare, these two subjects are painted as though the events represented by them are occurring simultaneously. This altarpiece was placed in the Barbadori Chapel, which the Confraternity of Orsanmichele had the responsibility of constructing. I demonstrate that the confraternity's charity was reflected in the choice of these subjects. The rules of the confraternity show that they promised the confession, extreme unction, and courteous burial to their members, allowing them to accept death peacefully. Annunciation of the Death of the Virgin shows the calm acceptance of death and Arrival of the Apostles suggests the attendance of one's deathbed and burial. To further demonstrate that Lippi constructed his work to suggest the charity of the confraternity, I perform a comparison of the central predella to source detailing its subjects, a comparison to preceding works, and an analysis of the composition. Most likely, my interpretation is congruent with the intentions of Gherardo Barbadori, a captain of the confraternity who ordered the construction of the chapel.
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  • A Medici taste for a kind of grotesque in the late 15th century : Danza Moresca con la donna delle salsicce of Maestro SE
    Akiko HATA
    Article type: Article
    2011 Volume 62 Issue 1 Pages 61-72
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_61
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    The Medici family, particularly Laurentian Florence of the 1470's had a predilection for Flemish art. This paper focuses on this artistic exchange between Florence and Flanders in the late 15th century. As previous studies have emphasized, Flemish paintings were usually esteemed for their realistic characteristics. But the majority of Flemish paintings in Florence was actually painted on cloth. These cloth paintings, or panni dipinti, offered a wide range of images of secular subjects to the Florentine upper-classes. I would particularly like to examine the "danza moresca", which is listed twice in the Medici inventory of 1492. The "danza moresca" is an exotic, bizarre competitive dance for the sexual favours of a woman. It is significant that this bacchanalian kind of painting was placed in both an urban palazzo and a suburban villa. The actual painting is now lost, however we can examine a Florentine print that was related to its records in the inventories. Through this process, this study shall reveal that the Flemish paintings also fulfilled the Medici's taste for a kind of grotesque which can also be seen as a direct visual equivalent of Lorenzo's Canzone Carnascialesche.
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  • Fernand Leger and the Modern City : An Analysis of Spatial Structure in Painting
    Yuuki YAMAMOTO
    Article type: Article
    2011 Volume 62 Issue 1 Pages 73-84
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_73
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    The present paper proposes to analyze the theme of the Modern City in a series of loosely related works by French painter Fernand Leger (1881-1955) from 1919 to 1923. After returning from the Great War, Leger proved remarkably productive and tackled several different styles and themes at once, thus leading previous critics of his art to describe this stage in his career as a particularly eclectic one, especially when compared with the contemporary "call to order" within the avant-garde circles. Nonetheless, it is a common trend in these studies to somewhat overlook the overarching motif-based on the painter's deeply personal interpretation of modern urban life-which served to conceptually unify these works. It is our intention therefore to reassess Leger's conception of the City and reveal the significance of his works on this theme in a new light. He was very receptive to the dramatic changes around him and showed great interest in the emerging forms of modernist architecture. This choice of subject led him to move from his early "simultanist" evocation of life in the Modern City towards a socially-engaged and boldly pictorial exploration of new possibilities within a revolutionary concept of urban space.
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  • Reconsidering Alfred Stieglitz's Equivalents : Notes on Their Relationships to Representations of the American Landscape after World War I
    Yoshiaki KAI
    Article type: Article
    2011 Volume 62 Issue 1 Pages 85-96
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_85
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    Alfred Stieglitz's series of photographs of clouds entitled Equivalents has been understood from two contrasting perspectives: "straight photography" and symbolism. This essay discusses an aspect of the Equivalents which has been neglected in these two dominant frames of reference. When Stieglitz began to make the Equivalents in the mid-1920s, the painters around him, such as Georgia O'Keeffe and Stanton Macdonald-Wright, were primarily concerned with how to represent the American landscape. This concern urged them to abandon pure abstraction and to depict landscapes that were considered to be characteristically American. Although the Equivalents capture only clouds in the sky, each photograph was shot at Lake George in upstate New York. When he exhibited them, Stieglitz carefully arranged the captions and installations so that a viewer could realize this fact. As Lake George was another place regarded to embody the beauty and spirit of America, the Equivalents were not unrelated to the shared interest of the painters of the Stieglitz circle. In pursuing this concern, Stieglitz utilized an intrinsic characteristic of the photographic medium, namely its inseparable connection to a specific place and viewpoint.
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  • The "Crisis" of Photography : INA Nobuo and the era of "Ero-Gro-Nonsense"
    Arata HAYASHIDA
    Article type: Article
    2011 Volume 62 Issue 1 Pages 97-108
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_97
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    INA Nobuo is known as the photo critic who emphasized the medium specificity of photography in his essay "Return to the Photography" in 1932 and who theorized and encouraged the reportage-photography. So researchers regarded his concept of reportage-photography as the consequence of pursuing the nature of photography. But it's a little known fact that he edited the graph-montage entitled "Scoping out the Crisis" on the magazine Hanzai-Kagaku in 1932. Interestingly, he used not only photographs but also some illustrations in his work. The aim of this paper is to re-examine his concept of reportage-photography through discussing the reason why he used some illustrations. In the era of "Ero-Gro-Nonsense" not a few books insert some erotic and exotic images to gratify the reader's desire. In response, rendering the exploring, consuming or looking people by caricatures, and the explored, consumed or looked people by photographs, his graph-montage represents class confrontation and the photography as spectacle negatively, because he assumed that photographs has to be used to convey "thought and emotion" clearly through the printed media. In this way he valued the editing on the printed media more than the property of automatic recording.
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  • A la recherche de l'origne de l'image : Histoires d'inventions d'images et leur <<authenticite>> au debut de la prehistoire
    Kunihiro BAI
    Article type: Article
    2011 Volume 62 Issue 1 Pages 109-120
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_109
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    Les Grottes de l'Altamira ont ete decouvertes par Henri Breuil en 1902. Les reproductions des gravures et des peintures presentees a l'academie lui ont permis de montrer aux prehistoriens comment it est possible de faire une analyse interne des representations figuratives pour en degager le fondement plastique : la decouverte des peintures parietales auraient du etre le resultat d'une recherche methodique a l'aide d'instruments de mesure. Mais sa vue sera brouillee par l'obscurite de la grotte dans la pratique, car l'eclairage insuffisant dans la grotte (la lampe ou la bougie) transforme les formes et les couleurs des reliefs et peintures parietales suivant les textures rocheuses ou les mouvements des lumieres. Breuil les a donc decalquees directement au contact des parois. Il s'ensuit de la qu'il experimente une comprehension intuitive, fondee sur la sympathie, de leurs intentions esthetiques et religieuses. Cette these essaie de reconsiderer les gestes d'Henri Breuil comme imitation qui s'accordent avec ceux d'un createur, c'est-a-dire comme mimesis au sens de ressemblance corporelle en meme temps qu'elle produit la representation <<authentique>> et, pour cela, d'expliciter son entreprise de releve des oeuvres paleolithiques bien plus qu'une simple technique de reproduction.
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  • Stylistic Changes in Notation and the Invention of "Common Character of South Eastern European Folk Music" : On the Role of the Phonograph in Bartok's study on Folk Songs
    Mineo OTA
    Article type: Article
    2011 Volume 62 Issue 1 Pages 121-132
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_121
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    In the first half of the 20^<th> century many musicologists tried to notate folk songs precisely by the help of recording media. In the case of Bela Bartok we can see that his notation of folk songs became more and more detailed as his career progressed. It is certain that the phonograph played an important role in this change in notation, even though several other factors such as the spread of "audile technique" for concentrative listening also could have been important as well. While Bartok believed that the track of record was the most authentic record of songs, he continued to use the traditional way of notation with additional signs. Consequently, aided by a phonograph with a headset, he could "discover" such unknown stylistic features as "Bulgarian rhythm" that might enlarge the vocabulary of traditional European art music. Considering his notion of "Bulgarian rhythm" as "common character of south eastern European folk music" on one hand, and the frequent appearance of "Bulgarian rhythm" with Hungarian stylistic features in his works on the other, perhaps we may say that phonograph contributed not only to his scholarly activity but also-if indirectly-to his modernist creative activity.
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  • The Formation of the Chanoyu Philosophy in the Sen Family with Particular Reference to Genpaku Sotan and Koshin Sosa
    Soin SEN
    Article type: Article
    2011 Volume 62 Issue 1 Pages 133-144
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_133
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    "Wabi" and "sabi" are the words that best express the idea of chanoyu. In this essay, I will consider how these concepts were interpreted and formed chanoyu philosophy by the successors of the founder of the way of tea Sen no Rikyu, through the words of the third generation Genpaku Sotan and the fourth generation Koshin Sosa. From Sotan's letter, it is clear that he was inclined towards "sabi" rather than "wabi". As an example, in the tea gathering, Sotan only used the minimum number of utensils in the smallest tea room. Sotan placed no value on special items or social position and led a life of poverty. He found value in simple and "roughness" things and called this idea "sabi". Koshin intended to continue in the spirit of "sabi", as can be seen in his tea writings. By "sabi" he means finding value in things as they naturally are, and the aesthetics and actions of chanoyu should be harmonized with nature. As a way of realizing this, Koshin took importance on training and through the accumulation of practice one could reach the state of "sabi" or achieve a state of mind that was at one with nature. Thus, Sotan and Koshin developed the philosophy of "sabi", which was not merely an aesthetic one, but one that sought to develop the spirit of a tea practitioner.
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 145-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_145
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  • [title in Japanese]
    Article type: Appendix
    2011 Volume 62 Issue 1 Pages 146-167
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_146
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 168-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_168
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 169-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_169
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 170-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_170
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 171-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_171
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 172-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_172
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 173-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_173
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 174-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_174
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    2011 Volume 62 Issue 1 Pages 175-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_175
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  • [title in Japanese]
    Article type: Index
    2011 Volume 62 Issue 1 Pages 176-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_176
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  • [title in Japanese]
    Article type: Appendix
    2011 Volume 62 Issue 1 Pages 177-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_177
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  • [title in Japanese]
    Article type: Appendix
    2011 Volume 62 Issue 1 Pages 178-179
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_178
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  • [title in Japanese]
    Article type: Appendix
    2011 Volume 62 Issue 1 Pages 180-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_180_1
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  • [title in Japanese]
    Article type: Appendix
    2011 Volume 62 Issue 1 Pages 180-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_180_2
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  • [title in Japanese]
    Article type: Bibliography
    2011 Volume 62 Issue 1 Pages 186-181
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_186
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  • [title in Japanese]
    Article type: Cover
    2011 Volume 62 Issue 1 Pages Cover3-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_Cover3
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  • [title in Japanese]
    Article type: Cover
    2011 Volume 62 Issue 1 Pages Cover4-
    Published: June 30, 2011
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.62.1_Cover4
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