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Article type: Cover
2013 Volume 64 Issue 2 Pages
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Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Article type: Cover
2013 Volume 64 Issue 2 Pages
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Published: December 31, 2013
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Article type: Appendix
2013 Volume 64 Issue 2 Pages
App1-
Published: December 31, 2013
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Article type: Appendix
2013 Volume 64 Issue 2 Pages
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Published: December 31, 2013
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Yoichiro TAKAHASHI
Article type: Article
2013 Volume 64 Issue 2 Pages
1-12
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Fur Schopenhauer war die Philosophie nicht sowohl eine Wissenschaft als vielmehr eine Kunst. Aber von dem hat er in seinem Hauptwerk keines Deutliches erwahnt. Im Nachlass der fruheren Periode seines Denkens hat er aber vom Konzept der "Philosophie als Kunst" deutlich geredet. Demnach ist die Philosophie ein Ergebnis vom "bessren Bewusstseyn" als einem Vermogen, das die kiinstlerische Kontemplation und die moralische Tugend verwirklicht. Durch diese Anschauung uber die Philosophie wurde die Schopenhauersche Philosophie konzipiert. Den kunstlerischen Moment des Hauptwerkes kann man in seiner organischen Struktur finden, "wo das Ganze jeden Theil erhalt und (…) umgekehrt auch jeder Theil das Ganze und alle andern". Diese Struktur selbst ist eine Schonheit. Aber mehr hat die Struktur bei Schopenhauer die Bedeutung als Form, die uns die "Ideen der Welt" oder "einen einzigen Gedanken" anschauen lasst. Die Welt als Wille und Vorstellung (1818/19) wurde eben gemaig der Schopenhauers Anschauung uber die Philosophie vollendet. Die wahre Vollendung der "Philosophie als Kunst" besagte, keine Spuren des Konzepts derselben zu hinterlassen.
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Tetsuo SHIMIZU
Article type: Article
2013 Volume 64 Issue 2 Pages
13-24
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Kiyoshi Miki (1897-1946) studied the aspect of imagination as for mythology, system, technology, and experience through The Logic of Imagination. In each theme, pathos and logos were involved each other. Among the involvement between pathos and logos various forms with imagination have been produced in history. Based on Miki's vision for imagination, in this paper I concider Miki's perspective for the themes concerning the power of imagination in Kant's critical philosophy. At each stage of the Kant's deduction in that case I will analyze how Kant found out the modeling power of imagination at the process of the deduction. For Kant's regulation of imagination I will think about how Miki considered the Kant's deployment of imagination compared with Mild's own logic of imagination. I will try to understand how Kant gave forms to imagination according to the each stage of his logic of imagination. Through such multi-layered examination for imagination as described above, I will be able to pursuit the significancies and possibilities of the modeling power of imagination.
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Chenchu CHEN
Article type: Article
2013 Volume 64 Issue 2 Pages
25-36
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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According to OgyuSorai's (荻生徂徠) theories, imitating and familiarizing oneself with the given models are the methods to study the Poetry, History, Rites and Music (詩書禮榮, ShiShuLiYue). As maintained in some earlier literature, Sorai shares some ideas with the studying methods of Japanese traditional arts, which are based on learning of models and manners. The conclusion, however, is not carefully reviewed. The studying theories of Sorai were developed through criticizing the theories of Zhu Xi (朱熹) and Ito Jinsai (伊藤仁齋). Sorai's criticism emphasizes that they consider the rites and music to be understood through language. From the perspective of Sorai, it is by practice that the rites and music are truly learned and comprehended. This article focuses on how Sorai criticized Zhu Xi and Jinsai and developed his own theories. Moreover, it makes comparisons between the studying methods of Sorai and Japanese traditional arts, and discusses Sorai's viewpoints on the existence of both human beings and nature to define the characteristics of Sorai's methods of studying.
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Keisuke TANAKA
Article type: Article
2013 Volume 64 Issue 2 Pages
37-48
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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There is a general theory of allegory accepted by many literary critics and philosophers; i.e. allegory is merely the figuration substitutes particular things for the universal concept. On the contrary, the aim in my paper is to produce counter evidences against this 'emblem' formula from the standpoint of theologia poetica which was the common topic among Italian Renaissance humanists. The advocates of it, such as Mussato, Petrarch, Salutati, and the Florentine Academicians thought the interpretation of allegory in poetry coincides with that in the Scripture, and poetry is also the medium of divine providence in accord with theology. Especially Salutati and Landino said poetry is the comprehensive science composed from all seven liberal arts, hence they presumed poetry to be the essence of the humanities and simultaneously the epistemological function of allegory to be to 'bring out something hidden in the fountain of divinity itself'. According to Landino, whether in the Scripture or in poetry, allegory 'embellishes' the truth with 'marvellous pleasure', and through the maze' of allegory one can reach the summit of knowledge'. In the view of such humanists, allegory is not figuration but the act of knowing, and consequently theologia poetica was the ideal of humanism.
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Tomoki OTA
Article type: Article
2013 Volume 64 Issue 2 Pages
49-60
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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An emphasis on the scientific production of knowledge garnered attention in the formation of Japanese art historical scholarship in the 1930s. The present study will delineate the significance of this academic trend in the field of Japanese art history by illuminating the sociocultural background, state initiatives and private agencies involved in the process. Ultimately, it will shed light on the ways in which modern Japanese scholars attempted to situate art historical studies within the "disinterested" academic realm of human science through the rational systemization of artifacts, historical accuracy, and empirical values. Indeed, this marked a turning point in the development of art historical study in Japan distinguishing it from antiquarian and hobbyist practices of art appreciation. This paper will contribute to the ongoing historical reassessment of Japanese art historical scholarship in the first half of the twentieth century. Moreover, I will analyze not only the interdisciplinary approaches but also a Neo-Kantian scientific perspective on Japanese art history. Finally, I will show how the scientific research trend had been avidly incorporated into the academic disciplines of Japanese art history, contrary to prevalent nationalistic rhetoric of this time.
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Yukihiro HIRAYOSHI
Article type: Article
2013 Volume 64 Issue 2 Pages
61-72
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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This essay deals with texts from 1928 until 1940 by Takiguchi Shuzo, a poet, art critic, and theoretical advocate of Japanese Surrealism. Through these texts, I would like to clarify how Takiguchi interpreted French Surrealism, and the extent to which these ideas were transplanted in Japan in the 1930s. His Surrealism was not a temporary form or style of art, but a system of thought with universal, eternal, and ultimate value. It was also an experiment to realize the liberation of the human spirit. In as much as it was ultimate, it could and must be perfectly applicable to any country. On the other hand, when Takiguchi faced this imperfect application and superficial understanding in Japanese Surrealism, he became aware of himself as Japanese, and developed his theory so as to connect Japanese originality in the absorption of Surrealism with the Japanese tradition of reverie. It has been often said that his nationalistic ideas, which connected avant-garde art to Japanese originality, were a reluctant "tactical retreat" intended to ensure the survival of the avant-garde. In this essay, I would like to propose a different viewpoint: that such his attempts reflected his internal requirements for the absorption of French Surrealism.
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Kaori TAGUCHI
Article type: Article
2013 Volume 64 Issue 2 Pages
73-84
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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This paper aims to reconsider Theory of Restoration of Cesare Brandi (1963) for restoration of contemporary arts. In his Theory of Restoration, Brandi defines restoration as an intervention to a physical entity of art for the purpose of transmitting the unity of aesthetic value and historical value to the future. However, in case the artists are still alive and reject permanency of their works of art or complex, brand-new materials and anti-materials such as installation art intervenes, the act of restoration seems to have difficulty in esteem in a Brandi's theory. As a matter of fact, Theory of Restoration is known for resolving a problem of preservation and restoration of art from ancient to modern period. Its actuality in the field of contemporary art is now to be discussed. Does Brandi's theory show any possibility or limit for the intervention of contemporary arts?
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Shinpei TANAKA
Article type: Article
2013 Volume 64 Issue 2 Pages
85-96
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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The aim of this paper is to analyze Theo Angelopoulos' film The Suspended Step of the Stork (To Meteoro Vima Tou Pelargou, 1991) and reveal its uniqueness in the director's filmography. First, I describe the outbreak of the civil war in Yugoslavia and Greece's relationships with its neighboring countries at that time. These events underlie the themes presented in this film, such as the borders between countries, refugees, and exiles. Further, I clarify the issue of the journey motif, associated with Homer's Odyssey, which has frequently appeared in Angelopoulos' works since the 1980s, to explore the border that lies within the refugees, in other words, the "other border," which this film attempts to portray. Based on these observations, I would like to obtain a perspective for giving another thought to Angelopoulos' filmography by examining the meaning of the "new collective dream" as presented in this film, by analyzing three scenes where the characters' behaviors of gazing at each other are emphasized.
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Shinji MATSUNAGA
Article type: Article
2013 Volume 64 Issue 2 Pages
97-108
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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When describing player's actions in videogame playing, we often use the sentences which seem to say that the player performs her actions within a fictional world. But it seems to be impossible for a real individual to act in a fictional location. Here is a puzzle. This paper attempts to analyze such sentences and solve this ontological puzzle. First, I examine some possible answers. Immersionism takes the sentences as expressing the player's experiences of immersion. Virtualism assumes that the sentences refer to players' actions within not fictional but virtual worlds. Realism says that the apparently fictional actions are really real. Fictionalism claims that the sentences are not true but fictionally true. I show that all of these are far from satisfactory. Then, I turn to two more sophisticated theories. Grant Tavinor's interactive fiction theory invokes Waltonian work-world/game-world distinction to account for the peculiarity of videogame fiction. John Sageng offers a realist theory according to which player's actions induce reference shifts from fictional happenings to on-screen happenings. But both have some fault as well. Finally, I claim that the apparently fictional actions are as real as actions in traditional games are, though specified by on-screen signs individuated by their fictional contents.
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Article type: Appendix
2013 Volume 64 Issue 2 Pages
109-113
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Yuta ASAI
Article type: Article
2013 Volume 64 Issue 2 Pages
114-
Published: December 31, 2013
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Utako IOKA
Article type: Article
2013 Volume 64 Issue 2 Pages
115-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Yoko IOKU
Article type: Article
2013 Volume 64 Issue 2 Pages
116-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Satoshi INOUE
Article type: Article
2013 Volume 64 Issue 2 Pages
117-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Ryo IWAMI
Article type: Article
2013 Volume 64 Issue 2 Pages
118-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Naoko EZAWA
Article type: Article
2013 Volume 64 Issue 2 Pages
119-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Hiroyuki OKUMA
Article type: Article
2013 Volume 64 Issue 2 Pages
120-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Tomohiro OYAMADA
Article type: Article
2013 Volume 64 Issue 2 Pages
121-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Miho KAKINUMA
Article type: Article
2013 Volume 64 Issue 2 Pages
122-
Published: December 31, 2013
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Nanako KAKEI
Article type: Article
2013 Volume 64 Issue 2 Pages
123-
Published: December 31, 2013
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Ako KATAGIRI
Article type: Article
2013 Volume 64 Issue 2 Pages
124-
Published: December 31, 2013
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Chisato KIMIZU
Article type: Article
2013 Volume 64 Issue 2 Pages
125-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Shunsuke KUWAHARA
Article type: Article
2013 Volume 64 Issue 2 Pages
126-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Naoko KOBAYASHI
Article type: Article
2013 Volume 64 Issue 2 Pages
127-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Issei SAKURAI
Article type: Article
2013 Volume 64 Issue 2 Pages
128-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Yukitada SHIMAMURA
Article type: Article
2013 Volume 64 Issue 2 Pages
129-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Ikko TANAKA
Article type: Article
2013 Volume 64 Issue 2 Pages
130-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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Keisuke TANAKA
Article type: Article
2013 Volume 64 Issue 2 Pages
131-
Published: December 31, 2013
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Yuuna TONEGAWA
Article type: Article
2013 Volume 64 Issue 2 Pages
132-
Published: December 31, 2013
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Ayane NAGASHIMA
Article type: Article
2013 Volume 64 Issue 2 Pages
133-
Published: December 31, 2013
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Moe FURUKAWA
Article type: Article
2013 Volume 64 Issue 2 Pages
134-
Published: December 31, 2013
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Ryo FURUTATE
Article type: Article
2013 Volume 64 Issue 2 Pages
135-
Published: December 31, 2013
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Akihiro HOSODA
Article type: Article
2013 Volume 64 Issue 2 Pages
136-
Published: December 31, 2013
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Kaoru MATSUBARA
Article type: Article
2013 Volume 64 Issue 2 Pages
137-
Published: December 31, 2013
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Hiroshi MIURA
Article type: Article
2013 Volume 64 Issue 2 Pages
138-
Published: December 31, 2013
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Yuriko MIZUTA
Article type: Article
2013 Volume 64 Issue 2 Pages
139-
Published: December 31, 2013
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Takashi MURAKAMI
Article type: Article
2013 Volume 64 Issue 2 Pages
140-
Published: December 31, 2013
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Ayana MISONO
Article type: Article
2013 Volume 64 Issue 2 Pages
141-
Published: December 31, 2013
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Sae YAMAMOTO
Article type: Article
2013 Volume 64 Issue 2 Pages
142-
Published: December 31, 2013
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Yohei WATANABE
Article type: Article
2013 Volume 64 Issue 2 Pages
143-
Published: December 31, 2013
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Kyo TAMAMURA
Article type: Article
2013 Volume 64 Issue 2 Pages
144-147
Published: December 31, 2013
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Shigeto NUKI
Article type: Article
2013 Volume 64 Issue 2 Pages
148-150
Published: December 31, 2013
Released on J-STAGE: May 22, 2019
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 2 Pages
151-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 2 Pages
152-155
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 2 Pages
156-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 2 Pages
157-
Published: December 31, 2013
Released on J-STAGE: May 22, 2017
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