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Article type: Cover
2013 Volume 64 Issue 1 Pages
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
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Article type: Index
2013 Volume 64 Issue 1 Pages
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Motoaki SHINOHARA
Article type: Article
2013 Volume 64 Issue 1 Pages
2-
Published: June 30, 2013
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Akira AMAGASAKI
Article type: Article
2013 Volume 64 Issue 1 Pages
3-14
Published: June 30, 2013
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Roman Jacobson defined the poetic function in "Linguistics and Poetics" as follows. "The poetic function projects the principle of equivalence from the axis of selection into the axis of combination". He thought that the essence of poetic composition lies in repetition and demonstrated that parallelism is the necessary condition of poetry in many folks. Though tanka (short verse), the representative form of Japanese poetry, has scarcely repetition. Japanese much loved the parallelism in Chinese poetry and Japanese prose, but excluded it from tanka. Ancient tanka poets juxtaposed two equivalent words not only to produce repetition but also to change the topics. After 10th century poets mainly made use of them to change topics by fusing two words into one dual meaning word or paronomasia (kake-kotoba). For example, a tanka starts with mentioning love, shifts to describing scenery, then ends expressing love again. This verse is composed not by three sentences, but by one sentence with two paronomasia. Readers will enjoy twice transitions like going out and coming back through a revolving door. An unexpected experience of transition is found in various fields of Japanese art. Such as emakimono (picture scroll), Japanese stroll gardens, and especially renga (chained tanka) offer the transition as their key element of artistic effects.
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Genta OKAMOTO
Article type: Article
2013 Volume 64 Issue 1 Pages
15-25
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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Selon Erwin Panofsky, c'est a la Renaissance qu'est apparue l'idee de temps <<destructeuro>>, Kronos, represents par la figure d'un vieillard ails avec ses attributs sinistres: la faux, un corps decharne, etc. Cette idee correspond, semble-t-il, a la nouvelle sensibilite a l'egard de la vicissitude des choses, comme on peut le voir notamment darts les traites d'art de l'epoque. Dans cette optique, j'examine l'esthetique de Leon Battista Alberti (1404-1472) a l'aube de la Renaissance puis a sa fin, de Giordano Bruno (1548-1600). A relire leurs comedies telles que le Momus d'Alberti ou bien le Candelaio de Bruno, on percoit immediatement qu'ils montrent avec ironie comment les hommes ou encore les dieux ignorent l'instabilite du temps a cause de l'apparence trompeuse d'une permanence des choses. De ce point de vue, l'art ne semble etre qu'une fiction trompeuse. Mais, en meme temps, ces auteurs donnent a l'art un nouveau statut: Alberti suggere que la peinture est une forme du savoir prete a detroner la vieille philosophie, Bruno identifie la vraie peinture avec la vraie philosophie. Le nouveau statut de l'art face aux vicissitudes des choses est etroitement lie a l'argumentation albertienne sur l'ornamentum et au concept brunien de vinculum.
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Hiroshi UEMURA
Article type: Article
2013 Volume 64 Issue 1 Pages
26-34
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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This article aims to point out the change of our sensibility towards fluidity occurred about 1900. The motifs of fluidity in art, especially that of water and the serpent (snake), connected with the figure of woman, were already motifs to represent an undomesticated evil character and an object of desire. But through the 19^<th> century, new attitude appeared. The water is observed scientifically, and the linea serpentina became thread conductor which reveals us the mystery of the material world. Even the figure of femmefatale, a traditional misogynistic image, has its new type in that of femme-enfant, attractive but incommunicable as the matter. In fact, with the discoveries such as that of electro-magnetic waves, the matter had changed its image, from a solid moving in the vacant space to the fluidity extended that has no real contours. The aether, a substance interpreted variously, symbolizes this universal continuity. The fluid matter, old symbol of ephemeral life, has become symbol of the mystic nature. Our aesthetic experience has been oriented to this subtle existence, and ponder in the exquisite perception of change.
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Kazuhisa OISHI
Article type: Article
2013 Volume 64 Issue 1 Pages
35-46
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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Henri Bergson states that "duration", which cannot be fragmented into instants, has reality, and that the instants themselves are unreal. Herein lies the difficulty of discussing the photograph from a Bergsonist viewpoint. To solve this problem, this paper proposes that Bergson treats the "any-instant-whatever" as a kind of duration, but one which is without memory, and is therefore extremely expanded. In contrast, subjective human perception is a condensing of myriads of instants via the memory, and is therefore a contracted duration. Without memory, the any-instant-whatevers return to themselves, and become objective. This paper proposes that the camera, being only physical matter without human memory, reveals the any-instant-whatever that had become indistinguishable in the contracting memory. From this viewpoint, the photograph is objective in its instantaneity, revealing instantaneous "differences" that are "useless" for human beings; Bergson recognizes that "revelation" is a function of art. Thus, the "optical unconscious" revealed instantaneously by the photograph, refers not to psychological reality, but to the objective (material) world.
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Takafumi KATO
Article type: Article
2013 Volume 64 Issue 1 Pages
47-58
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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This paper is an attempt to suggest a provoking theory about actions of human beings (including art-creating actions, art-appreciating actions, etc.). With this aim, I refer to Alfred Gell's posthumous book, Art and Agency (AA hereinafter), especially focusing on his concepts of 'agency' and 'index'. Because 'index' is a concept derived from C. S. Peirce's semiotics, Gell's theory may also imply a kind of applicability of Peirce's idea, though Gell's 'index' is not necessarily compatible with Peirce's. In Gell's terminology, 'index' is an object that mediates 'agency'. What he argues is that 'agency' can be attributed to not only persons but also things such as god statues as long as they (persons and things) are seen as initiating causal sequences caused by some sort of intention. Utilizing these concepts, Gell puts forward 'Anthropology of Art'. He suggests that art objects should be anthropologically examined in order to grasp their 'behaviour' (AA, p.11) in the context of social relations. In this paper, above all I remark on Gell's unique idea The Extended Mind', which is also the title for the last chapter of AA. Interestingly, according to this idea, artworks (and artefacts) and persons can be regarded analogously as 'indexes' embodying collective consciousness of social agents.
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Rika NAITO
Article type: Article
2013 Volume 64 Issue 1 Pages
59-70
Published: June 30, 2013
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Das Charakteristische an der Musiktheorie von Adorno ist, dass die Musik im Zusammenhang mit der Gesellschaft betrachtet wird. In diesem Aufsatz wird versucht, anhand der Neugestaltung der Musikblatter des Anbruch durch Adorno im Jahre 1928, dessen Ideologiekritik konkret darzulegen. Der Text "zum Anbruch" als Quelle dienend, werden die drei folgenden Probleme, die Adorno in seiner Neugestaltung prasentiert, untersucht. 1) Der Anbruch sollte von einem Propagandaorgan in eine musikpolitische Zeitschrift verwandelt werden. 2) Um 1) durchzufuhren ist es notwendig, dass der Anbruch durch die kritische Beurteilung der neoklassizistischen Musik als reaktionare Musik Aufschluss gibt uber seine ideologische Seite, die einen nur scheinbar aktuellen Charakter besitzt. 3) Im Anbruch sollen die Probleme im Zusammenhang mit Radio, Kino-Musik and leichter Musik als in hochstem Masse soziologische Probleme betrachtet werden. Das Problem besteht darin, dass die scheinbare Popularitat des Kitsch einen ideologischen Charakter besitzt. Von diesem Prozess des Denkens um die Neugestaltung wird das Urbild der Ideologiekritik Adornos gefunden.
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Kentaro TANABE
Article type: Article
2013 Volume 64 Issue 1 Pages
71-82
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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Jerrold Levinson insists that musical works are indicated type entities. The aim of this paper is, first, to summarize and clarify his view and, second, to examine his view and the criticisms which are directed towards Levinson's notions of "indication" and "creating type." In Section 1, I summarize why Levinson rejects "Sound Structure Theory." His motivations for rejecting it are two. First, he assumes musical works can be created, but sound structure cannot. Second, he assumes musical works must be individuated so finely that they can bear the aesthetic/artistic properties which we ordinarily attribute to them. In Section 2, I explain his proposal that musical works are indicated type entities and "Indicated Type Theory" avoids the problems which "Sound Structure Theory" cannot. In Section 3, I examine two criticisms of Levinson's view. The first criticism concerns the ontological nature of indicated type. But I think Levinson can object to that criticism. The second criticism concerns his notion of "creating new type." This is a genuine problem for Levinson.
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Kyoko OKUMURA
Article type: Article
2013 Volume 64 Issue 1 Pages
83-94
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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During the period 1988-1993, Gyorgy Ligeti (1923-2006) composed the Nonsense Madrigals, which included six tunes for six male voices. For the text of the final tune, "A Long, Sad Tale," Ligeti borrowed from Lewis Carroll's Alice in Wonderland (1865) and his word game doublets. This paper discusses the musical structure of "A Long, Sad Tale." In the tune, Ligeti combined pulsative word-patterns of four doublets, the howling voice of the Queen of Hearts, a conversational sentence between Alice and the mouse, and a trial tale of a violent dog against the whining mouse. He highlighted the personalities of the characters, and set the text in multiple voices to create an emotional polyphony. Moreover, he created not only an elastic metrical structure in a manner through which all kinds of time signatures frequently change but also a jigsaw puzzle-like structure that was based on multiples of sixteen.
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Tomoko NAKAMURA
Article type: Article
2013 Volume 64 Issue 1 Pages
95-106
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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Die geometrische Humanfigur nach Vitruvius ("Vitruvianische Proportionsfigur") faszinierte die Kunstler der Renaissance, wie es die bertihmte Zeichnung des Leonardo da Vinci (1452-1519) archetypisch umsetzt. Auch Albrecht Durer (1471-1528) versuchte, die idealisierte Humanfigur im Buch II der "Vier Bucher von menschlicher Proportion" (1528) zu konstruieren. Deswegen konnen wir eine Figur homo ad quadratum sowie sieben weitere Figuren homo ad circulum finden. Doch mussten einige schwierige mathematische Probleme uberwunden werden, um die "Vitruvianische Proportionsfigur" zu konstruieren. Wie versuchte Durer diese zu losen? Der Essay betrachtet die Beziehungen zwischen Konstruktion und Methodologie des "Messstabsystems". Der Vitruvianische Kanon wurde ursprunglich als Bruch dargestellt. Durer jedoch verwendet ein Instrument, das sich auf einer anderen mathematischen Methode grundet. Eine Verwandtschaft mit der vitruvianischen Methodik besteht folglich eher fur die vorangehende geometrische Konstruktion in seinem ersten Buch. Was bedeutet es, dass Buch II trotzdessen dieses Bild enthalt? Zur Beantwortung dieses Problems sollte man davon ausgehen, dass eine praktische Notwendigkeit existierte. Dieser Aufsatz analysiert die Durerschen Methoden wie die Proportionsfiguren und argumentiert, dass gerade durch die Entstehung der exakten anthropometrischen Methode im II. Buch sich die Moglichkeit der Konstruktion eroffnete. Letztlich verweist er ebenso auf die Problematik der Quantifizierung des Weltverstandnisses in der Renaissance, die diese Methode anspricht.
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Yosuke NINOMIYA
Article type: Article
2013 Volume 64 Issue 1 Pages
107-118
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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This paper attempts to reveal the relevance between the composition of Pembroke Family Portrait (which has been emphasized on the influence of the Venetian paintings, especially the history paintings of Titian) and its subject of marriage in the context of the court masques. Beholder's eyes are led from cupids to Charles and Mary, and then, to the huge coat of Arms of the Earl of Pembroke. This is a visualization of prosperity of the family through their marriage, and it corresponds to the typical subjects of masques: prosperity of Britain through the love of King and Queen. Therefore, this work can be seen as the response of the Pembroke (he was "Lord Chamberlain" who takes charge of playing the court masques) to the norms which masques advocated as "the mirrors of man's life". In addition, the temple-like building in this work resembles the stage design of masques which frequently used in the scene of "order" gained through the overcoming of "chaos". This synopsis tallies with the circumstances of this marriage: its main purpose was to resolve the confrontation between William, 3^<rd> Earl of Pembroke and the Duke of Buckingham. From the above, this work recalls not only the Venetian paintings, but narrative or stage effects of the court masques.
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Yasushi NAKAMURA
Article type: Article
2013 Volume 64 Issue 1 Pages
119-130
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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Cet article propose d'etudier la methode de visualisation d'Odilon Redon en analysant la tendance de l'association des images dans trois series de La Tentation de Saint Antoine. Redon explique que ses oeuvres sont le fruit <<d'une combinaison de divers elements rapproches, de formes transposees ou transformees>>. Cette citation nous permet d'entrevoir sa methode de combinaison des images par similarite et par contiguite. Aussi, l'analyse des oeuvres d'Odilon Redon par la similarite et la contiguite, que Roman Jakobson presente comme les deux types du developpement d'un discours va-t-elle eclaircir la methode de visualisation symboliste. L'analyse revele, dans la premiere serie, la combinaison par contiguite avec le diable et la combinaison par similarite des dieux paiens et des monstres. On constate egalement dans la deuxieme serie la combinaison par similarite des dieux paiens et des monstres. On peut reconnaitre le caractere dominant de la combinaison par similarite dans les deux oeuvres qui presentent une forte tendance d'association substitutive. A l'inverse, la troisieme serie se caracterise par la superiorite de la description par contiguite et par une forte tendance d'association predicative avec une situation concretisee par l'insertion des paysages. Darts la methode d'Odilon Redon non seulement la substitution par similarite mais aussi la description par contiguite jouent un role important.
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Eiko SUITA
Article type: Article
2013 Volume 64 Issue 1 Pages
131-142
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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In 1938 Rene Magritte delivered an autobiographic lecture entitled "The Lifeline." This lecture has been discussed exclusively in terms of his new principle of creation which was to seek an image based on the affinity of two objetcs by using the "question-answer" method. This paper elucidates Magritte's use of the motif of light and shade by comparing several versions of the text of the lecture with related paintings. The comparison reveals that, when Magritte prepared the lecture, he considered light and shade as his crucial motif and attempted to gain more insight of them through an analysis of visibility and life. In the lecture Magritte defined the image he had seen in a cemetery in his childhood as "the image found in the light going through the shade" which was related with his intuition of the affinities of objects. Such comprehension of images resulted from the principal motive of his creation that is to grasp the whole "life". This vision produced The Beyond (1938) and works after the 1940's.
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Yuko ISHII
Article type: Article
2013 Volume 64 Issue 1 Pages
143-154
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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In June 1936, a large international surrealist exhibition was held in London at the New Burlington Galleries. Although this exhibition did not have strategy to produce "marvellous" exhibition space, it still reflected surrealistic method in some ways. Its method was "the juxtaposition of mutually distant objects" which was related to the idea of collage cultivated in surrealism especially in 1930's. This paper, therefore, analyses the process of organizing the London exhibition, and makes it clear how this collage related method was expanded in the exhibition. In the mid-1930s, surrealist ideas as well as "semantic collage" crossed the international borders and spread to various media including exhibition. In the London exhibition, there are some examples based on this idea; a way of display and a catchphrase planned for its advertisement. These cases showed this method had been diversified through expansion and internationalisation of surrealist movement in this period, while they also revealed slight differences from the original idea. In this way, the London exhibition is not only one of the milestones in the history of international surrealist exhibitions, but also an early example concerning the issue of diffusion and reception of surrealism.
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Hiroko HIRAYOSHI
Article type: Article
2013 Volume 64 Issue 1 Pages
155-166
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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Godey's Lady's Book was the most popular women's magazine in 19^<th>-century America. Although the magazine enjoyed great popularity due to articles on fashion and manners of the upper social class, the impoverished seamstress and sewing housewives had suddenly described from the late 1840s. In this paper, I examine the characteristics and meanings of the representation of sewing women between the late 1840s and early 1850s in the magazine. Since launching, the magazine had printed the articles on embroidery as ladies' accomplishment, not needlework. However, with the expansion of national land and development of cities, the increase of subscriber, popularization of journalism, it is provided greater value to the sewing for domestic works and side jobs as "women's work." The single-mindedly sewing women came to function as the new symbol of femininity instead of the spinning and weaving women who had disappeared as a result of the development of textile manufacturing. The sewing women, which had been depicted for a little more than five years and disappeared along with the dissemination of paper patterns and sewing machines, visualizes not only the fluctuation of the division of housework and labor in American society, but also how the women became sutured into their home.
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Keiko KAWANO
Article type: Article
2013 Volume 64 Issue 1 Pages
167-178
Published: June 30, 2013
Released on J-STAGE: May 22, 2017
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Ce texte analyse le concept d' <<action>> darts Lettres sur la danse, et sur les ballets (1760) de J.-G. Noverre. Le terme <<action>> apparait 119 fois dans ces Lettres et est employe a double sens. Premierement, on entend par ce terme l'expression corporelle provoquee par la passion interieure. A cette epoque-la, la danse suivait en general une intrigue. Mais beaucoup d'oeuvres confiaient le deroulement de l'intrigue aux dialogues du prologue ou a des costumes allegoriques, et limitaient la danse aux simples mouvements. De telles oeuvres ont ete critiquees par Noverre. Il affirme que les mouvements de la danse sont constructs a partir de la passion du danseur qui est habite par le role qu'il doit interpreter. Tous ses gestes et mouvements ne sont que l'action decrite par Noverre. Le deuxieme sens du terme <<action>> concerne la composition de la scene. Cate action se rapporte a l'unite d'action d'Aristote. Mais l'important est que cette action soit associee au terme <<interet>>. Noverre affirme que l'espace de la scene doit construire une illusion par la perspective et la gradation de couleur. Grace a l'illusion, la composition de la scene attire l'interet du public. Si ces deux actions s'accomplissent sur scene, le livret qui est rebarbatif a la lecture devient vif et toujours renouvele.
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Hiroshi WATANABE
Article type: Article
2013 Volume 64 Issue 1 Pages
179-182
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
183-
Published: June 30, 2013
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
184-185
Published: June 30, 2013
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
185-186
Published: June 30, 2013
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
186-
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
186-187
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
187-
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
188-
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
189-
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
190-
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
191-
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
192-
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
193-
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
194-195
Published: June 30, 2013
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[in Japanese]
Article type: Article
2013 Volume 64 Issue 1 Pages
196-
Published: June 30, 2013
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
197-198
Published: June 30, 2013
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
198-
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
199-
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Article type: Appendix
2013 Volume 64 Issue 1 Pages
199-
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Article type: Bibliography
2013 Volume 64 Issue 1 Pages
207-200
Published: June 30, 2013
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Article type: Index
2013 Volume 64 Issue 1 Pages
Toc2-
Published: June 30, 2013
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Article type: Cover
2013 Volume 64 Issue 1 Pages
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