Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 72, Issue 1
Bigaku
Displaying 1-26 of 26 articles from this issue
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages cover1-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_cover1
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages cover2-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_cover2
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  • On the Emotional Character of Aesthetic Objects: Based on the Phenomenology of the Munich Circle
    Konosuke MINEO
    2021 Volume 72 Issue 1 Pages 1-12
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_1
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    The Munich circle of phenomenology applied the phenomenological method to aesthetics under the influence of E. Husserl. The Munich phenomenologists, M. Geiger, A. Fischer, Th. Conrad, among others, saw the essence of aesthetic objects in their emotional character (Gefühlscharakter), e.g., a mood of cheerfulness spread over a color. The authors cited above criticized the psychologistic reduction of such character into merely subjective emotion in a genetic-psychological point of view. According to the descriptive-phenomenological perspective, on the contrary, the emotional character is experienced as something objective. This contribution investigates the difference between the ego’s own emotion and the emotional character of objects, in order to show the aesthetic significance of recognizing this difference. First, it gives an overview over the Husserl’s anti-psychologism in his Logical Investigations and characterizes the phenomenological method of the Munich circle in some respects. Then, it demonstrates the difference between the ego’s own emotion and the emotional character of objects in their way of givenness. Finally, it addresses the implications of the present investigation for the criticism of the psychologistic theory of empathy, which mistakes the empathic attitude for the only attitude taken toward aesthetic objects.
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  • Virtual Representational Space and Local Representational Space in Sculpture: Explanation by Using the Concepts of Reproductive Phantasy and of Perceptual Phantasy
    Yasushi NAKAMURA
    2021 Volume 72 Issue 1 Pages 13-24
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_13
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    The purpose of this paper is to organize the two types of space in sculptural representation through the discussions about the “image consciousness” and the two types of phantasy in Husserl. Regarding the space of sculptural representation, there is an account that the representational space exists virtually being free from the local reality of sculpture (virtual representational space), and another account that it is located in the real space where the sculpture is placed and spectator is present (local representational space). From the view point of the image consciousness, on the one hand, the virtual representational space is formed in the reproductive phantasy, as a space of “image subject,” which does not share the present bodily space of spectators. On the other hand, the local representational space is formed through the “neutrality modification” of the real space operated in the perceptual phantasy, as a space of “image subject” identified with the “image object” by the aesthetic attitude, which shares the present bodily space of spectators and which can reflect their concrete movements.
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  • The Artistic Value of “Community-Engaged Art Project”: From the Perspective of Environmental Aesthetics
    Mami AOTA
    2021 Volume 72 Issue 1 Pages 25-36
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_25
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    This paper discusses the artistic value of “community-engaged art project” from the perspective of environmental aesthetics. Community-engaged art project refers to art projects that take place in a specific region for revitalization and other similar purposes. I evaluate the artistic value of it in terms of creating a chain of discovery of the aesthetic value of a place by various subjects. Section 1 examines Vid Simoniti’s “pragmatic view” of the artistic value of socially engaged art (SEA). Section 2 points out two problems that arise when applying the practical view of local art. The first is the ambiguity of community revitalization as a social purpose, and the second is that the view overlooks that art is an act of making something. Section 3 interprets previous research on creative placemaking and site-specificity from the perspective of environmental aesthetics and argues that local art creates a chain of discovery of the aesthetic value of a place at the initial stage of revitalization. Section 4 explains what exactly a chain of discovery of the aesthetic value of a place means, referring to the case of the Oku-noto triennale.
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  • The Relationship Between Beauty and Mysticism in the Theory of YANAGI Muneyoshi : Focusing on the Notion of One in the Mingei Theory and the Buddhist Aesthetics
    Eriko ADACHI
    2021 Volume 72 Issue 1 Pages 37-48
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_37
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    This paper aims to clarify the relationship between beauty and Mysticism in the thought of YANAGI Muneyoshi (1889-1961) from the notion of “one” which originates from Plotinus’ “One” (to hen). Before starting the Mingei movement, Yanagi studied the philosophy of religion, especially Mysticism. It was whilst studying the work of William Blake (1757-1827) that his interest in Mysticism was first aroused, and he noted the importance of Plotinus as an originator of Mysticism and the concept of ‘one’. These ideas affected Yanagi profoundly and contributed to his formulation of Buddhist aesthetics later in life. Previous studies tend to hold that Yanagi’s research into Mysticism has no evident connection to his Mingei movement and its aesthetics. However, Yanagi emphasized that all his practical activities connected with beauty were consistently part of his study of the philosophy of religion and, thus, far from irrelevant. Indeed, from his early essays all the way through to his later philosophy, Yanagi sought to display and describe the mutual connection between beauty and the ideas of Mysticism; his Mingei theory is no exception in that regard. Using the concepts of “seeing”, “making” and “one”, he constructed his aesthetics in which beauty and Mysticism were merged.
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  • Religiousness in William Morris’s Craft Theory: Focusing on the Influence of John Ruskin
    Satoru SHIMANUKI
    2021 Volume 72 Issue 1 Pages 49-60
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_49
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    Bunsho¯ Jugaku (1900-1992), who compared William Morris (1834-1896) and So¯ etsu Yanagi (1889-1961)’s craft theory in 1934, came to the conclusion that while Yanagi’s craft theory has religious depth, Morris’s craft theory has no religious basis. However, the validity of this claim has not yet been fully verified. At first, this paper confirms that the central proposition of Morris’s theory of crafts, “ART IS MAN’S EXPRESSION OF HIS JOY IN LABOUR” is based on John Ruskin (1819-1900)’s religious claims. On that basis, this paper points out that the theory of crafts and religious thought are closely linked in Ruskin’s “The Nature of Gothic” (1853), which had a great influence on Morris’s theory of crafts. In particular, regarding the characteristics of Gothic art that Ruskin pointed out, this paper focuses on the concepts of “Savageness” and “Naturalism”. Furthermore, this paper shows that Morris’s design theory embraces the affirmation of “Savageness” and “Naturalism” associated with Ruskin’s unique understanding of Christianity. From the above consideration, it is clarified that Morris’s theory of crafts has an implicit religious depth, and Jugaku’s understanding of the difference between the thoughts of Morris and Yanagi can be contested.
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  • Critique de Dubos par Cahusac : Querelle des Anciens et des Modernes sur la danse
    Keiko KAWANO
    2021 Volume 72 Issue 1 Pages 61-72
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_61
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    Au XVIII e siècle en France, la technique de la danse est entrée dans une période de développement considérable. En démontrant que la danse ancienne n’était qu’un geste, contrairement à la danse moderne virtuose, Dubos attribue une fonction linguistique seulement à la première et souligne la rupture entre les deux. D’un autre côté, Cahusac critique la théorie de Dubos. Selon Cahusac, les origines de la nature linguistique des danses se trouvent dans l’imitation de la nature. La nature est prolifique et donne naissance à une multitude d’éléments variés. Plus la danse qui l’imite est diversifiée, plus elle peut vraiment imiter la nature multiple, et ainsi acquérir un certain caractère linguistique. Par conséquent, la danse moderne peut aussi être une langue, et de fait, elle est la continuité de la danse ancienne. Jusqu’à présent, la tendance de l’art corporel dans le drame français du XVIII e siècle représenté par le « ballet d’action » s’est focalisée sur la verbalisation du corps, mais le conflit ci-dessus montre que la transformation de la technique de la danse a été réalisée sur les deux plans : vers les arts libéraux et vers les beaux-arts.
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  • Women Playing the Vielle in 18th-Century France: Perspectives on Instrument Improvements and Fingering Method
    Haruka KIMURA
    2021 Volume 72 Issue 1 Pages 73-83
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_73
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    The vielle à roue, a stringed instrument tended to be played by women in 18th-century France, had been played by people of various classes across Europe since the Middle Ages, but in the 17th century it was popularly viewed as an instrument played by peasants, beggars, and other socially vulnerable groups. In this paper, we explore how the vielle, an instrument long played in the countryside, came to be played by upper class women, focusing on two points: improvements of the instrument and the establishment of the fingering method. First, we explore the actual improvements of the musical instrument in the 18th century. In particular, the expansion of the range of the instrument led to a significant change in the arrangement of the keyboard, leading in turn to the establishment of the fingering method. The fingering method of the vielle is then discussed on the basis of published methods and shown to approximate the fingering methods of the clavecin, which was popular among the upper class at that time. In summary, we suggest that the improvement of these instruments and the establishment of the fingering method might have been related to women’s performance.
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  • What Max Neuhaus Called “Music”
    Michiru KODERA
    2021 Volume 72 Issue 1 Pages 84-95
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_84
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    Max Neuhaus (1939-2009) is generally regarded as a pioneer of sound installation and a first-generation sound artist. By reexamining his writings and the title of his works, this article describes the chronological trajectory of what he called “music” and how he differentiated his works from “music.” The trajectory is outlined in four points: (1) the title of his early sound installation, Drive-In Music (1967), includes the word “music,” (2) in a booklet, Program Notes (1974), he called his works “music,” (3) the title of his well-known installation, Times Square (1977-1992, 2002-present), was renamed from “Underground Music,” and (4) in the early 1980s, he provided a more in-depth explanation for his works’ spatial features to differentiate them from “music” and declared that his installation works were foreign to “music.” These four points suggest that the logic he used to show the differentiation had developed gradually, alongside the vocabulary he used to describe his works, as an afterthought following his sound works. In other words, this article offers a significant case study about the formation of the art discipline with sound, today called sound art.
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  • [title in Japanese]
    Yukiko KATO
    2021 Volume 72 Issue 1 Pages 96-101
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_96
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages 102-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_102
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  • [title in Japanese]
    Nobumitsu JINCHI
    2021 Volume 72 Issue 1 Pages 103-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_103
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  • [title in Japanese]
    Misato SHIMAZU
    2021 Volume 72 Issue 1 Pages 104-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_104
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  • [title in Japanese]
    Mugen INOMATA
    2021 Volume 72 Issue 1 Pages 105-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_105
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  • Nozomu NINOMIYA
    2021 Volume 72 Issue 1 Pages 106-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_106
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  • [title in Japanese]
    Hideki MOCHIJI
    2021 Volume 72 Issue 1 Pages 107-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_107
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  • [title in Japanese]
    Nobuyuki KOBAYASHI
    2021 Volume 72 Issue 1 Pages 108-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_108
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  • [title in Japanese]
    Shunichiro OKA
    2021 Volume 72 Issue 1 Pages 109-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_109
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  • [title in Japanese]
    Haruhi BANDOU
    2021 Volume 72 Issue 1 Pages 110-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_110
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  • [title in Japanese]
    Rie KODERA
    2021 Volume 72 Issue 1 Pages 111-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_111
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages 112-113
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_112
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages 114-116
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_114
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages 117-120
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_117
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages cover3-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_cover3
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  • [title in Japanese]
    2021 Volume 72 Issue 1 Pages cover4-
    Published: 2021
    Released on J-STAGE: March 20, 2023
    DOIhttps://doi.org/10.20631/bigaku.72.1_cover4
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