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Article type: Cover
2014 Volume 65 Issue 2 Pages
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Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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Article type: Cover
2014 Volume 65 Issue 2 Pages
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Published: December 31, 2014
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Article type: Appendix
2014 Volume 65 Issue 2 Pages
App1-
Published: December 31, 2014
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Article type: Appendix
2014 Volume 65 Issue 2 Pages
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Published: December 31, 2014
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Tanehisa OTABE
Article type: Article
2014 Volume 65 Issue 2 Pages
1-12
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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In diesem Aufsatz gent es darum, welchen Beitrag Kants "Kritik der Urteilskraft" (im Folgenden KU) zum Konzept der Asthetik als Aisthetik, das uns zu einer neuen Interpretation der modernen Asthetik veranlasst, leisten kann. Dabei ist erstens der Begriff der Einbildimgskraft zu interpretieren, die in der KU als "Vermogen der Anschauung" bzw. "Vermogen der Sinnlichkeit" definiert ist. In der KU behandelt Kant, seiner Argumentation in der ,,Kritik der reinen Vernunft" (im Folgenden KrV) folgend, die Einbildungskraft zunachst in zweifacher Hinsicht: einmal als "Vermogen der Auffassung" des Mannigfaltigen der Anschauung und zum anderen als "Vermogen der Darstellung" der Begriffe. Doch uber die KrV hinausgehend, thematisiert Kant in der KU im Rahmen seiner Analyse der Vermogen, die das asthetische Urteil uber das Schone und das Erhabene ermoglichen und das Genie ausmachen, die selbstandige, ja sogar schopferische Tatigkeit einer Einbildungskraft, die dem Verstand nicht untergeordnet ist. Zweitens ist Kants Behauptung zu erortern, dass wir uns des Spiels der Erkenntniskrafte "asthetisch durch den blossen inneren Sinn" "bewusst werden" (KU § 9). Das bedeutet m. E., dass der innere Sinn, der in der Formel "Ich fuhle mich" zu fassen ist, der Apperzeption, also dem Selbstbewusstsein des "Ich denke", zugrunde liegt und uns unsere Existenz bzw. unser Leben asthetisch bewusst macht.
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Hitomi UDA
Article type: Article
2014 Volume 65 Issue 2 Pages
13-24
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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La notion de lyrisme est apparue au XIX^e siecle, et elle est generalement l'expression de sentiments personnels du poete sur les themes de l'amour, de la nature, de la religion, de la mort, etc. Cette notion etait reliee a l'elevation spirituelle de l'artiste et etait souvent jugee negativement a cause de son exces de sentiments. Mais Jean-Michel Maulpoix fait remarquer le caractere moderne du lyrisme romantique et revoie la signification de la notion de lyrisme en reconsiderant la transformation des figures du sujet lyrique chez Baudelaire. En se basant sur les recherches de Maulpoix, cette etude aborde la maniere dont la notion de lyrisme est consideree par Reverdy, Breton, Dermee et Le Corbusier. Reverdy refuse d'admettre l'elevation et l'expression sentimentale du lyrisme et Breton insiste sur l'inactivite du sujet lyrique. Dermee considere quant a lui le lyrisme comme un mecanisme de la sensation du subconscient. Par ailleurs, Le Corbusier base le lyrisme sur le fondement de techniques et fait l'eloge de la creativite et de la noblesse de l'artiste. Par le biais des artistes du debut du XX^e siecle, le lyrisme est redefini comme la recherche de nouvelles expressions du sujet lyrique.
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Yoko NARA
Article type: Article
2014 Volume 65 Issue 2 Pages
25-36
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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Paintings of craftsmen, Shokunin-e, portray people of various occupations. While early Shokunin-e paintings in the medieval period illustrate craftsmen without any background, Shokunin-e paintings in the early modern period depict people working at their workshops, and the Kitain-version is the most notable example of the latter. The previous studies argue that the Kitain-version's depictions are taken out from those of paintings of the scenes in and around the capital (Rakuchu-Rakugau-zu). This paper, however, argues that, while the Kitain-version is obviously under some influence of Rakuchu Rakugai-zu and other genre paintings, important features of the Kitain-version, which are different from depictions in other genre paintings, should be examined. Based on discussions on these features with comparisons to other early modern genre paintings, this paper concludes as follows. First, paintings with focus on the life of ordinary people gained popularity in the early 17th century, and its root lied in the Oda-Toyotomi era. Second, the Kitain-version, however, is more than just depicting citizen's life. By incorporating traditional Shokunin-e style, it illustrates craftsmen as people with distinguished skill and social status. The purpose of the Kitain-version was not just to illustrate ordinary people but also to honor them, which was innovative compared to its contemporary genre paintings.
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Naoko OKUBO
Article type: Article
2014 Volume 65 Issue 2 Pages
37-48
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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In this paper, I examined the position of ehon with kachoga like eiri-haisho (collection of haiku with picture) as resource for textile design. In the early mid-18^<th> century, some kosode-hinagatabon artists started to depict the designs of various plants in picture-like style with reality. Though designs based on kachoga became one of the typical textile designs in late Edo, such attempts did not become widespread in kosode-hinagatabon. Meanwhile, in the first part of the 18th century, Ehon with kachoga by professional artists began to be published. Some of them were art manuals, while others were books mainly for visual entertainment, such as eiri-haisho. Although both could be applied to kachoga-like design, the former was used mainly by craftsmen or merchants, while the latter fascinated the readers with their kachoga illustrations and inspired new design devices. We verified, by investigating the reprint editions, that Ehon Fukujuso and Haikainanosiori, which are eiri-haisyo with picture of various plants, have been recognized also as reference material for creating new designs. Borderless connection between aesthetic appreciation and practical use is one of the characteristics of the relation between publications and textile designs in the late Edo period.
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Ryo IWAMI
Article type: Article
2014 Volume 65 Issue 2 Pages
49-60
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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Marcel Duchamp's Ready-made has long been considered a pioneer in the anti-visual, anti-aesthetic and conceptual arts, which decisively influenced the historical development of contemporary American art after abstract expressionism. Surveying the discourse of Duchamp, however, we see that he had changed his concept of the ready-made depending on art historical conditions. This paper aims to first point out that the ready-made, anti-aesthetic and conceptual in nature, in fact, emerged and came to the fore simultaneously with the very arts which had been considered to be influenced by the ready-made; and second, to elucidate the significant role Clement Greenberg's formalist criticism played, which was already distinguished at that time, in the formation of the concept of the ready-made. It is thought that during the 1960's Duchamp intentionally contrasted his idea of the ready-made and Greensburg's American modernism, a binary which, to this day, still functions as the theoretical basis for the understanding of the history of contemporary art.
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Chisato KIMIZU
Article type: Article
2014 Volume 65 Issue 2 Pages
61-72
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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La photographie est un indice. Apres la presentation de ce concept sur la base de la semiotique de Pierce par Rosalind Krauss dans son article <<Notes on the Index>>, ce concept a tout a fait fini par penetrer dans le champ photographique et artistique. Cependant, la photographie n'est-elle qu'un indice ? Notre etude a pour but d'examiner cette question avec l'aide des deux aspects de la ressemblance chez Pierce indiques par Dominique Chateau : il existe la ressemblance indicielle et la ressemblance iconique dans la photographie. A travers cette theorie, nous confirmons que dans l'article <<Photographie et surrealisme>>, ou il est essentiellement question de l'indicialite de la photographie, cette theoricienne presente inconsciemment, en tant que caracteristique des photographies surrealistes, l'iconicite de la photographie. Et puis, on analyse a nouveau la rayographie de Man Ray traitee comme le modele d'indice. Cette tentative de comprendre que la photographie n'est plus seulement considered en tant qu'indice, mais en tant qu'icone, nous permettra de discuter de la facon globale divers interpretations sur la photographie, de mettre en lumiere des idees artistiques qui les produisent.
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Yukako YAMADA
Article type: Article
2014 Volume 65 Issue 2 Pages
73-84
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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Jean Fautrier a peint les Otages entre 1942 et 1945. Le mot <<otage>>, durant l'Occupation, renvoie a une personne executee par la Gestapo pour sanctionner son appartenance a la Resistance. Fautrier a presente 46 peintures et 3 sculptures d'otages a la galerie Rene Drouin en 1945. Nous examinons le sens donne par Fautrier a sa representation des tetes d'otages. Pour considerer cette question, nous nous appuyons sur les textes de Francis Ponge et Michel Ragon, pour qui les facies evoquent le Linge de Veronique. Deuxiemement nous voyons que la matiere et la forme abstraite des tetes ont deconcerte les critiques: Selon l'analyse de Karen K. Butler des textes d'Andre Malraux et de Ponge consacres aux otages, ces oeuvres pouvaient mieux transmettre la definition meme de l'otage que des representations d'otages moins abstraites. Nous montrons la particularite des Otages par rapport aux oeuvres de Fautrier de la premiere moitie des annees 1940, notamment les gravures. Nous voudrions relever une analogie entre le Linge de Veronique et tete d'otage: il s'agit du lien entre l'image et la production de l'image.
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Kohei YAMASHITA
Article type: Article
2014 Volume 65 Issue 2 Pages
85-96
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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This paper takes up "The Japan International Art Exhibition (Tokyo Biennale)", the first international art exhibition in Japan after World War II. In 1952, the first exhibition was held under the auspices of the Mainichi Newspaper Company until 1990, the 18th and last one. During this time, the exhibition was unavoidably changed by the movements of the times, but we still haven't researched the exhibitions as a whole. In this paper, I have collected numerous articles about "The Japan International Art Exhibition" and have inspected the intentions. As a result, we can find that the intentions shifted from the "across-the-board" structure in the situation of "Japan against the World" to "avantgardism". In being avant-garde, on the other hand, the exhibition had the condition of a conservative bias against the West's sense of values or systematized "Art". With the end of the binomial opposition of "Japan and the World", "simultaneity" was then pursued, but the "Japanese originality" in the "simultaneity" wasn't pursued carefully enough. Japan has continually been involved with the problem of institutionalizing "Art" and the context peculiar to Japan since modern times. After WW II it was again expressed in this international exhibition. Thus, "The Japan International Art Exhibition" formed an important stage for criticism in Japan after WW II and has always relativized the position of "Japan".
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Article type: Appendix
2014 Volume 65 Issue 2 Pages
97-101
Published: December 31, 2014
Released on J-STAGE: May 22, 2017
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Mami AOTA
Article type: Article
2014 Volume 65 Issue 2 Pages
102-
Published: December 31, 2014
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Fumika ARAKI
Article type: Article
2014 Volume 65 Issue 2 Pages
103-
Published: December 31, 2014
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Shiori EMOTO
Article type: Article
2014 Volume 65 Issue 2 Pages
104-
Published: December 31, 2014
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Masashi OISHI
Article type: Article
2014 Volume 65 Issue 2 Pages
105-
Published: December 31, 2014
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Hiroshi OKABAYASHI
Article type: Article
2014 Volume 65 Issue 2 Pages
106-
Published: December 31, 2014
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Aoi ODA
Article type: Article
2014 Volume 65 Issue 2 Pages
107-
Published: December 31, 2014
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Shohei ODA
Article type: Article
2014 Volume 65 Issue 2 Pages
108-
Published: December 31, 2014
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Chiaki KANEDA
Article type: Article
2014 Volume 65 Issue 2 Pages
109-
Published: December 31, 2014
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Daisuke KAWAI
Article type: Article
2014 Volume 65 Issue 2 Pages
110-
Published: December 31, 2014
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Haruka KAWAKAMI
Article type: Article
2014 Volume 65 Issue 2 Pages
111-
Published: December 31, 2014
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Tatsuya KIMURA
Article type: Article
2014 Volume 65 Issue 2 Pages
112-
Published: December 31, 2014
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Keiko KUNIKIYO
Article type: Article
2014 Volume 65 Issue 2 Pages
113-
Published: December 31, 2014
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Utako KURIHARA
Article type: Article
2014 Volume 65 Issue 2 Pages
114-
Published: December 31, 2014
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Shunsuke KUWAHARA
Article type: Article
2014 Volume 65 Issue 2 Pages
115-
Published: December 31, 2014
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Yasuhiro SHIMIZU
Article type: Article
2014 Volume 65 Issue 2 Pages
116-
Published: December 31, 2014
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Yuki TAOOKA
Article type: Article
2014 Volume 65 Issue 2 Pages
117-
Published: December 31, 2014
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Kaoru TAKAKU
Article type: Article
2014 Volume 65 Issue 2 Pages
118-
Published: December 31, 2014
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Hironari TAKEDA
Article type: Article
2014 Volume 65 Issue 2 Pages
119-
Published: December 31, 2014
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Ikko TANAKA
Article type: Article
2014 Volume 65 Issue 2 Pages
120-
Published: December 31, 2014
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Kentaro TANABE
Article type: Article
2014 Volume 65 Issue 2 Pages
121-
Published: December 31, 2014
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Eske TSUGAMI
Article type: Article
2014 Volume 65 Issue 2 Pages
122-
Published: December 31, 2014
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Yasushi NAKAMURA
Article type: Article
2014 Volume 65 Issue 2 Pages
123-
Published: December 31, 2014
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Akiko HATA
Article type: Article
2014 Volume 65 Issue 2 Pages
124-
Published: December 31, 2014
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Junichiro FUKAWA
Article type: Article
2014 Volume 65 Issue 2 Pages
125-
Published: December 31, 2014
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Akifumi FUJITA
Article type: Article
2014 Volume 65 Issue 2 Pages
126-
Published: December 31, 2014
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Hiroaki FURUKAWA
Article type: Article
2014 Volume 65 Issue 2 Pages
127-
Published: December 31, 2014
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Kanako MAKINO
Article type: Article
2014 Volume 65 Issue 2 Pages
128-
Published: December 31, 2014
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Kayo MATSUOKA
Article type: Article
2014 Volume 65 Issue 2 Pages
129-
Published: December 31, 2014
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Tetsuya MATSUSHITA
Article type: Article
2014 Volume 65 Issue 2 Pages
130-
Published: December 31, 2014
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Takumi MIYAZAKI
Article type: Article
2014 Volume 65 Issue 2 Pages
131-
Published: December 31, 2014
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Hiroko MORIYA
Article type: Article
2014 Volume 65 Issue 2 Pages
132-
Published: December 31, 2014
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Bing YANG
Article type: Article
2014 Volume 65 Issue 2 Pages
133-
Published: December 31, 2014
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Katsushi NAKAGAWA
Article type: Article
2014 Volume 65 Issue 2 Pages
134-137
Published: December 31, 2014
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[in Japanese]
Article type: Article
2014 Volume 65 Issue 2 Pages
138-139
Published: December 31, 2014
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[in Japanese]
Article type: Article
2014 Volume 65 Issue 2 Pages
140-
Published: December 31, 2014
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[in Japanese]
Article type: Article
2014 Volume 65 Issue 2 Pages
141-
Published: December 31, 2014
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[in Japanese]
Article type: Article
2014 Volume 65 Issue 2 Pages
142-
Published: December 31, 2014
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