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Article type: Cover
2012 Volume 63 Issue 2 Pages
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Published: December 31, 2012
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Article type: Cover
2012 Volume 63 Issue 2 Pages
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Published: December 31, 2012
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Article type: Appendix
2012 Volume 63 Issue 2 Pages
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Published: December 31, 2012
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Article type: Appendix
2012 Volume 63 Issue 2 Pages
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Published: December 31, 2012
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Daisuke KAWAI
Article type: Article
2012 Volume 63 Issue 2 Pages
1-12
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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After "The Intentional Fallacy" (1946/54) by W. K. Wimsatt Jr. and M. Beardsley, the role of the artist's intention in the interpretation of artwork has been one of the central topics in analytical aesthetics. Recently, this issue has been mainly debated between moderate actual (MAI) and hypothetical intentionalism (HI). In this paper, I demonstrate some difficulties of MAI, comparing it with HI. First, I survey Carroll's version of MAI and point out its main arguments: accessibility to "actual intention" and the reliance on private documents. I examine them and show that the discrimination of MAI from HI is unclear. Additionally, I insist that, against Hans Maes' arguments, MAI has no advantages in interpreting contemporary art, because MAT overlooks the distinction between "semantic" and "categorial" intention, which Levinson draws. Since contemporary art employs diverse materials which have no code to mean something, semantic intention cannot play any role in making such artwork. Instead, categorial intention is the precondition for making it art and tells us how it is to be conceived or approached. Through this examination, I argue that there is no reason to maintain MAT, at least in Carroll's version.
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Shoichi YAMASHITA
Article type: Article
2012 Volume 63 Issue 2 Pages
13-24
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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Nous nous proposons dans cet article, en analysant <<L'esthetique du discontinu dans la musique nouvelle>> de Gisele Brelet, d'examiner la temporalite chez Bergson, Bachelard et Brelet. Cette genealogie du temps, Bergson-Bachelard-Brelet, nous montre une nouvelle lecture de l'esthetique musicale de Gisele Brelet. Nous essaierons d'abord de constater dans les arguments brelettiens la transition de l'esthetique de la continuite de la musique tonale a celle de la discontinuite de la musique atonale, c'est-a-dire transition du concept de la duree bergsonienne a celui de l'instant bachelardien. Ensuite, nous nous interesserons au probleme de la continuite profonde que Brelet repere fmalement dans le temps musical. Nous chercherons de la, en comparant les theories du temps chez Bergson, Bachelard et Brelet, a reinterpreter l'esthetique du discontinu de Brelet. Notre examen revelera enfin le temps musical paradoxal qui est a la fois duree et instant, temps qui consiste precisement en duree instantanee.
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Yohei WATANABE
Article type: Article
2012 Volume 63 Issue 2 Pages
25-36
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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Dans Proust et les signes, Gilles Deleuze a defini l'ceuvre d'art comme une machine. C'est la premiere fois que le concept de machine apparait dans ses oeuvres, et selon Deleuze, l'oeuvre de Proust A la recherche du temps perdu est elle-meme une machine. Notre etude est une tentative pour extraire de cette oeuvre sur Proust les conditions necessaires a l'existence de ce concept de machine. Et pour cela, nous confrontons Proust avec Platon selon la demarche de Deleuze. En effet dans ce livre, Deleuze parle souvent du platonisme de Proust, qu'il considere comme le renovateur de la reminiscence de Platon. Il nous semble que le concept de machine est rendu possible par cette renovation. Il existe aussi une autre condition a ce concept: la theorie du temps. Deleuze a deja presente une theorie originale du temps dans Difference et repetition, mais elle se presente sous un nouvel aspect avec l'art comme machine. Ueclairage apporte sur ces questions permet de reveler l'importance primordiale de Proust dans la pensee de Deleuze.
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Nobuhiro MASUDA
Article type: Article
2012 Volume 63 Issue 2 Pages
37-48
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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Au debut de XX^e siecle, Paul Richer, un professeur d'anatomie artistique, a identifie un crane decouvert au musee de l'homme comme etant celui de Rene Descartes qui avait disparu depuis 1650. Cette identification n'a pu se faire qu'en maniant les diverses techniques de reproduction comme le dessin, la photographie et le moulage. Cet article se propose donc d'examiner le procede de figuration du corps de Richer a travers la conception du <<figural>> avancee par Jean-Francois Lyotard darts Discours, Figure. Depuis les annees 1990, la problematique du figural, situee a un niveau virtuel entre langage et figure, provoque des polerniques dans les domaines de l'histoire de l'art, du cinema et des nouveaux media numeriques. Ce concept permet de debattre des proprietes ephemeres et virtuelles des images trans-mediatiques. Cependant, cela porte le risque de tomber dans la supposition d'une attitude passive et dans le manque d'analyse technique. En examinant le procede de Richer, qui analyse et modele le corps imaginaire, it faut donc d'une part verifier le figural contenu dans les processus virtuels des technologies reproductives variees, et d'autre part, presenter sa valeur au debut du XX^e et du XXI^e siecle.
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Fumiaki YANAGISAWA
Article type: Article
2012 Volume 63 Issue 2 Pages
49-60
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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En accordant une place nouvelle aux ouvrages de Georges Hardy, administrateur colonial de la premiere moitie du XXe siecle, cet article reconstitue la relation entre le colonialisme francais et l'art en Afrique noire. Sur la base de l'interet tant pour le contexte qui lui etait contemporain que pour la perspective, Hardy affirme qu'il reste des possibilites de renouvellement des <<arts indigenes>> malgre leur disparition brutale apres l'installation de la domination europeenne. Dans son livre L'Art negre en 1927, il identifie les influences europeennes a la fois negatives et positives, et il conclut que c'est dans l'avenir qu'on pourra apprecier les effets de cette influence europeenne sur les arts africains et sa contribution a leur developpement, comme le Benin ou le Dahomey, ou etaient produites les sculptures de qualite et liberties de la tradition religieuse. La colonialisation francaise chez Hardy se voit attribuer un role important d'aider les activites creatrices a se developper, ce qui permettrait aux colonies de collaborer et de s'associer a la metropole au travers l'eveil des arts indigenes. G. Hardy justifie ainsi l'attitude paternaliste du colonialisme qui par l'acculturation a permis aux arts africains de s'ouvrir a d'autres domaines artistiques comme la peinture.
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Masashi KISHIMOTO
Article type: Article
2012 Volume 63 Issue 2 Pages
61-72
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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Dieser Aufsatz versucht, die verschiedene Effekte, die die Materialien in den Raumen der Werke von Adolf Loos produzieren, ins Klare zu bringen. Loos entwarf in seinen letzten Lebensjahren mehrere Hauser nach seiner charakteristischen Begriffe, Raumplan. Laut seines fruhereren Aufsatz, Das Prinzip der Bekleidung, wahlte er bei den Entwurfen zuerst das Material fur Bekleidung fur Raume seines Architektur aus, um einen warmen, wohnlichen Raum herzustellen. Und dann uberlegte er die Struktur, die dieses Material tragt. Auch der Entwurf von Hausern von Raumplan kann mit seinem Material verbunden werden. Aber Raumplan widerspricht dem Prinzip der Bekleidung wegen der Flussigkeit zwischen verschiedenen Raumen, die er produziert. Dieser Aufsatz betrachtet das Gefuhl des Schutzes, das die Bewohner durch Materialien bei verschiedenen Hohen in den Raumen des Raumplans bekommen, um seine Methode fur Behandlung dieses Widerspruch zu analysieren. Ausserdem wird auch der gleiche Effekt in den isolierenden Einzelzimmern in Betracht gezogen. Des weiteren kommt die Betrachtung uber Beziehung von Bekleidung der Wanden zum Raum. Diese Bekleidung gibt keinen statischen Eindruck, weil dahinter anderes Zimmer oder Schrank verborgen werden. Diese Besonderheiten seiner Materialien haben nicht nur mit Aussehen zu tun, sondern auch mit seiner Struktur des Raumplans oder mit seiner archtektonischen Idee.
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Minami EGUCHI
Article type: Article
2012 Volume 63 Issue 2 Pages
73-84
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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In 1929, the Deutscher Werkbund held the exhibition Film und Foto in Stuttgart to herald the stylistic revolution from pictorialism to the New Photography. This monumental exhibition later toured internationally, and its selection reached Tokyo and Osaka in 1931. Published research interprets this event as the first opportunity for Japanese modernists to view original works of the New Photography. However, it is also necessary to consider the radical format of the exhibition, as conceived by El Lissitzky and Laszlo Moholy-Nagy, who employed techniques of presentation from graphic design and architecture. Through the examinations of the displays of these exhibitions and subsequent cases, I would like to illustrate how the concept and technique of exhibition design developed in Japan under the influence of its precedents in Germany in the 1930s. The related materials represent that the form of the Film und Foto in Japan remained conservative. However, the idea of innovative forms of display soon developed, such as the design of NOJIMA Yasuzo's solo exhibition by HARA Hiromu in 1933, because the articles on the German magazines or the reports from Japanese Bauhausler YAMAWAKI Iwao provided Japanese modernists with a new model for considering exhibition space and opened up alternative possibilities of display.
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Izuru OTAGI
Article type: Article
2012 Volume 63 Issue 2 Pages
85-96
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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Generally accepted chronology of Ely cathedral has an inconsistency. While the choir is considered to have been entered in 1106, the "Monks' Door" is dated in 1120 at the earliest. We suggest that the choir is then situated in the east wing (in the same place as the choir of Durham), until the space under the crossing would be arranged around 1120. During the vacancy of abbot (1093-1200), the church architecture was managed by monks with scanty funds. They constructed three aisles of the south transept. These offered them the space for monastic routine activity and the passageway from the western door of south transept to the eastern choir. In this situation the cross aisle of south transept had an important roll. On the other hand, the cross aisle of north transept was not realized. At the north-east corner there was a change of workshop. This reflects the recovery of monastic funds in about 1106. The turning point was pier N3E, which introduced vertical elements to the pier design.
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Kyoshi HAYAKAWA
Article type: Article
2012 Volume 63 Issue 2 Pages
97-108
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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Many films which take disasters like earthquakes as their subjects are fictional. And life goes on (1992) is a movie about the big 1990 earthquake in Iran. However, fiction and reality are interwoven equivalently by Kiarostami. This truly reflects his own style of making films. The earthquake really hit a place where Kiarostami had shot a previous film, and And life goes on is just a fiction based on reality, in which a cineaste who is an actor travels with his son to ask the safety of previous cast members. This film can pretend to be a documentary, but includes the exposure of being fiction, and its fictional images are contrasted by the views of the devastated area and victims' narration. However, the local children seem to play what they should be beyond themselves and their roles in the film. In such their self-direction, we can recognize a truth about children who have got not only a victims' desire to continue living and their daily lives but also the film makers' desire to expect such a situation. The evidence of a child's life can be brought to such interstice between fiction and reality, where the difference between them melts and fuses.
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Article type: Appendix
2012 Volume 63 Issue 2 Pages
109-113
Published: December 31, 2012
Released on J-STAGE: May 22, 2017
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Kayoko AKIBA
Article type: Article
2012 Volume 63 Issue 2 Pages
114-
Published: December 31, 2012
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Takanori ABE
Article type: Article
2012 Volume 63 Issue 2 Pages
115-
Published: December 31, 2012
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Ken'ichiro IKEGAMI
Article type: Article
2012 Volume 63 Issue 2 Pages
116-
Published: December 31, 2012
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Hidekazu ICHIKAWA
Article type: Article
2012 Volume 63 Issue 2 Pages
117-
Published: December 31, 2012
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Asa ITO
Article type: Article
2012 Volume 63 Issue 2 Pages
118-
Published: December 31, 2012
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Mai ITO
Article type: Article
2012 Volume 63 Issue 2 Pages
119-
Published: December 31, 2012
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Takumi ETO
Article type: Article
2012 Volume 63 Issue 2 Pages
120-
Published: December 31, 2012
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Wen-hsuan WANG
Article type: Article
2012 Volume 63 Issue 2 Pages
121-
Published: December 31, 2012
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Miyuki OHMAE
Article type: Article
2012 Volume 63 Issue 2 Pages
122-
Published: December 31, 2012
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Kyoko OZAWA
Article type: Article
2012 Volume 63 Issue 2 Pages
123-
Published: December 31, 2012
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Takafumi KATO
Article type: Article
2012 Volume 63 Issue 2 Pages
124-
Published: December 31, 2012
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Tomotaro KANEKO
Article type: Article
2012 Volume 63 Issue 2 Pages
125-
Published: December 31, 2012
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Keiko KAWANO
Article type: Article
2012 Volume 63 Issue 2 Pages
126-
Published: December 31, 2012
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Yayoi KINUGASA
Article type: Article
2012 Volume 63 Issue 2 Pages
127-
Published: December 31, 2012
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Mie KUBO
Article type: Article
2012 Volume 63 Issue 2 Pages
128-
Published: December 31, 2012
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Kotaro SHIBATA
Article type: Article
2012 Volume 63 Issue 2 Pages
129-
Published: December 31, 2012
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Yoshiko SUZUKI
Article type: Article
2012 Volume 63 Issue 2 Pages
130-
Published: December 31, 2012
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Keisuke TAKAYASU
Article type: Article
2012 Volume 63 Issue 2 Pages
131-
Published: December 31, 2012
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Yumi KIM-TAKENAKA
Article type: Article
2012 Volume 63 Issue 2 Pages
132-
Published: December 31, 2012
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Maho TANAKA
Article type: Article
2012 Volume 63 Issue 2 Pages
133-
Published: December 31, 2012
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Kentaro TANABE
Article type: Article
2012 Volume 63 Issue 2 Pages
134-
Published: December 31, 2012
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Tatsunori TANBE
Article type: Article
2012 Volume 63 Issue 2 Pages
135-
Published: December 31, 2012
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Chenchu CHEN
Article type: Article
2012 Volume 63 Issue 2 Pages
136-
Published: December 31, 2012
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Aya NAKAMA
Article type: Article
2012 Volume 63 Issue 2 Pages
137-
Published: December 31, 2012
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Yasushi NAKAMURA
Article type: Article
2012 Volume 63 Issue 2 Pages
138-
Published: December 31, 2012
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Yosuke NINOMIYA
Article type: Article
2012 Volume 63 Issue 2 Pages
139-
Published: December 31, 2012
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Hiroko HIRAYOSHI
Article type: Article
2012 Volume 63 Issue 2 Pages
140-
Published: December 31, 2012
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Shinji MATSUNAGA
Article type: Article
2012 Volume 63 Issue 2 Pages
141-
Published: December 31, 2012
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Kyoko YAMADA
Article type: Article
2012 Volume 63 Issue 2 Pages
142-
Published: December 31, 2012
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Hyijin LEE
Article type: Article
2012 Volume 63 Issue 2 Pages
143-
Published: December 31, 2012
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[in Japanese]
Article type: Article
2012 Volume 63 Issue 2 Pages
144-146
Published: December 31, 2012
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[in Japanese]
Article type: Article
2012 Volume 63 Issue 2 Pages
147-
Published: December 31, 2012
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[in Japanese]
Article type: Article
2012 Volume 63 Issue 2 Pages
148-
Published: December 31, 2012
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[in Japanese]
Article type: Article
2012 Volume 63 Issue 2 Pages
149-150
Published: December 31, 2012
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[in Japanese]
Article type: Article
2012 Volume 63 Issue 2 Pages
151-
Published: December 31, 2012
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[in Japanese]
Article type: Article
2012 Volume 63 Issue 2 Pages
152-
Published: December 31, 2012
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