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Article type: Cover
2011 Volume 62 Issue 2 Pages
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Published: December 31, 2011
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Article type: Cover
2011 Volume 62 Issue 2 Pages
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Published: December 31, 2011
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Article type: Appendix
2011 Volume 62 Issue 2 Pages
App1-
Published: December 31, 2011
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Article type: Appendix
2011 Volume 62 Issue 2 Pages
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Published: December 31, 2011
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Issei SAKURAI
Article type: Article
2011 Volume 62 Issue 2 Pages
1-12
Published: December 31, 2011
Released on J-STAGE: May 22, 2017
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From the early period of his career, Paul Ricoeur (1913-2005) focused on project and action as a form of self-understanding. In the 1970s, he associated the concept of self-understanding with the question of interpretation of poetic language such as metaphor and narrative fiction, arguing that the act of interpreting poetic works enabled the reader to project a new existence. However, Ricoeur's own account on this association is fragmentary, even containing internal contradictions. Especially, his idea of "the world of the text," despite its centrality in his argument, seems to conflict with his earlier thoughts. Yet, we should note that in Temp et recit (1983-5), Ricoeur reconsidered and modified that concept. Though virtually no attempt has been made to elucidate the significance of this modification, it is crucial to reinterpret his texts written in the 70's in light of the revision made in the 80's for understanding the design of Ricoeur's hermeneutics integrally. By investigating the process of the shift from interpretation to project in terms of the reader's act, this paper will reconstruct Ricoeur's apparently fragmented hermeneutics as a whole, thereby demonstrating that he regarded interpretation as an act of dialogue and a creative activity supported by imagination.
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Chikako HASHIMOTO
Article type: Article
2011 Volume 62 Issue 2 Pages
13-24
Published: December 31, 2011
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Dans cet article, nous souhaitons eclairer le concept de gourmandise selon Brillat-Savarin par la lecture de son texte. Dans les recherches precedentes sur l'histoire de l'alimentation a Paris d'apres la Revolution Francaise, it est de coutume de decrire la vie a Paris comme une scene de carnaval. Dans ce contexte, le texte de Brillat-Savarin, qui est considers comme une sorte de symbole de la culture de la gastronomie francaise grace au succes de la Physiologie du gout (1826), n'a pas ete suffisamment analyse jusqu'a aujourd'hui. Bien que le titre nous false imaginer qu'il admire completement le <<gout>>, la chose la plus importante pour l'auteur fut en effet le plaisir modeste donne par la <<convivialite>>, qui est a l'ecart du plaisir sensuel du <<gout>> physique. Nous considerons d'abord son approche de justifier l'acte de gourmandise, non comme un vice mais comme un acte recommandable pour l'entretien du corps. Ensuite, apres avoir vu comment it transpose cet argument au niveau de la morale de la societe, nous considerons la tendance de son concept de gourmandise qui tend a rapprocher le plaisir de la sociabilite, quitte a mepriser le plaisir sensuel qu'il avait pourtant precedemment justifie.
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Takayuki NITTA
Article type: Article
2011 Volume 62 Issue 2 Pages
25-36
Published: December 31, 2011
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Jean Gremillon (1901-59) etait musicien avant de devenir cineaste et it a meme compose de la musique de certains de ses films. En effet, on a toujours parle de la musicalite de son cinema. Le plus remarquable, c'est que Remorques (1939-41), mis en musique par Alexis Roland-Manuel, a ete fait allusion a l'opera bien qu'il ne soit pas son adaptation cinematographique, ni un film-opera qui contient des scenes de sa representation. Si Remorques est une sorte d'opera, c'est parce que ce film est meticuleusement elabore au niveau des acoustiques comme par exemple dans la sequence finale evoquant l'agonie de la femme isolee (Madeleine Renaud) par l'oratorio qui commence tout apres sa mort. De plus, la direction d'acteurs et la figuration cinematographique chez Gremillon font apparaitre des secrets caches des comediens, en creant des personnages allegoriques comme celles de l'opera, dans le but qu'on soit invite a porter des hypotheses sur leur identite ou, selon les mots du cineaste, "trouver et rejoindre leur secret". Catherine (Michele Morgan) est plus et autre que ce qu'elle est comme Wotan ou Salome. Remorques, film qu'il existe des personnages operatiques sans voix chantee, peut etre lui-meme defini comme un double de l'opera.
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Akihiro HOSODA
Article type: Article
2011 Volume 62 Issue 2 Pages
37-48
Published: December 31, 2011
Released on J-STAGE: May 22, 2017
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In Bunraku, a single puppet is manipulated by three puppeteers. In this paper, we will consider the method of operating Bunraku puppets by referring to the theory of the Joruri narrative because Bunraku is formed by uniting Joruri and puppets. In the 17th century, special puppeteers, Tezuma ningyotsukai, appeared and showed off their clever techniques. Bunraku puppeteers, under the influence of them, wanted to manipulate finer movements and needed two assistants as co-operators. Thus, the manipulation method of Bunraku puppets was established in 1734. Furthermore, the mechanism inside of the Bunraku puppet head was made for richer expression of emotion; these mechanisms were used to show the puppeteer's technique in Tezuma puppets. Actually at that time, there was a significant change in the artistic theory of Joruri. From that point, the importance of expressing the feelings of the characters has been established. There is a similar claim written later in the theoretical book about how to operate the Bunraku puppets. In brief, the operation method of Bunraku puppets was established for expressing the character's feelings, in accordance with the artistic theory of Joruri.
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Keisuke TANAKA
Article type: Article
2011 Volume 62 Issue 2 Pages
49-60
Published: December 31, 2011
Released on J-STAGE: May 22, 2017
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It is a familiar fact that the printed books wiped out the manuscripts in the late 15th century European intellectual world. However, the significance of it in the historical context is too complex to interpret as a mere technical invention. In the present paper I shall try to explain, though only in philological way, what sort of directions were given in the Renaissance humanism by printing and the printed books as the problem of the history of ideas. I shall not discuss the mode or artistic format of any incunabula and early printed books, mine is rather abstract task of trying to understand, through some documents of Italian humanists, the historical impact of printing on the Renaissance era. My aim will accordingly indicate the essential correlation of printing with the Modern form of knowledge. In my idea, printing has three aspects: (i) the institutional package which produced the public value of books by means of mass circulation, (ii) the product of a certain technologism which changed knowing as personal study into knowing as impersonal manipulation, (iii) the breaker of the traditional close relationship between the authors and the readers. One may find these aspects support our form of knowledge.
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Kaori TAGUCHI
Article type: Article
2011 Volume 62 Issue 2 Pages
61-72
Published: December 31, 2011
Released on J-STAGE: May 22, 2017
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Cesare Brandi (1906-1988) wrote The Theory of Restoration in 1966 as an integral part of his general conception of art and there he identified the purpose and duty of restoration, which had not been fully developed in previous centuries. This research focuses on his specific theory of the reintegration of the lacunae. Brandi did not agree to a traditional method, restoring the original appearance of art by using the almost identical technique to an artist, which could end up producing a counterfeit. As an alternative, Brandi proposed the reintegration with neutral colour, in which the lacunae would be filled up with moderate colours somewhere between grey and ocher. Although quite a few restorers adopted his unique method, it gradually came to be considered inappropriate for its peculiar appearance so that it almost disappeared by the end of seventies. Slighted as a short-lived proposal, neither a true significance of an intervention with neutral colour nor Brandi's intention on this has been deeply argued. This paper treats the reintegration with neutral colour as an embodiment of Brandi's idea on respecting "time in relation to the art", and it will verify how Brandi's theory and that of his contemporaries correspond to the method of neutral colour.
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Noriko MASUDA
Article type: Article
2011 Volume 62 Issue 2 Pages
73-84
Published: December 31, 2011
Released on J-STAGE: May 22, 2017
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This paper focuses on the image of "eating" in Francisco Goya's Saturn Devouring His Son (1820-23). We aim to grasp the meaning of "eating" in the above and other works of Goya by examining the grotesque body image of Saturn who devours his victim with wide-open mouth and eyes, angular limbs, and disheveled grey hair. As a court painter at the end of the 18^<th> century Spain, Goya was commissioned for works like portraits and tapestry cartoons, where he drew the dignified public body of royalty and nobility, which represented the classical notion of "ideal beauty." However, in a series of works executed after the Peninsular War of 1808-1814, such as the Disasters of War and the Black Paintings, Goya painted distorted and grotesque images of bodies that eat, excrete, grow old, die, and decay. In these images, Goya represented the body as "matter" that was far from the ideal beauty. In this article, we show that the grotesque image of "eating" in Goya's works does not convey the enjoyment and pleasure of life but the insatiable desire to eat, cruelty, and violence in the act of eating, as well as aversion to food.
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Hidenori SASAKI
Article type: Article
2011 Volume 62 Issue 2 Pages
85-96
Published: December 31, 2011
Released on J-STAGE: May 22, 2017
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Taro Okamoto, the avant-garde artist, 1911-96, was very active in Japan after World War II. Since his death in 1996, an increasing number of studies about Okamoto have been made. While it has been often mentioned that his philosophical background had some influences from Marcel Mauss, Alexandre Kojeve, Georges Bataille and so forth, with whom Okamoto had acquired during his days in Paris between 1930 and 1940, there has been no study on this matter during the period after World War II. Taro Okamoto Museum of Art, Kawasaki possesses about 400 French books of Okamoto's old stock, which had been previously kept in his bedside bookshelf at his residence (present Taro Okamoto Memorial Museum) in Minami-Aoyama, Tokyo. These books that had been treasured by Okamoto, were all donated to the museum without any volume missing. Among these 400 French books, we can confirm that the six books authored by Mircea Eliade, have a number of Okamoto's own underlines and notes. This article has elucidated the Eliade's influences on Okamoto's creative works.
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Article type: Appendix
2011 Volume 62 Issue 2 Pages
97-101
Published: December 31, 2011
Released on J-STAGE: May 22, 2017
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Yasuharu AKIYOSHI
Article type: Article
2011 Volume 62 Issue 2 Pages
102-
Published: December 31, 2011
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Yoshinori AMAGAI
Article type: Article
2011 Volume 62 Issue 2 Pages
103-
Published: December 31, 2011
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Minami EGUCHI
Article type: Article
2011 Volume 62 Issue 2 Pages
104-
Published: December 31, 2011
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Takaharu OAI
Article type: Article
2011 Volume 62 Issue 2 Pages
105-
Published: December 31, 2011
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Hiroyuki OKUMA
Article type: Article
2011 Volume 62 Issue 2 Pages
106-
Published: December 31, 2011
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Sawako OGAWA
Article type: Article
2011 Volume 62 Issue 2 Pages
107-
Published: December 31, 2011
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Aya OGAWARA
Article type: Article
2011 Volume 62 Issue 2 Pages
108-
Published: December 31, 2011
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Yukiko KATO
Article type: Article
2011 Volume 62 Issue 2 Pages
109-
Published: December 31, 2011
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Daisuke KAWAI
Article type: Article
2011 Volume 62 Issue 2 Pages
110-
Published: December 31, 2011
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Masashi KISHIMOTO
Article type: Article
2011 Volume 62 Issue 2 Pages
111-
Published: December 31, 2011
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Shunsuke KUWAHARA
Article type: Article
2011 Volume 62 Issue 2 Pages
112-
Published: December 31, 2011
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Michio SAKATA
Article type: Article
2011 Volume 62 Issue 2 Pages
113-
Published: December 31, 2011
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Chika SASAKI
Article type: Article
2011 Volume 62 Issue 2 Pages
114-
Published: December 31, 2011
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Kumi SHIMADA
Article type: Article
2011 Volume 62 Issue 2 Pages
115-
Published: December 31, 2011
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Yoshiko SUZUKI
Article type: Article
2011 Volume 62 Issue 2 Pages
116-
Published: December 31, 2011
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Syoko SUMIDA
Article type: Article
2011 Volume 62 Issue 2 Pages
117-
Published: December 31, 2011
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Daiki TAKATO
Article type: Article
2011 Volume 62 Issue 2 Pages
118-
Published: December 31, 2011
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Kenichi TAKAHASHI
Article type: Article
2011 Volume 62 Issue 2 Pages
119-
Published: December 31, 2011
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Yoichiro TAKAHASHI
Article type: Article
2011 Volume 62 Issue 2 Pages
120-
Published: December 31, 2011
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Kentaro TANABE
Article type: Article
2011 Volume 62 Issue 2 Pages
121-
Published: December 31, 2011
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Emilie TSURU
Article type: Article
2011 Volume 62 Issue 2 Pages
122-
Published: December 31, 2011
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Yuuna TONEGAWA
Article type: Article
2011 Volume 62 Issue 2 Pages
123-
Published: December 31, 2011
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Hidenori NAGASAKO
Article type: Article
2011 Volume 62 Issue 2 Pages
124-
Published: December 31, 2011
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Shinsuke NIIKURA
Article type: Article
2011 Volume 62 Issue 2 Pages
125-
Published: December 31, 2011
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Yumi NOTOHARA
Article type: Article
2011 Volume 62 Issue 2 Pages
126-
Published: December 31, 2011
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Nobuhiro MASUDA
Article type: Article
2011 Volume 62 Issue 2 Pages
127-
Published: December 31, 2011
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Yosaku MATSUTANI
Article type: Article
2011 Volume 62 Issue 2 Pages
128-
Published: December 31, 2011
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Masaki MURAKAMI
Article type: Article
2011 Volume 62 Issue 2 Pages
129-
Published: December 31, 2011
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Ryu MURAKAMI
Article type: Article
2011 Volume 62 Issue 2 Pages
130-
Published: December 31, 2011
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Norihide MORI
Article type: Article
2011 Volume 62 Issue 2 Pages
131-
Published: December 31, 2011
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Yuko MORITA
Article type: Article
2011 Volume 62 Issue 2 Pages
132-
Published: December 31, 2011
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Yu YOSHINARI
Article type: Article
2011 Volume 62 Issue 2 Pages
133-
Published: December 31, 2011
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Yohei WATANABE
Article type: Article
2011 Volume 62 Issue 2 Pages
134-
Published: December 31, 2011
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Tomoaki KITADA-HARUKI
Article type: Article
2011 Volume 62 Issue 2 Pages
135-138
Published: December 31, 2011
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[in Japanese]
Article type: Article
2011 Volume 62 Issue 2 Pages
139-
Published: December 31, 2011
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[in Japanese]
Article type: Article
2011 Volume 62 Issue 2 Pages
140-
Published: December 31, 2011
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[in Japanese]
Article type: Article
2011 Volume 62 Issue 2 Pages
141-142
Published: December 31, 2011
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