-
2019 Volume 70 Issue 2 Pages
cover1-
Published: 2019
Released: May 08, 2021
JOURNALS
FREE ACCESS
-
2019 Volume 70 Issue 2 Pages
cover2-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Framing through Our Engagement
MamI AOTA
2019 Volume 70 Issue 2 Pages
1-12
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
I will show how we can frame temporal dimensions of our environments for our
appreciation. In contrast to artworks, environments are changing all the time. There is no
frame with which to define what is the specific object of appreciation in environments
which surround us, and which extend without limit. We have to create our own frames
by ourselves. The question is how we frame temporal changes of environments.
First, I will classify the changes in two groups: macro- and micro- temporal change.
We cannot directly perceive the former, but can with the latter. Although we can
perceive micro changes, it is difficult to appreciate them because they are so ordinary
for us that we usually do not pay any attention to them.
Second, I will introduce Arnold Berleant’s “aesthetics of engagement” to clarify the
mechanism of framing these micro changes. Engagement is a kind of aesthetic attitude
for appreciating perceptual environmental experiences which consisted of cumulative
micro changes.
Third, I will elaborate on the role of our activity in framing micro changes. I will
distinguish our activities in environments into two levels, and show how aesthetic
engagement is related to each level.
View full abstract
-
kleine Entwicklungsgeschichte der psychologischen Logik von 16. Jahrhundert bis zur Mitte des 18. Jahrhunderts
Shunsuke KUWABARA
2019 Volume 70 Issue 2 Pages
13-24
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
Alexander Gottlieb Baumgarten (1714-62) hat mit der „Logik des unteren
Erkenntnisvermögens (logica facultatis cognoscitivae inferioris)“ eine Ästhetik in Analogie
zur Logik entworfen. Mit Blick auf die formale Logik mag eine solche Analogie heute
befremdlich sein. Berücksichtigt man aber die damals vorherrschende „psychologische
Logik“, erscheint sie durchaus berechtigt. Um dies zu zeigen, gibt dieser Beitrag eine kurze
Übersicht über die wichtigsten Eckpunkte der Entwicklungsgeschichte der psychologischen
Logik vom 16. bis zum 18. Jahrhundert: 1.) Die rhetorische Logik (dialectica) des Ramismus
und die Logik des Neuaristotelismus des 16. Jahrhunderts, 2.) die gnoseologische Logik
von Port-Royal der zweiten Hälfte des 17. Jahrhunderts, 3.) die gesellschaftliche Logik
der frühen deutschen Aufklärung (Tschirnhaus, Thomasius) und 4.) die wissenschaftlich
und mathematisch begründete Logik von Christian Wolff. Es wird hierbei deutlich, wie die
psychologische Logik eine epistemologische Bedingung für Baumgartens Ästhetik wurde
und wie sie diese charakterisiert. Baumgartens Ästhetik verdankt der psychologischen
Logik 1.) ihre wissenschaftliche Begründung als Teil der empirischen Psychologie, 2.)
ihre gnoseologische Konzeption als „gnoseologia inferior“, 3.) ihre „sinnliche“ oder
„ästhetische“ Wahrheit und 4.) ihre Eigenschaft als anthropologische Ästhetik.
View full abstract
-
Schlüsse aus der Untersuchung von Martin Seels Metaphysikkritik
Junichiro FUKAWA
2019 Volume 70 Issue 2 Pages
25-36
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
In der Ästhetischen Theorie definiert Theodor W. Adorno das Naturschöne als
die Erfahrung von „der Sprache der Natur“, die weder eine begriffliche, noch
eindeutig zu bestimmende Bedeutung hat. Martin Seel lehnt aber diese Sprache
als einen „metaphysischen“ Begriff ab, und urteilt, dass die Naturästhetik Adornos
im Grunde auf einer romantischen Betrachtungsweise aufbaut. Auf Grundlage der
späteren Diskussionen über die Richtigkeit dieser Kritik (Josef Früchtl, Gerhard
Schweppenhäuser, Gernot Böhme) untersucht dieser Aufsatz im Folgenden den
zentralen Streitpunkt, ob diese Sprache der Natur buchstäblich aus der Natur selbst
kommt oder bloß durch eine Vermittlungswirkung des Subjekts konstruiert ist. Diese
Lektüre führt infolgedessen zu der Interpretation, dass in der Sprache der Natur zwei
Phasen ineinander verwoben sind: die Projektionsweise, in welcher der Mensch,
der im mythischen Zustand quälend gefangen ist, sein utopisches Interesse auf die
Natur richtet. Und die metaphysische Phase, die in der Wahrnehmung des utopischen
Interesses der Natur besteht, die im Grunde ebenfalls im grausamen mythischen
Zustand gefangen ist. Diese Phase beweist zwar eine gewisse Richtigkeit der Kritik
Seels, aber die Lektüre macht auch ein ästhetisches Potenzial Adornos aufmerksam.
View full abstract
-
Prefiguration of the Virgin and the Patron’s Salvation
Elena OTA
2019 Volume 70 Issue 2 Pages
37-48
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
Byzantine illuminated psalters with full-page illuminations for specific psalms
(notably Ps. 1, 50, 77, 151) and for the Odes are called as ‘Aristocratic psalters’. The
term derives from a mere impression that these psalters were commissioned by
Byzantine aristocrats, though in reality 4 manuscripts out of 6 which we know the name
of its patron were ordered by monks and nuns. The manuscript Dionysiou 65 housed
by the monastery of the same name in Mount Athos is of special interest amongst
these 6 manuscripts, with a illumination depicting its patron, Sabas, as the deceased.
Including this image, the manuscript has at its beginning a unique iconographical
programme which could be labeled as ‘Sabas’s Salvation Cycle’, consisting of 7
full-page illuminations. The 3 illuminations, ‘Sabas worshipping the Virgin (f. 12v)’,
‘Solomon (f. 13r)’ and ‘David (f. 13v)’ wrap up this cycle. The whole illuminations of the
manuscript have not been fully studied, yet previous research on these 3 illuminations
are particularly scarce probably due to their iconic nature, compared to the other
illuminations with more narrative elements. This paper discusses the function of these 3
illuminations as prefigurating the Virgin and praying for the patron’s salvation.
View full abstract
-
Von der Philatelie zum politischen Körper
Nozomu NINOMIYA
2019 Volume 70 Issue 2 Pages
49-60
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
Der vorliegende Aufsatz beschäftigt sich mit der Briefmarkenforschung Warburgs
und setzt sich zum Ziel, seine politische Ikonographie darzustellen. 1927 hat
Warburg mit dem derzeitigen Reichskunstwart Edwin Redslob eine Tagung über „die
Briefmarke“ veranstaltet, um ihre Bedeutung als politisches Medium zu untersuchen.
Es ist verständlich, dass die Briefmarke auf Grund ihrer örtlichen Beweglichkeit
für Warburg ein interessanter Gegenstand war. Mit den Begriffen „Bilderfahrzeug“
sowie „Schlagbilder“ hat er seinen Blick auf die seit langem in der Kunstgeschichte
unterschätzten Werke wie Tapisserien bzw. politische Plakate im Zeitalter der
Reformation gerichtet. In der Briefmarkenforschung wurden der seefahrende Neptun
und Benito Mussolini zu den Hauptmotiven. Dabei wird die komplexe Beziehung
zwischen der Tradition der Repräsentation der politischen Theologie und die der
heidnischen Antike entsprungene Bildtheorie analysiert. Die mimischen Körper von
Herrschern, die nach dem historischen Muster in verschiedener Weise stilisiert und
inszeniert werden, sind zur Grundlage der abendländischen Politik geworden. Die von
Warburg entworfene politische Ikonographie erkennt die Bewegung und die Wirkung
der Bilder im politischen Bereich und fordert uns stets zur historischen Reflexion auf.
View full abstract
-
Takumi IMURA
2019 Volume 70 Issue 2 Pages
61-72
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
This paper characterizes a Brazilian critic Oswald de Andrade’s ‘Brazilianness
(brasilidade)’ by analyzing his art critique. It is accepted that ‘philosophy
of anthropophagy’ proposed by Andrade’s “Anthropophagy Manifest (Manifesto
Antropófago, 1928)” defines the 20th century Brazilian culture. The idea of the
philosophy of anthropophagy as a cultural constructional model ignores, however,
socio-political visions in Andrade’s works. I clarify the significance of art for Andrade
and connect his writings of art in the modernist era and socio-political writings in his
later years.
Andrade praises art based on Brazilian life, nature, and history as representative art
of Brazil, national art. Further, according to his review concerning Anita Malfatti’s solo
exhibition in 1917, Andrade criticizes art from a western point of view. Finally, the paper
clarifies representations of Brazilianness by analyzing Andrade’s critiques about two
painters, Tarsila do Amaral and Lasar Segall. In conclusion, I show that Brazilianness
for Andrade is an expression both based on Brazilian life, nature, and history and
executed well in western criteria. Andrade’s Brazilianness is also problematic in terms
of internalizing of western exoticism. At the same time, however, it is possible for the
Brazilianness to subvert Eurocentrism.
View full abstract
-
Chisato KIMIZU
2019 Volume 70 Issue 2 Pages
73-84
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
Man Ray, American artist, went to France in 1921 asking for a place of new activity.
At the outbreak of the Second World War, he returned to his country in 1940, and
spent about 10 years in Los Angeles. However, while attention has focused on the
photographic works of the surrealist period of the 1920s and 1930s, his activities during
his stay in California is rarely discussed. One considers Man Ray led a retired life there.
In this paper, focusing on the fact that Man Ray was involved in an abstract art group
called “Open Circle”, we examine about his California era. In particular, our purpose is
to report on his activities in the Californian art field through his relationship with the
painter Knud Merrild born in Denmark, who produced the paintings and named them
“Flux” with techniques such as Dripping and Pouring.
Attempts to elucidate artistic activities of Man Ray in Los Angeles allow us to move
away from the post war art history which explains the center of art was transferred
from France to the United States, namely New York. It will also be an opportunity to
review the history of art from a local perspective.
View full abstract
-
Yoshei WATANABE
2019 Volume 70 Issue 2 Pages
85-96
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
Under the direction of the critic Pierre Restany, Nouveau Réalisme was formed at
the flat of Yves Klein in Paris, on October 27, 1960. This movement was made up of
13 artists including Klein, and many of them eventually became world-famous artists.
However, despite of this interesting fact, their activities as a group have not been
discussed sufficiently in the past. But now, there is no doubt that Nouveau Réalisme is
being historically re-evaluated all over the world.
In this article, following this trend, we attempt to reexamine the movement by
considering their “poetics”. Nouveau Réalisme was supported by Restany’s theory of
“appropriation of the real”. But this theory was neither accepted by all participants, nor
so effective to analyze their works. So, we reconsider the theory of Restany, and try to
separate works of Nouveau Réalisme from the concept of appropriation. Our aim is to
clarify their thoughts presented in their works themselves, and to illuminate them as
poetics of Nouveau Réalisme. Our proposition is below: their particularity should be
sought in “making a new sight” or “new perceptual approach to reality”, and it is here
that their poetics are found.
View full abstract
-
Chance or Indeterminacy
Yuki TAOOKA
2019 Volume 70 Issue 2 Pages
97-108
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
In the early 1960s, the arrival of John Cage’s aleatoric music caused a sensation in
the musical world of Japan. The reaction was known as the “John Cage Shock”. Many
Japanese critics and musicians considered the essence of Cage’s music to exist in the
chance operations of his method of composing music. The interpretation of this concept
among many critics tended to the metaphysical and mystic. Yuji Takahashi (1938-) argued
that these assessments were inaccurate and asked, “Where is chance in John Cage’s
works?” He proposed to understand Cage’s work through the concept of indeterminacy.
Cage himself, of course, also used this term. However, Takahashi’s idea of indeterminacy
differs from Cage’s; Takahashi’s idea focuses on the indeterminacy that intervenes not
only between scores and performances but also between the performed sound (Takahashi
referred to it as the vague sound) and the audience. However, this understanding of
indeterminacy fails to account for Cage’s usage of this type of sound in his works.
Cage’s aleatoric music and indeterminacy cast a long shadow over Japanese music
post the Second World War. This paper assesses the reception of Cage’s music in Japan,
indicating Cage’s influence on Takahashi’s compositions.
View full abstract
-
2019 Volume 70 Issue 2 Pages
109-113
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Mami AOTA
2019 Volume 70 Issue 2 Pages
114-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Keiko ISHIDA
2019 Volume 70 Issue 2 Pages
115-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Taro ENDO
2019 Volume 70 Issue 2 Pages
116-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Marie OSHIRO
2019 Volume 70 Issue 2 Pages
117-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Miku OYA
2019 Volume 70 Issue 2 Pages
118-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Toshihiro KATAYAMA
2019 Volume 70 Issue 2 Pages
119-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Yusuke KAMEYAMA
2019 Volume 70 Issue 2 Pages
120-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Horuto KITTAKA
2019 Volume 70 Issue 2 Pages
121-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Haruka KIMURA
2019 Volume 70 Issue 2 Pages
122-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Hyewon KOO
2019 Volume 70 Issue 2 Pages
123-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Keiko KUNIKIYO
2019 Volume 70 Issue 2 Pages
124-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Fumiko GOTO
2019 Volume 70 Issue 2 Pages
125-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Hiroyuki KOMATSU
2019 Volume 70 Issue 2 Pages
126-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Kanaho SATO
2019 Volume 70 Issue 2 Pages
127-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Satoshi SHINOHARA
2019 Volume 70 Issue 2 Pages
128-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Loredana Scorus Oana
2019 Volume 70 Issue 2 Pages
129-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Wataru SUZUKI
2019 Volume 70 Issue 2 Pages
130-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
[in Japanese]
2019 Volume 70 Issue 2 Pages
131-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Karua KAKUTA
2019 Volume 70 Issue 2 Pages
132-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Yuuna TONEGAWA
2019 Volume 70 Issue 2 Pages
133-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Shinichi TOMIOKA
2019 Volume 70 Issue 2 Pages
134-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
DING Yi
2019 Volume 70 Issue 2 Pages
135-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Katsushi NAKAGAWA
2019 Volume 70 Issue 2 Pages
136-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Rina NAMIWA
2019 Volume 70 Issue 2 Pages
137-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Takuya NISHIHASHI
2019 Volume 70 Issue 2 Pages
138-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Jooun HAR
2019 Volume 70 Issue 2 Pages
139-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Pawel PACHCIAREK
2019 Volume 70 Issue 2 Pages
140-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Keiko MAKINO
2019 Volume 70 Issue 2 Pages
141-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Risa MATSUMOTO
2019 Volume 70 Issue 2 Pages
142-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Shun MIZUNO
2019 Volume 70 Issue 2 Pages
143-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Yuki MERA
2019 Volume 70 Issue 2 Pages
144-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Taiki YANAGAWA
2019 Volume 70 Issue 2 Pages
145-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Mai YUASA
2019 Volume 70 Issue 2 Pages
146-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Jia LIU
2019 Volume 70 Issue 2 Pages
147-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
2019 Volume 70 Issue 2 Pages
148-149
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
2019 Volume 70 Issue 2 Pages
150-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Tomoaki Haruki
2019 Volume 70 Issue 2 Pages
151-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
-
Kyo TAMAMURA
2019 Volume 70 Issue 2 Pages
152-
Published: 2019
Released: May 08, 2021
JOURNALS
OPEN ACCESS
