Aesthetics

[title in Japanese]

Article type: Cover
2014 Volume 65 Issue 1 Pages Cover1-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_Cover1

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[title in Japanese]

Article type: Cover
2014 Volume 65 Issue 1 Pages Cover2-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_Cover2

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[title in Japanese]

Article type: Appendix
2014 Volume 65 Issue 1 Pages App1-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_App1

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[title in Japanese]

Article type: Appendix
2014 Volume 65 Issue 1 Pages App2-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_App2

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Hermeneutik und Logik : Von Dannhauer bis Schleiermacher

Shunsuke KUWAHARA

Article type: Article
2014 Volume 65 Issue 1 Pages 1-12
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_1

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In seiner "Hermeneutik und Kritik" (1818/19) setzt sich Schleiermacher mit der bisherigen Interpretation des Begriffs Hermeneutik auseinander. Er kritisiert das historische Verstandnis des Begriffs Hermeneutik als "Anhang der Logik". Was bedeutet seine Kritik? In dieser Abhandlung wird das chronologische Verhaltnis zwischen der Logik und der Hermeneutik von Dannhauer bis Schleiermacher dargestellt, um diese Frage zu beantworten. Die erste moderne Hermeneutik (hermeneutica) hat Dannhauer auf der Logik gegrundet ('pars logicae'). Diese logische Hermeneutik wird vor allem von den Philosophen der deutschen Aufklarung (Christian Thomasius, Friedrich Meier usw.) ubernommen. Schleiermacher hat seine eigene Hermeneutik aber als Methode gebildet, die von der Logik unabhangig ist. Dennoch behauptet er, dass Hermeneutik und Logik zwangslaufig voneinander abhangig gemacht werden mussten. Dabei sollte man nicht ausser Acht lassen, dass sich Schleiermachers Logik nicht mit dem bisherigen Verstandnis der Logik identifiziert. Er hat seine Logik zur Dialektik umgebildet und sie durch seine Hermeneutik erganzt und umgekehrt. Seine Hermeneutik bezieht sich auch auf den Begriff der Wahrscheinlichkeit (probabilitas, verisimilitude). In der zweiten Halfte des 17. Jahrhunderts erweitert sich der Bereich des wissenschaftlichen Wissens (scientia) von der Wahrheit (veritas) zur Wahrscheinlichkeit. Durch diese Erweiterung der Wissenschaft konnte die Hermeneutik als die moderne wissenschaftliche Disziplin verstanden werden, die sich nicht auf die logische Wahrheit bezieht, sondern allein auf der wahrscheinlichen Meinung begrundet werden kann.

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Human Freedom and Narrative : An Intertextual Reading of Le volontaire et l'involontaire and Temps et recit

Issei SAKURAI

Article type: Article
2014 Volume 65 Issue 1 Pages 13-24
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_13

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In Temp et recit (1983-5), Ricoeur posed the concept of "narrative identity," saying "subjects recognize themselves in the stories they tell about themselves." Subjects narrate their lives, and thereby understand why I am what I am. We can regard this mode of self-understanding as past-oriented. However, we should note that in the texts written during the same period, Ricoeur also emphasized the importance of future-oriented self-understanding and claimed that both modes of self-understanding interact with each other. That is, subjects can project their futures only starting from the narrative reconstruction of their pasts, and what they project as the future has a retroactive effect on their understanding of the past. Yet, how precisely does the narrative reconstruction of the past allow subjects to make new future? Ricoeur didn't clarify this course. The only way to concretize it is reinterpreting his theory of will in terms of time and narrative. It was in Le volontaire et l'involontaire (1950) in which Ricoeur told "I cannot will the new without finding the old and finding myself already given," that he discussed will and freedom. Therefore, by investigating the argument of Le volontaire et l'involontaire, this paper will elucidate and embody Ricoeur's conception.

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La notion du <<silence>> dans Manet de Gorges Bataille

Utako IOKA

Article type: Article
2014 Volume 65 Issue 1 Pages 25-36
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_25

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L'objectif de cet article est de proposer une nouvelle interpretation du <<silence>> dans Manet de Georges Bataille. Dans Manet, Bataille trouve les deux types de <<silence>> aux peintures de Manet et Goya. D'une part, selon Bataille, le <<silence>> chez Goya est le cri ou le balbutiement : il peut etre interprets comme exces du langage de la peinture. D'autre part, le <<silence>> chez Manet est apporte par une operation de destruction du sujet represente : l'operation est l'utilite et la fonction de la conscience, dans la Theorie de la religion. Cependant, selon Bataille, la fin de l'art n'est pas l'utilite. Pour cela, l'operation de Manet serait de detourner cette fonction de l'utilite, c'est-a-dire d'user cette fonction en tant que jeu. C'est ce que Bataille considere comme art moderne. On peut considerer les deux <<silences>> comme instant ou se presentent les deraisonnables (le cri, le balbutiement et le jeu) dans les raisonnables (le langage de la peinture et la conscience). Bataille respecte l'art comme occasion pour reconnaitre la revolte a l'interieur de la raison.

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Two Sacrificial Scenes (86, 98-99) on the Column of Trajan : A Reinterpretation Based on Depictions of Architecture on the Background

michio SAKATA

Article type: Article
2014 Volume 65 Issue 1 Pages 37-48
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_37

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The column of Trajan was completed in 113 A.D. to commemorate the victory in the Dacian War. This paper reexamines the meaning of two sacrificial scenes (86, 98-99), which have been interpreted as the pledge for victory. In scene 86, the emperor performs sacrifice in front of a theatre in a harbor, while he pours libation in front of the huge bridge over the Donau allegedly constructed by Apollodorus of Damascus in scene 98-99. Before the reign of Trajan, sacrificial iconographies for the pledge of victory usually have temple architectures in the background, which implies gods the sacrifices are dedicated to. However, in the two scenes, typical roman architectures are represented in the background. I would argue that the two scenes represent not the pledge for victory, but commemorating the completion of typical Roman architectures. Two scenes may also have a meaning of praising Trajan, who completed the great construction in Roman colonies. This characteristics can also be seen not only in other scenes on the column of Trajan such as constructing roads, military camps and bridges, but also in the inscription on the base of the column.

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The edifice for mourning artists : Giorgio Vasari's Vite as architecture

Moe FURUKAWA

Article type: Article
2014 Volume 65 Issue 1 Pages 49-60
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_49

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The lives of the artists, or Vite, written by an Italian painter and architect Giorgio Vasari (1511-1574), has been considered as one of the most important works in art historiography. However, since Vasari has shown the development of artistic styles and the triumph of maniera moderna in this work, a simple fact seems to have been overlooked for quite a long time, that this book is substantially a collection of artists' biographies, rather than an extensive treatise on the history of art. This essay returns to the fact, and attempts to reconsider the structure and purpose of this book. Epitaphs and woodcut portraits of artists contained in Vite are examined to demonstrate how Vasari views these biographies as funerary monuments to assure their eternal fame, making the whole book a temple to house them. Through the analysis, Vite will also reveal itself as a tool to promote Cosimo I de' Medici's artistic patronage. This is achieved by echoing the act of mourning their artists, which was practiced by such people as Cosimo il Vecchio de' Medici and Lorenzo de' Medici, consequently emphasizing the continuity from the Florentine Republic era.

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The Visual Context of Supernatulal Phenomenon in Henry Fuseli's Chiaroscuro

Tetsuya MATSUSHITA

Article type: Article
2014 Volume 65 Issue 1 Pages 61-72
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_61

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Henry Fuseli(1741-1825)'s works that have supernatural subjects such as ghosts, demons, or fairies, are often painted with very strong contrast of light and shade. But in his Lectures on Painting, he claimed that such are not legitimate chiaroscuro, and too strong beam or ray must be a "terror on the eye", because chiaroscuro is a method to compose art in literary unity, and the unity is "inseparable from legitimate chiaroscuro" for his "poetic imitation" theory. Some latter studies show us that Fuseli's paintings have visual elements of theatres and shows like magic lantern or phantasmagoria. But, these observations are not enough to illustrate his method and context of phenomenon, because his art historical discipline that affected to his composition has not been well mentioned yet. Supernatural beings are often painted as forms in nearly "illegitimate chiaroscuro", which means, he painted them as superpictorial beings that alien to whole composition. His style of gothic horror was based on his meta-painting strategy and it was established by applying visual context of modern entertainment to his art historical discipline.

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William Combe's View of the Picturesque Aesthetic, in The Tour of Doctor Syntax, in Search of the Picturesque (1812)

Ryosuke KONDO

Article type: Article
2014 Volume 65 Issue 1 Pages 73-84
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_73

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Shortly after the establishment of the Picturesque as the third aesthetic category, following the Beautiful and the Sublime, several pieces of English literature dealing with the Picturesque were published. One of the most popular pieces was William Combe's satirical poem, The Tour of Doctor Syntax, in Search of the Picturesque (1812). Dr.Syntax's character is based on Rev. William Gilpin, an advocator of the Picturesque. The poem indicates Combe's upper-class bias and middle-class focus: is not criticizing Gilpin himself, but rather the public fervor his theories kindled. In particular, Combe criticizes the popular picturesque tour. I suggest this is due to Combe's moral stance, and class affiliations. He sympathized with Quakerism, a middle-class Separatist group, for their pacifist tendencies. Although born into a merchant family, Combe tended towards upper-class conservatism, feeling that, unlike lower classes, they less often introduced urban vices to the countryside. His esteem for Quaker ideals of peace and simplicity, and for upper-class refinement as opposed to bourgeois populism, shapes this poem. While much scholarly attention has been paid literature criticizing upper-class notions of the Picturesque, this article focuses on Combe's criticism of the middle-class, and his reasons for it.

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Analysis of Saint Genevieve Keeping Watch over Sleeping Paris by Pierre Puvis de Chavannes in Relation to his Mural Paintings of the Pantheon

Naoko EZAWA

Article type: Article
2014 Volume 65 Issue 1 Pages 85-96
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_85

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Saint Genevieve Keeping Watch over Sleeping Paris by Pierre Puvis de Chavannes (1824-98), one of the mural paintings of the Pantheon in 1898, is known to be his masterpiece. This oeuvre has been interpreted in various ways, but the relationship between this and his other paintings in the Pantheon is often ignored. So, it is necessary to analyze it in relation to other murals, especially his triptych, Saint Genevieve Provisioning Paris, which is to its left. This thesis focuses on the point that Puvis constructed not only the connection but also the contrast between the triptych and Saint Genevieve Keeping Watch over Sleeping Paris. In the former, he aimed to express the movement of a crowd and explicitly presented the story of the saint, who saved Paris, which was under siege by the Franks, from starvation. By comparison with it, in the latter, he made a calm, tranquil composition, deleting the motives for explaining the war or the famine. This paper reveals the source and the process of making this contrast, and shows that in it he can represent the saint's two different aspects.

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La naissance du tableau en Afrique noire : Kalifala Sidibe et l' <<art negre>>

Fumiaki YANAGISAWA

Article type: Article
2014 Volume 65 Issue 1 Pages 97-108
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_97

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Cet article a pour but d'etudier la reception en Occident d'un peintre inconnu originaire du Soudan francais, actuel Mali, qui s'appelle Kalifala Sidibe(1900?-1930). Cette etude se base principalement sur les comptes-rendus de son exposition a Paris en 1929 et sur l'examen du discours sur la <<peinture negre>> du point de vue de l'emergence d'un nouveau type d'artiste noir. D'abord, nous etudions les idees generates de l'epoque sur l'absence du tableau en Afrique noire, notamment sur le plan historique. Et on analyse entre autres son image d'un noir <<authentique>>, a travers ses caracteristiques communes avec le peintre du Congo belge, Albert Lubaki. D'autre part, nous etudions la difference entre l'interet pour les sculptures africaines et l'interet pour la <<peinture negre>>. En fait, les tableaux de Sidibe furent apprecies par ses contemporains en Occident contrairement a l'<<art negre>> considere a l'epoque comme un art disparu. II s'agit aussi de l'emergence d'un nouveau genre artistique qui influenca revolution des relations entre l'Occident et l'Afrique noire. Les divers avis concernant Sidibe disent que ses peintures furent recues a la fois comme un prolongement de l'engouement pour le primitivisme de l'<<art negre>> et comme un vecteur sur le plan politique et culturel dans un contexte d'evolution des idees sur le colonialisme, le mouvement des noirs et l'emergence d'une nouvelle generation d'ethnologue.

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Calligraphy in Jackson Pollock : A Study of the Black Paintings Formation

Nanako KAKEI

Article type: Article
2014 Volume 65 Issue 1 Pages 109-120
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_109

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This paper considers the influence from Oriental Calligraphy in Jackson Pollock's (1912-1956) "black paintings". The Black paintings are the series of monochromes that Pollock produced from 1951 to 53. In these works, Pollock bled the ink on canvas. By these features, it has been considered that Pollock was influenced by Calligraphy. But Clement Greenberg, who is influential in the study of Pollock, eliminated the influence from Oriental art in Pollock's works. And his purpose is to present Pollock as a legitimate successor of European modernism. Therefore no one proved it clearly. However, in fact, there were many artists that were interested in Calligraphy around Pollock. Then, Pollock possessed some books about Oriental culture, and used tools of Calligraphy. Therefore Pollock was surely influenced by Calligraphy. Moreover, this Paper pointed out that Pollock often depicted letters. In the black paintings, Pollock also depicted the pictographic images that he had already painted before. The reason that Pollock was influenced by calligraphy may come from such concern about letters. Thus, adopting a style of Calligraphy, Pollock created a new way that could depict the past pictographic images in the black paintings.

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Noverre viewed from the ballet theory by Menestrier : On the borrowed texts in Lettres sur la danse, et sur les ballets

Akiko YUZURIHARA

Article type: Article
2014 Volume 65 Issue 1 Pages 121-132
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_121

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Des ballets anciens et modernes selon les regies du theatre (1682) by Claude-Francois Menestrier is known as one of the most important theoretical books on ballet. Being referred to by Cahusac who wrote the articles "Ballet" and "Danse" in Diderot's Encyclopedie, the book on ballet du cour seems to have had significant influence also on the 18th-century ballet reforms. This paper compares this book with Lettres sur la danse, et sur les ballets (1760) by Jean-George Noverre, showing that Noverre also wrote his Lettres on the basis of this book on ballet du cour. In the chapter 7 in Lettres, in which the rules of ballet are discussed, Noverre cites some lines from classical literature by Saint Augustine, Plutarch and Aristotle, from which Menestrier also quoted the same passages, (and actually Noverre seems to have borrowed these from Menestrier), but their arguments developed from these same classic quotes are completely different. By focusing the traits in common and difference in their arguments, this paper tries to reinterpret Noverre's statements in Lettres, revealing that this book relies on Menestrier's theory of ballet poetics.

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Die Konstruktionsprinzipen in Schonbergs freier Atonalitat unter besonderer Berucksichtigung ihrer expressionistischen Momente

Yuta ASAI

Article type: Article
2014 Volume 65 Issue 1 Pages 133-144
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_133

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Dieser Beitrag beschaftigt sich mit der freien Atonalitat Schonbergs. Seine zwischen 1908 und 1916 komponierten Werke wurden bisher immer wieder als expressionistisch bezeichnet und nehmen eine besondere Stellung in seinem Oeuvre ein. Dennoch wurden in dieser Hinsicht Spezifika in Schonbergs freier Atonalitat bis jetzt kaum in konkreten Analysen nachgewiesen. Manche Untersuchungen betrachten sogar die freie Atonalitat ohne Rucksicht auf diese Aspekte lediglich als Vorstufe der Zwolftonmusik. Dieser Aufsatz ist ein Versuch, Momente in Schonbergs freier Atonalitat zu beleuchten, durch die sie sich von der Zwolftonmusik unterscheiden lasst. In der Periode, in der er Stiicke in freier Atonalitat komponierte, hatte er eigentumliche Gedanken uber Musik, die eng mit dem Expressionismus verwandt waren und sich von jenen nach der Zwolftonmusik klar unterschieden. Hierzu werden Schonbergs Werke unter Berucksichtigung seiner musik-asthetischen Gedanken analysiert, und schliesslich wird die Beziehungen zwischen den kompositorischen Techniken und seinen Gedanken zu erlautern versucht.

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 145-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_145

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 146-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_146

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 147-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_147

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 148-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_148

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 149-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_149

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 150-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_150

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 151-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_151

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 152-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_152

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[title in Japanese]

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 153-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_153

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Videogame as Cognitive-Ludic Artifact

[in Japanese]

Article type: Article
2014 Volume 65 Issue 1 Pages 154-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_154

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[title in Japanese]

Article type: Index
2014 Volume 65 Issue 1 Pages 155-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_155

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[title in Japanese]

Article type: Appendix
2014 Volume 65 Issue 1 Pages 156-159
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_156

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[title in Japanese]

Article type: Appendix
2014 Volume 65 Issue 1 Pages 159-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_159_1

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[title in Japanese]

Article type: Appendix
2014 Volume 65 Issue 1 Pages 159-160
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_159_2

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[title in Japanese]

Article type: Appendix
2014 Volume 65 Issue 1 Pages 160-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_160

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[title in Japanese]

Article type: Bibliography
2014 Volume 65 Issue 1 Pages 166-161
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_166

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[title in Japanese]

Article type: Cover
2014 Volume 65 Issue 1 Pages Cover3-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_Cover3

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[title in Japanese]

Article type: Cover
2014 Volume 65 Issue 1 Pages Cover4-
Published: June 30, 2014
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.65.1_Cover4

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