Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
Volume 70 , Issue 1
Showing 1-31 articles out of 31 articles from the selected issue
  • 2019 Volume 70 Issue 1 Pages cover1-
    Published: 2019
    Released: May 08, 2021
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  • 2019 Volume 70 Issue 1 Pages app1-
    Published: 2019
    Released: May 08, 2021
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  • 2019 Volume 70 Issue 1 Pages cover2-
    Published: 2019
    Released: May 08, 2021
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  • Yoko IOKU
    2019 Volume 70 Issue 1 Pages 1-12
    Published: 2019
    Released: May 08, 2021
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    The birth of aesthetics as a philosophical discipline was the attempt to include beauty, art and sensibility, i. e. the individual in philosophy. Hence the problem of individual is essential for Wolffian aesthetics. As it is well known, Baumgarten asserts that proper names are highly poetic. However, it is not yet revealed how they would bring a poetic effect. In this paper, I provide an explanation by “emphasis” and “mathematic infinity” of notes in an individual, basing on Meier. I argue that “complete determinations” or enormous notes of an individual are represented as implications of a proper name, and that, no matter how numerous notes are not recognized, a proper name could bring beauty through the high potentiality of notes, which indicates inexhaustibility of the individual. This conclusion suggests that Meier takes the limitations of human recognition positive in aesthetics, and that’s why he found significance in the new discipline and endeavored to promote it.
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  • Diderot dans les années 1750
    Keiko KAWANO
    2019 Volume 70 Issue 1 Pages 13-24
    Published: 2019
    Released: May 08, 2021
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    Diderot a échangé le discours, qui était prédominant dans la tradition théâtrale française, contre la pantomime, et a rénové les œuvres dramatiques dans les années qui ont suivi 1750. En examinant la fonction langagière de ce nouveau médium qu’est le « pantomime », sur la base de la théorie des hiéroglyphes que Diderot présente dans sa Lettre sur les sourds et les muets (1751), nous nous proposons d’éclaircir comment cette dernière se transforme avec l’introduction de la pantomime. Dans cette lettre, Diderot qualifie le langage poétique, qui met en œuvre conjointement l’intelligence et la sensibilité, de « langue perfectionnée ». Selon Diderot, le langage dans cet état permet l’interaction entre l’expéditeur et le destinataire, un phénomène qu’il désigne sous le terme de « hiéroglyphe », et qui est propre au langage poétique. La pantomime est l’un des médiums qui convient la plus à la production de hiéroglyphes, et quand elle est introduite dans l’œuvre dramatique, non seulement le spectateur reçoit le langage, mais il sent également ce qui renvoie au signe linguistique. Ainsi, l’œuvre dramatique, qui à l’origine envoie unilatéralement un message au spectateur, se transforme en une existence réciproque où le spectateur participe lui-même à la génération linguistique.
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  • Interpretation from the Standpoint of the Theory of Taste in Kant’s Third Critique
    Shun TAKAGI
    2019 Volume 70 Issue 1 Pages 25-36
    Published: 2019
    Released: May 08, 2021
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    This paper attempts to explain the concept of “purposiveness of nature” as “the mediating concept between the concepts of nature and the concept of freedom” (V 196) from the standpoint of the theory of taste in the Critique of the Power of Judgment (1790). Kant asserts that “there is an incalculable gulf” (V 175) between two domains of nature and freedom. In order to make filling up this gulf or transition from the former to the latter possible Kant needs a mediating concept, namely purposiveness of nature. Some interpreters construe this concept and transition as based on “supersensible substratum” (V 196). But this interpretation conflicts with the condition “without regard to the practical” (ebd.) for acquiring the concept of purposiveness of nature. On the other hand, according to Kant “the spontaneity in the play of the faculties of cognition” (V 197) is presupposition of the mediating function of such purposiveness. Now, this play is also the state of mind when we make the judgments of taste. Therefore, we cannot understand the mediating concept of purposiveness of nature between nature and freedom unless we interpret this concept from the standpoint of the theory of taste without regard to the practical.
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  • Critical Reconstruction of Typology of Vita Activa
    Issei SAKURAI
    2019 Volume 70 Issue 1 Pages 37-48
    Published: 2019
    Released: May 08, 2021
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    Philosophers often liken living well to creating an art work. I call this conception “poetics of life.” Hanna Arendt’s thought about human existence is very unique in that she interprets poetics of life concretely and rejects it clearly. On the contrary, there are few philosophers who concretize the metaphor and evaluate it negatively. In this paper, by replying to her criticism, I try to develop poetics of life in the right direction. The ground for her rejection to poetics of life comes from her famous typology of vita activa. In The Human Condition (1958), Arendt divides human activity into three types, namely “labor”, “work”/ “fabrication,” and “action.” Since Arendt categorizes creation of art works into “work” and regards “action” as proper activity for human being, she cannot accept the metaphor “to live well is to create a work of art.” However, investigating detailed descriptions of examples of “action”, it is revealed that the general explanation for the difference between “work” and “action” does not comprehend the essential feature of “action”; the function of formation that integrates parts already existing ad-lib. By this function, this paper will show that Arendt’s theory is capable of containing the idea of “making one’s own life.”
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  • For Rethinking Analytic Aesthetics
    Takafumi KATO
    2019 Volume 70 Issue 1 Pages 49-60
    Published: 2019
    Released: May 08, 2021
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    This paper proposes an extended understanding of the discipline called ‘analytic aesthetics’, with reference to analytic pragmatism proposed by a prominent neo- pragmatist, R. Brandom. It is therefore argued that analytic aesthetics should be reconsidered in terms of ‘analytic pragmatist aesthetics’. N. Carroll’s philosophy of criticism is expected to offer an appropriate picture illustrating how the analytic pragmatist aesthetics can be embodied in the actual scene. Carroll argues that (1) ‘reasoned evaluation’ comprises the essential part of criticism, and that (2) ‘success value’ should be considered as more privileged than ‘reception value’. This paper assents to (1): the framework of analytic pragmatism, according to which semantics of certain aspects of natural language is understood in terms of their pragmatics, can be aptly applied into the philosophy of criticism. The claim (2), however, may be in tension with pragmatists’ theory of art. Once the pragmatist concept of experience is accepted, the privileged status of success value over reception value is no longer hard and fast: they are two sides of the same coin. This paper thus revises the philosophy of criticism and represents it as a promising illustration of analytic pragmatism implemented in the context of aesthetics independently of Carroll’s argument.
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  • Chiaki YAMANE-SAIHOJI
    2019 Volume 70 Issue 1 Pages 61-72
    Published: 2019
    Released: May 08, 2021
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    Ludwig Hirschfeld-Mack (1893-1965) entwarf als Student am Bauhaus Weimar einen Farbkreisel, den Optischen Farbenmischer, eines der berühmtesten Werke des Bauhauses, das auch kommerziell erfolgreich war, wobei aber noch immer nicht klar ist, auf welchen Wegen der Farbkreisel entstand. Die Bezeichnung weist auf das Ziel hin, die optische Farbenmischung zu beobachten. Der von Hand gedrehter Farbenkreisel ist ein traditionelles Instrument in der Naturwissenschaft, der auf physikalischen Experimenten von Newton und auf der Erfindung von Musschenbroek beruht, physiologisch-optisch von Helmholtz klassifiziert und später von der Experimentalpsychologie übernommen wurde. Der Zweck dieses Werkes war es, aufgrund der experimental-psychologischen Mischungsexperimente die Gültigkeit des Farbenkreises von Goethe und seinen Nachfolgern zu beweisen, deren Ziel es ist, die Mischungsverhältnisse der Komplementärfarben berechnen zu können. Aber Hirschfeld-Mack hat eine Veränderung der Anordnungen vorgenommen, die sein Lehrer Adolf Hölzel anläßlich der Argumentation empfohlen hatte, und kam dabei in seinen Aufzeichnungen der Ergebnisse der verschiedenen Mischungsverhältnisse immer zu der Feststellung : “Es ergibt Grau”. Dabei wird klar, dass dieses Instrument ein konkretes Medium war, um die Möglichkeit einer wissenschaftlich basierten Beweisführung der Farbenlehre Goethes zu schaffen, die in den damaligen Versuchen im Bereich der experimentellen Psychologie aufgegriffen worden war, und um die Diskussion darüber zu beleben.
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  • Focusing on Yasuda’s Criticism in 1942
    Taro ENDO
    2019 Volume 70 Issue 1 Pages 73-84
    Published: 2019
    Released: May 08, 2021
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    Yasuda Yojuro (1910–1981) was a Japanese thinker from the Showa period. He is famous for his literary criticism, and he also wrote a lot of art criticism, for example, Taimamandara and Nihon no bijutushi. In his literary criticism, Yasuda mostly wrote about classic Japanese literature, but in his art criticism, he wrote about not only Japanese classics but also contemporary Western art. This article aims to reconsider Yasuda’s ideas through an examination of his art criticism that previous research has hardly considered. First, I reveal Yasuda’s view of art through an examination of his famous literary criticism Taikanshijin no Goitininsya and his art criticism Saigyo to Dufy. Then, I compare Yasuda’s art criticism in 1942 and Kindai no chokoku, which was a round- table discussion in 1942 that included many famous literary scholars in Japan. Finally, I conclude that Yasuda’s ideas were not the most ultranationalistic of the time that previous research has regarded his ideas as, but more international than that of his contemporary literary scholars.
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  • Its Relationship to Art History (Kunstwissenschaft) and the Genealogy of Formalism
    Masaya OGAWA
    2019 Volume 70 Issue 1 Pages 85-96
    Published: 2019
    Released: May 08, 2021
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    This paper attempts to clarify the relationship between the theory of style of G. Adler and that of Art History (Kunstwissenschaft) by scrutinizing what Adler adopted and rejected from Art History in his Der Stil in der Musik (1911) and Methode der Musikgeschichte (1919). Through this study, it is revealed that his thought is deeply rooted in Hanslick’s formalism. This paper will reach following results: Firstly, as a musicologist, Adler rejects W. Worringer’s hypothesis that the origin of art is the ornamental style and cites E. Hanslick’s well-known formalistic thesis to support his rejection. Secondly, on the other hand, he adopts ideas of the construction style (Konstruktionsstil) by A. Göller and the geometric style (geometrischer Stil) by A. Riegl into his theory of musical style as a necessary condition of art of tone (Tonkunst), calling the counterpart to them the arithmetic style (arithmetischer Stil). Thirdly, while the arithmetic style has genealogically the close connection with the term of the mathematical form (mathematische Form) used by Kant, Adler aims to save music from its lowest rank around fine arts in terms of the cultural value proposed in Critique of Judgment, by referencing Hanslick’s autonomous formalism.
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  • du point de vue des souvenirs et de l’attente
    2019 Volume 70 Issue 1 Pages 97-108
    Published: 2019
    Released: May 08, 2021
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    Gisèle Brelet est renommée pour son œuvre, Le temps musical (1949) construite en trois parties : « La forme sonore », « La forme rythmique » et « La forme musicale ». Les études précédentes comprennent « la forme musicale » à travers la typologie musicale, et n’éclaircissent pas le contenu de « la forme musicale » même. Dans cette situation, cet article saisit « la forme musicale » du point de vue des « souvenirs et de l’attente ». Car Brelet paraphrase la forme musicale par « une mouvante synthèse de souvenir et d’attente ». Pour cela, d’abord, cet article éclaircira la fonction des souvenirs et de l’attente dans la forme musicale puis mettra en évidence le fait que la forme musicale est une totalité constituée par la synthèse de ces deux éléments. Ensuite, en recherchant leur fonction dans la forme sonore et dans la forme rhythmique, il devient clair que les deux formes sont soutenues par le « souvenir et l’attente ». Finalement, cet article montrera que « la forme musicale » comme une totalité dépend du son perçu comme un événement, et affirme que le temps musical de Brelet est le « temps de l’événement ».
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  • Hiroshi OKABAYASHI
    2019 Volume 70 Issue 1 Pages 108-111
    Published: 2019
    Released: May 08, 2021
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  • Noriaki YANAGISAWA
    2019 Volume 70 Issue 1 Pages 112-116
    Published: 2019
    Released: May 08, 2021
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  • 2019 Volume 70 Issue 1 Pages 117-120
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  • 2019 Volume 70 Issue 1 Pages 121-
    Published: 2019
    Released: May 08, 2021
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  • Yasunari TSUTSUMIDA
    2019 Volume 70 Issue 1 Pages 122-
    Published: 2019
    Released: May 08, 2021
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  • Naoko KOBAYASHI
    2019 Volume 70 Issue 1 Pages 123-
    Published: 2019
    Released: May 08, 2021
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  • Shunsuke KUWABARA
    2019 Volume 70 Issue 1 Pages 124-
    Published: 2019
    Released: May 08, 2021
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  • Kayoko FUKUMA
    2019 Volume 70 Issue 1 Pages 125-
    Published: 2019
    Released: May 08, 2021
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  • Satoshi NAKAMURA
    2019 Volume 70 Issue 1 Pages 126-
    Published: 2019
    Released: May 08, 2021
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  • Ryo KAMEYAMA
    2019 Volume 70 Issue 1 Pages 127-
    Published: 2019
    Released: May 08, 2021
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  • Mayuko MORI
    2019 Volume 70 Issue 1 Pages 128-
    Published: 2019
    Released: May 08, 2021
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  • Osamu MISHIMA
    2019 Volume 70 Issue 1 Pages 129-
    Published: 2019
    Released: May 08, 2021
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  • Hiromi SAIKA
    2019 Volume 70 Issue 1 Pages 130-
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    Released: May 08, 2021
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  • Tomoki AKIMARU
    2019 Volume 70 Issue 1 Pages 131-
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  • 2019 Volume 70 Issue 1 Pages 132-
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  • 2019 Volume 70 Issue 1 Pages 133-135
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  • 2019 Volume 70 Issue 1 Pages 136-140
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  • 2019 Volume 70 Issue 1 Pages cover3-
    Published: 2019
    Released: May 08, 2021
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  • 2019 Volume 70 Issue 1 Pages cover4-
    Published: 2019
    Released: May 08, 2021
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