Aesthetics

Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962

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Volume 66, Issue 2

Displaying 1-50 of 66 articles from this issue

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[title in Japanese]

Article type: Cover
2015 Volume 66 Issue 2 Pages Cover1-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_Cover1

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[title in Japanese]

Article type: Cover
2015 Volume 66 Issue 2 Pages Cover2-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_Cover2

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[title in Japanese]

Article type: Appendix
2015 Volume 66 Issue 2 Pages App1-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_App1

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[title in Japanese]

Article type: Appendix
2015 Volume 66 Issue 2 Pages App2-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_App2

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>Probabilitas< und >verisimilitudo< in Baumgartens Asthetik : Die Erweiterung der Wahrheit seit Mitte des 17. Jahrhunderts und die Entstehung der Asthetik

Shunsuke KUWAHARA

Article type: Article
2015 Volume 66 Issue 2 Pages 1-12
Published: December 31, 2015
Released on J-STAGE: May 19, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_1

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In dieser Abhandlung wird bewiesen, dass die Erweiterung der Wahrheit seit der sogennanten "probabilistischen Revolution" (Hacking) Mitte des 17. Jahrhunderts, die Ausdehnung derselben von der (strengen) "Wahrheit (veritas)" zu der "Wahrscheinlichkeit (probabilitas, verisimilitudo)", ein Moment fur die Entstehung der Asthetik Baumgartens gewesen ist. Das wissenschaftliche Wissen (scientia) blieb, besonders seit Descartes, streng auf die Wahrheit beschrankt, die nur durch die deduktive Demonstration ermittelt wird, wahrend die Wahrscheinlichkeit, die nur durch die "Autoritat" oder "Billigung" durch andere bestand, vom Bereich des wissenschaftlichen Wissens vollkommen ausgeschlossen war. Jedoch, wenn der Wahrscheinlichkeitsbegriff durch jene Revolution mathematisch oder statistisch, also quantitativ neu formuliert werden wurde, wurde das Wahrscheinliche nicht nur in der Mathematik sondern auch in der Logik als "der Grad der Wahrheit" quantitativ behandelt werden konnen. Es konnte ein Moment fur die Entstehung der Asthetik Baumgartens sein, dass er diesen quantitativen neuen Wahrscheinlichkeitsbegriff in seine Asthetik aufgenommen und mit ihm den Begriff der "verisimilitudo" in seiner eigenen Weise bestimmt hat.

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The relation between of the liturgical thought of Abbot Suger of Saint-Denis and Bernard of Clairvaux

Nanae SAKATA

Article type: Article
2015 Volume 66 Issue 2 Pages 13-24
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_13

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Abbot Suger led the rebuilding of the Abbey of Saint-Denis in the twelfth century. He recorded his theological ideas about the new building and the love of jewels and gold. E. Panofsky has described this document as expressing typical medieval aesthetic ideas. In the same age, Bernard of Clairvaux worked to reform monasticism. He thought that the luxuries of monastic buildings and churches were contrary to the rules of Benedict. Both of these abbots considered art to be a spiritual aide, and thought that the use of art in religious buildings was meaningful. However, Suger had an optimistic view of the use of "the materials" and arts, whereas Bernard was more cautious. We can argue that these differences stem from their contrasting views of liturgy. For these men, liturgical theology was a basis for the theory of the material world, and art in particular. Suger argued that liturgy represented a harmony between the material and the immaterial, emphasizing the incarnation and creation of God in the liturgy. In this way, he paid attention to the way that material things were used in the service of God, and saw their secular value as also representing their suitableness for God. However, Bernard emphasized the relation between liturgies, congregations, and symbols. He regarded the spiritual attitude of the congregation as more important, and argued that liturgical ceremony itself does not produce sanctity. He also argued that material treasures such as jewels were potentialy dangerous.

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Correggio's "Second Coming of Christ" in San Giovanni Evangelista in Parma : Its Relation to the Transfiguration and the Resurrection

Mariko YURIKUSA

Article type: Article
2015 Volume 66 Issue 2 Pages 25-36
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_25

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From 1520 to 1524, Antonio Allegri da Correggio (1489-1534) depicted the Second Coming on the cupola in San Giovanni Evangelista in Parma. This painting has been pointed out the formal relationship to Raffael's "Transfiguration" (1518-20). Though it has been over looked its theological significance, according to St. Bede, the transfigured Christ not only prefigured his outward appearance at the Second Coming, but also related to the resurrection of Christ and the Elect. In the early 16^<th> century, especially in Italy, the Transfiguration, the Resurrection and the Ascension that implies a reference to his Second Coming were conflated by lifting Chirst off the ground. From this iconograhic tradition and the liturgical context of San Giovanni Evangelista, I consider that Correggio adopted the Transfiguration type for the Second Coming on purpose to represent the glory revealed by his resurrection. Moreover, the subjects for the western cupola and the apse, the Transition of St. John Evangelist and the Coronation of Virgin, mean that the image of Christ on the ceiling, which underscores his human body, reminded the viewer of his own resurrection that would take place in the future. Consequently, I conclude that the cupola represents Christ's nature as both God and man, in contrast to the precedent view that read only his divinity there.

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Allegory of Sight and Touch Represented in Rembrandt's Works Illustrating the Healing of Tobit's Eyes

Keiko KUNIKIYO

Article type: Article
2015 Volume 66 Issue 2 Pages 37-48
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_37

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The presence of specific themes in Rembrandt van Rijn (1606-69)'s works has been pointed out by Held and other scholars. These themes serve as essential concepts to unite his works regardless of subject matter of a given work. Blindness is considered to be one of such themes. Rembrandt's works illustrating the Apocryphal Book of Tobit are considered to include the blindness theme. However, though Tobit, the main character of the Book of Tobit, is a blind man, the 17th-century-people considered the book was enlightening piety, mutual assistance and industry. Tobit's blindness merely serves as a basic context for the miraculous healing of Tobit's eyes, and is not a dominant theme. Instead what is remarkable is that Rembrandt repeatedly depicted the healing as a cataract operation at that time. This essay explores the background of the painter's repeated use of the operation motif to depict the miraculous healing of Tobit's eyes. To this end, the essay looks into other Rembrandt's works illustrating a medical operation and compares them with the said works. And finally it reveals that Rembrandt's works depicting the healing of Tobit's eyes are allegorical representation that while being subsumed into Sight, Touch is the sense that supports Sight.

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Art Criticism and Conversation on Paintings : On Roger de Piles' Conversations (1677) and its plot

Nobutaka IMAMURA

Article type: Article
2015 Volume 66 Issue 2 Pages 49-60
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_49

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The main purpose of this paper is to examine Roger de Piles' Conversations (1677), not only as the consistent theory of paintings, but also as a story, where the characters communicate with each other, looking for some steady grounds for consensus of their tastes. In the first part of Conversations, three characters discuss the proper taste and correct judgement on paintings. Pamphile, the instructor, firstly shows that, in order to obtain sane judgement, it is necessary to argue about various paintings with others, but at the same time not to accept their opinions without the conviction that they are reasonable. However, there is no further explanation of this seemingly important concept, "reasonable" in the whole book. Instead of such detailed explanation, Pamphile affirms that one has to build his taste on the basis of the Antique works' taste which is amended by Nature. Three additional characters in the second part, that is, Caliste, Leonidas, and Philarque respectively can be considered as advocates of the Antique works, Nature, and the Antique works amended by Nature. Here, de Piles do not ask whether each kinds of taste is fundamentally reasonable or not, but depict Caliste as a failure in this honnete conversation.

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La theorie du fini dans le Discours relatifs a la peinture (vers 1789) de Francois Tronchin

Takumi MIYAZAKI

Article type: Article
2015 Volume 66 Issue 2 Pages 61-72
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_61

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Francois Tronchin (1704-1798), amateur genevois, a prononce trois discours sur la peinture a la Societe des Arts de Geneve en 1787 et 1788. Les manuscrits de ces discours ont ete publies dans le Discours relatif a la peinture, ou est demontree une theorie unique de Tronchin sur le fini. Cependant, malgre l'importance de l'auteur, grand collectionneur et ami des meilleurs artistes du siecle, le Discours n'a pas ete profondement analyse par les historiens de l'art. Cet article a donc pour objet d'eclaircir les apports theoriques du Discours en ce qui concerne le fini de la peinture. Pour cela, nous mettons en evidence l'activite de Tronchin, collectionneur des peintres hollandais reputes pour le grand fini de leurs oeuvres, gui forma ses theories en acceptant et modifiant les positions du peintre genevois Jean Etienne Liotard, et des theories traditionnelles et connues dans l'Europe francophone du XVIII^e siecle. Ainsi, il s'agira de saisir les enjeux abordes par Tronchin: 1) l'importance accordee au fini et la theorie sur la secheresse; 2) la relation entre le fini et la distance necessairement tenue entre le spectateur et l'oeuvre, 3) l'influence du climat portee sur le fini des artistes hollandais.

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Pictorializing Kowaka in Elite Social Spaces : Folding-screen Adaptations of The Tale of the Soga Brothers

Misato IDO

Article type: Article
2015 Volume 66 Issue 2 Pages 73-84
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_73

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The late sixteenth to early seventeenth century produced many narrative paintings which based on classical literature such as the Tale of Genji and the Tale of Heike. It should be noted however that the number of folding screens which visualized the Tales of the Soga increased, especially in the early seventeenth century. In this paper, I would like to analyze the motifs of the Soga screens that were said to be taken from the Kowaka version of the Tale of the Soga. The motifs which were selected from the text of Kowaka were elaborately juxtaposed on the screen, representing the originality and authority of the warrior families. I will also consider the space of kaisho where warriors gathered for some rituals with a banquet and newly emerging performing arts such as Noh theatre and Kowaka were often performed, since the emergence of the gathering space of kaisho seemed to cause an increase of the production of these narrative folding screens. Kowaka-mai performances, which often narrated stories from war chronicles, functioned not only as a pacificatory requiem for those who had died in past wars but also as an expression of desire for a more peaceful future.

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Antonioni's Blow-Up as an Adaptation of Cortazar's "Las babas del diablo" : The Correspondence of these works, made clear from a psychoanalytical point of view

Takayuki IJUIN

Article type: Article
2015 Volume 66 Issue 2 Pages 85-96
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_85

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Inspired by a short story by Julio Cortazar's "Las babas del diablo" (1959), Michelangelo Antonioni both wrote and directed Blow-Up (1967). However for a lot of people, it seems that Blow-Up was loosely based on Cortazar's story. "Las babas del diablo" is a fantastic story. On the other hand, Blow-Up was regarded as 'absurd', like Antonioni's previous other existentialistic films. But, we can't overlook the uncanny atmosphere common to both works. According to Freud's "The Uncanny", a sense of the 'uncanny' derives from the anxiety caused by a repressed infantile 'castration complex'. Certainly we can find an oedipal scenario in "Las babas del diablo". In fact, Cortazar had been influenced deeply by Freud's writings and surrealistic literature. Furthermore, if we search for an oedipal complex in Blow-Up, we can notice this phenomenon. So, this paper tries to find the close relationship between these works from a psychoanalytic point of view, and to clarify that although Blow-Up does not follow the text of "Las babas del diablo" closely, Antonioni's adaptation shows his keen understandings of Cortazar's story.

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The significance of Gisele Brelet in the history of musical aesthetics in relation to Eduard Hanslick

Rieux FUNAKI

Article type: Article
2015 Volume 66 Issue 2 Pages 97-107
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_97

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Gisele Brelet (1915-73), a French musicologist, is known for her study of time in music, Le Temps musical - essai d'une esthetique nouvelle de la musique (1949). Accordingly, earlier studies of Brelet are mainly focused on her concept of le temps musical, and few evaluate her aesthetics in a historical context. This paper aims at placing Brelet in that context by examining her remarks on Eduard Hanslick (1825-1904), the author of Vom Musikalisch-Schonen (1854), known as the father of modern musical aesthetics. Brelet argues that Hanslick's aesthetics is negatif, and claims her work can renovate it. First, this paper analyzes Brelet's statements to show how she interprets Hanslick's theory as 'temporal.' Second, it analyses her interpretation with reference to Hanslick's text, before pointing out the lack of attention given to 'the temporal', which later led to the negligence of it in musicology, consequently causing many difficulties in this field today. This paper concludes that Brelet's aesthetics, criticizing the weak points in Hanslick's theory, enable us to view the problems in modern and contemporary musical aesthetics in a new perspective.

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[title in Japanese]

Article type: Appendix
2015 Volume 66 Issue 2 Pages 108-113
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_108

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Zur Tragweite der Naturasthetik von Gernot Bohme: "die schone Natur ist nicht notwendig die gute Natur"(Abstracts of the Papers Read at the 66th National Congress)

Miyuki ABE

Article type: Article
2015 Volume 66 Issue 2 Pages 114-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_114

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Kunst oder Geld? : Asthetik der gegenwartigen Fotosammlung in deutschen Banken(Abstracts of the Papers Read at the 66th National Congress)

Mayumi AYUKAWA

Article type: Article
2015 Volume 66 Issue 2 Pages 115-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_115

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Aesthetics to analyze disabled bodies(Abstracts of the Papers Read at the 66th National Congress)

Asa ITO

Article type: Article
2015 Volume 66 Issue 2 Pages 116-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_116

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Ugliness and Evil in Rembrandt's Bathsheba : An aesthetical and ethical perspective(Abstracts of the Papers Read at the 66th National Congress)

Ren INO

Article type: Article
2015 Volume 66 Issue 2 Pages 117-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_117

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Reflection on Krzysztof Wodiczko's Hiroshima Projection(Abstracts of the Papers Read at the 66th National Congress)

Toshiya ECHIZEN

Article type: Article
2015 Volume 66 Issue 2 Pages 118-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_118

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Staging and "Awareness of Being Photographed" : Portrait Photography in Japan in the Latter Half of the 1930s and Its Historical Contexts(Abstracts of the Papers Read at the 66th National Congress)

Yoshiaki KAI

Article type: Article
2015 Volume 66 Issue 2 Pages 119-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_119

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The Imitation of Character and The Habituation in Pleasure and Pain : Aristotle on Ethos and Mimesis(Abstracts of the Papers Read at the 66th National Congress)

Kiichi KATO

Article type: Article
2015 Volume 66 Issue 2 Pages 120-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_120

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The Acceptance and Aesthetics of Onnagata (Female Impersonator) in Early Japanese Movies(Abstracts of the Papers Read at the 66th National Congress)

Makiko KAMIYA

Article type: Article
2015 Volume 66 Issue 2 Pages 121-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_121

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Munch and 'Fleskum-Malerne' : 'Stemningsmaleriet' in Norwegian Paintings of 19th Century(Abstracts of the Papers Read at the 66th National Congress)

Tatsuhiro KAWASAKI

Article type: Article
2015 Volume 66 Issue 2 Pages 122-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_122

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Le concept de l'imitation dans les theories du ballet par C.-F. Menestrier (1682) : se focalisant sur l'≪unite de dessein≫(Abstracts of the Papers Read at the 66th National Congress)

Keiko KAWANO

Article type: Article
2015 Volume 66 Issue 2 Pages 123-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_123

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La reconstitution de l'histoire de l'art moderne aux Etats-Unis en 1936 : a partir de l'exposition Giorgio de Chirico a la Galerie Julien Levy(Abstracts of the Papers Read at the 66th National Congress)

Chisato KIMIZU

Article type: Article
2015 Volume 66 Issue 2 Pages 124-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_124

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The establishment of "Direction-Centrism" in Toei Animation Co.,Ltd.(Abstracts of the Papers Read at the 66th National Congress)

Tomoya KIMURA

Article type: Article
2015 Volume 66 Issue 2 Pages 125-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_125

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Pablo Picasso's Guernica and Alfred H. Barr, Jr. : Reconsidering the Symposium (1947) at the Museum of Modern Art, New York(Abstracts of the Papers Read at the 66th National Congress)

Azu KUBOTA

Article type: Article
2015 Volume 66 Issue 2 Pages 126-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_126

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Genealogy of The Je-Ne-Sais-Quoi : Mainly Focus on V. Jankelevitch(Abstracts of the Papers Read at the 66th National Congress)

Yukitada SHIMAMURA

Article type: Article
2015 Volume 66 Issue 2 Pages 127-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_127

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"Iconologie" de Philippe Melanchthon(Abstracts of the Papers Read at the 66th National Congress)

Daisuke SHIMOYAMA

Article type: Article
2015 Volume 66 Issue 2 Pages 128-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_128

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The part of Rene Magritte's "sky bird" in the cultural policy of Belgium after World War 2 : referring to the Magritte's view on the publicity and the public enterprise of Belgium(Abstracts of the Papers Read at the 66th National Congress)

Yuuna TONEGAWA

Article type: Article
2015 Volume 66 Issue 2 Pages 129-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_129

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Aesthetic Judgement and Moral Judgement Argued in "Everyday Aesthetics" by Saito Yuriko(Abstracts of the Papers Read at the 66th National Congress)

Haruka TOYAMA

Article type: Article
2015 Volume 66 Issue 2 Pages 130-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_130

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Verisimilitude of Horace: Ars Poetica 338 proxima veris(Abstracts of the Papers Read at the 66th National Congress)

Sho NISHII

Article type: Article
2015 Volume 66 Issue 2 Pages 131-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_131

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Unity Temple (1906-1908), designed by Frank Lloyd Wright : tying to see it as a starting point of his "Space"(Abstracts of the Papers Read at the 66th National Congress)

Mari HATTORI

Article type: Article
2015 Volume 66 Issue 2 Pages 132-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_132

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Die Bandbreite der Nerven in den Wiener Bemalden der Jahrhundertwende : Die Portrats Gustav Klimts und ihre Besprechungen(Abstracts of the Papers Read at the 66th National Congress)

Kayoko FUKUMA

Article type: Article
2015 Volume 66 Issue 2 Pages 133-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_133

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Media Theory of Life Science : A Case Study of Bio Art(Abstracts of the Papers Read at the 66th National Congress)

Nobuhiro MASUDA

Article type: Article
2015 Volume 66 Issue 2 Pages 134-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_134

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Can I Eat Him? : An Attempt at the Classification of Eating in Cinema(Abstracts of the Papers Read at the 66th National Congress)

Yosaku MATSUTANI

Article type: Article
2015 Volume 66 Issue 2 Pages 135-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_135

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Categories of Art and Authorship : On Rejections of Yuki Okumura's Works in The Vision of Contemporary Art 2015(Abstracts of the Papers Read at the 66th National Congress)

Norihide MORI

Article type: Article
2015 Volume 66 Issue 2 Pages 136-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_136

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"Mitteilung" des Gedankens beim fruhen F. Schlegel(Abstracts of the Papers Read at the 66th National Congress)

Saeko YAMAGUCHI

Article type: Article
2015 Volume 66 Issue 2 Pages 137-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_137

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Changes of large-scale contemporary art exhibitions and institutionalizing "Art" in Japan after WW II : A study of "International Contemporaneity" in the 1960s(Abstracts of the Papers Read at the 66th National Congress)

Kouhei YAMASHITA

Article type: Article
2015 Volume 66 Issue 2 Pages 138-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_138

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"Japanese Modern Graphic Styles" of Ikko Tanaka in the 1950s(Abstracts of the Papers Read at the 66th National Congress)

Sae YAMAMOTO

Article type: Article
2015 Volume 66 Issue 2 Pages 139-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_139

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Bonaventure's theory of authority : pre-Aesthetics in medieval thought(Abstracts of the Papers Read at the 66th National Congress)

Hitoshi YOKOMICHI

Article type: Article
2015 Volume 66 Issue 2 Pages 140-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_140

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Etude relative au traite d'esthetique de "La morale des lignes" de Mecislas Golberg : centree autour du role de la theorie artistique de Matisse et Picasso(Abstracts of the Papers Read at the 66th National Congress)

Takako YOSHIKAWA

Article type: Article
2015 Volume 66 Issue 2 Pages 141-
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_141

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TSUGAMI Eske, Mei's Interpretation of Aristotle Poetics and the Birth of Opera

Kazuhiro TODAKA

Article type: Article
2015 Volume 66 Issue 2 Pages 142-147
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_142

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Martin Seel, Eine Asthetik der Natur, Suhrkamp, 1991

Katsushi HIKASA

Article type: Article
2015 Volume 66 Issue 2 Pages 148-152
Published: December 31, 2015
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.66.2_148

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2015 Volume 66 Issue 2 Pages 153-
Published: December 31, 2015
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DOIhttps://doi.org/10.20631/bigaku.66.2_153

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Article type: Article
2015 Volume 66 Issue 2 Pages 154-
Published: December 31, 2015
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DOIhttps://doi.org/10.20631/bigaku.66.2_154

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Article type: Article
2015 Volume 66 Issue 2 Pages 155-
Published: December 31, 2015
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DOIhttps://doi.org/10.20631/bigaku.66.2_155

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2015 Volume 66 Issue 2 Pages 156-157
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2015 Volume 66 Issue 2 Pages 158-
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DOIhttps://doi.org/10.20631/bigaku.66.2_158

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Article type: Article
2015 Volume 66 Issue 2 Pages 159-
Published: December 31, 2015
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DOIhttps://doi.org/10.20631/bigaku.66.2_159

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