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2022 Volume 73 Issue 2 Pages
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Published: 2022
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2022 Volume 73 Issue 2 Pages
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Yoshiko ADACHI
2022 Volume 73 Issue 2 Pages
1-12
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It is well known that Hans-Georg Gadamer (1900-2002) placed the concept of “play
(Spiel)” at the center of his art theory. The main concept in his art theory, however,
has changed from “play” to “execution (Vollzug)” since the 1990s. This paper examined
this change as a shift and clarified its significance by comparing “Truth and Method”
(1960) and “Word and Image: as True as Being” (1992). In “Truth and Method”, concepts
of art such as structure (Gebilde), simultaneity, and mimesis are all developed on the
basis of “play”. In “Word and Image,” on the other hand, structure and simultaneity
are reconsidered on the basis of execution derived from energeia. The simultaneity is
redefined as a way of dialogically “tarrying (Verweilen),” and the structure is subsumed
into the concept of execution as a self-formation of meaning. It means that in the
experience of art execution is an interpretation that proceeds together in an agreed
upon dialogic event between artwork and spectator called tarrying. The change in the
main concept from “play” to “execution” is not based on a shift in the basic idea, but
is the result of the reorganization of “play” into the more comprehensive concept of
“execution”.
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Shinnosuke OKADA
2022 Volume 73 Issue 2 Pages
13-24
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In this paper, I try to explain what stories in a narrative and their identities are. I argue
that stories are a form of narrative content relative to the interest. In section 1, I discuss
the story–discourse relationship in the tradition of narrative theory, pointing out that
it has been an indispensable premise of those theories, however it is argued that there
is some fundamental ambiguity about these concepts. Next, Section 2 examines the
literature about the topic of story in the modern aesthetic inquiry. I critically consider
the “identity theory” and “type theory” (A. Smuts), “event theory” (A. Takada), and “idea
theory” (W. D. Cray) and examine their problems. In section 3, in order to address those
issues, I propose the interest-relative theory, which identifies stories as interest-relative
narrative content by drawing on the theory of interest relativity of narrative content by
P. Lamarque.
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Maya ISHIKAWA
2022 Volume 73 Issue 2 Pages
25-36
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This paper discusses how feminists tackled gender bias rooted in the traditional
concept of disinterestedness, with an aim to reveal the importance of considering
the positive directions of feminist aesthetics today. Unveiling the gendered aspects
of philosophical concepts and theory is nothing new, as this was one of the main
works of feminist aesthetics back in the 1990s. However, I would like to repropose
these arguments as necessary factors to show how feminist aesthetics continue
to play an impactful role in modern discussions, especially when focusing on the
positive side of their contributions. First, I begin by outlining briefly Kant’s account
of disinterestedness, followed by Korsmeyer’s criticism on the relationships between
disinterestedness and universality, as well as how it could rise the problem of the male
gaze. Then, I nudge the discussion to the assessment of perspectivism by introducing
the objections made by Eaton. Finally, I conclude how the attempts of feminist
aesthetics can be thought not simply as a complete denial of traditional concepts
(including disinterestedness), but rather as a proposal of different aspects, allowing us
to expand our discussion to wider aesthetic topics.
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Nozomi YAMADA
2022 Volume 73 Issue 2 Pages
37-48
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Torre de la Palada, a hunting tower outside Madrid, was composed of 170 paintings
by Rubens, Velázquez and others. Although this architecture has been treated as
a villa, it differs from traditional villas in two distinctive ways: first, its structure
has characteristics unique to a tower, second, its interior has distinctive pictorial
decorations without any garden common with villas.
This article focuses on the fact that this hunting tower was also called “watchtower
(Atalaya)” at the time. We would like to highlight that the watchtower is associated with
sight, the most important of the five senses, and considered to be a symbol of “vigilance”
in several emblematic books for the education of monarchs.
Furthermore, the watchtower had symbolic meaning in the 16th and 17th centuries as
a place to find the truth. Popular literary works of the time depicted the act of ascending
to a watchtower or a high mountain to look down on Earth and learn the truth.
Notably, the fact that the hunting tower was decorated with the portrait “Menippos”
by Velázquez is an interesting coincidence. This ancient Greek philosopher was famous
for the episode in which he acquires knowledge by looking down from the sky.
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Sayaka WAKANA
2022 Volume 73 Issue 2 Pages
49-60
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John William Waterhouse exhibited Apollo and Daphne in 1908, thereafter he
retouched Apollo’s right hand and moved it away from Daphne’s body. However, before
the modification, Apollo’s right hand was touching her shoulder. This paper shows that
the modified representation of the hand and constructure of two figures crossing their
gaze at each other emphasise tension beneath the moment of metamorphosis into a
tree, pointing out some new image sources of this painting in contemporary works by
Arthur Hacker, Henrietta Rae, and Edward Burne-Jones. Furthermore, this painting,
which shows a body metamorphosing into a tree, resonates with ‘primal sympathies
with nature’ advocated by John Addington Symonds in the late 19th century Britain.
Symonds argued that humans have an instinct like satyr proximity to nature, even in a
highly educated and civilised society. This satyric instinct connected to madness can
make the boundary between humans and nature ambiguous, and can include risks that
threaten British dominance over the colonies, so it evokes tension. Waterhouse’s Apollo
and Daphne can be interpreted as a work painted in such a cultural context.
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Yuko TAKEUCHI
2022 Volume 73 Issue 2 Pages
61-72
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The Victorian architect, Owen Jones (1809-1874) authored The Grammar of
Ornament in 1856, which included one hundred chromolithograph plates of ornamental
patterns. The book comprised design theories and historical descriptions of ornaments,
differentiated geographically and chronologically. Moreover, he devoted the last chapter
to botanical motifs to create a new ornamental style.
Studies of The Grammar of Ornament have arrived at the following assessments:
First, previous studies have focused on Jones’s interest in Islamic art from the
perspective of Orientalism. Second, several studies have stressed his ‘37 Propositions’
in association with Formalism and Modernism. Third, some studies have pointed out the
impact of The Grammar of Ornament on Alois Riegl’s Stilfragen of 1893.
However, Jones placed importance on colour rather than form in his propositions.
None of the studies have investigated why he allocated 21 propositions to colour, or its
significance in his writings. This paper aims to show how he constructed a belief system
of polychromy and presented the colour principles in The Grammar of Ornament
by examining his travels, design practices and treatises. I have re-examined his
propositions to establish the unification of colour and form.
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Yoko IINUMA
2022 Volume 73 Issue 2 Pages
73-84
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À l’occasion de la rétrospective au musée d’art moderne de New York en 2014,
l’artiste brésilienne Lygia Clark (1920-1988) a connu un regain de popularité sur la
scène artistique internationale. Entre des années 1950 et 1980, étant active dans son
Brésil natal et en France, elle était un porte-drapeau du mouvement artistique brésilien
Néo-concrétisme, qui dématérialise les œuvres d’art et est considérée comme l’une des
pionnières de l’art participatif. Bien que ses œuvres soient souvent décrites du point de
vue phénoménologique ou psychanalytique, puisqu’elles fusionnent sujet et objet lors de
leur participation, elles ne sont pas suffisamment discutées selon la notion brésilienne
de « vivência » de l’expérience vécue. Par le biais de cette notion de « vivências », cet
article interroge ce que signifie l’expérience artistique que les gens s’acquirent durant
leurs participations aux œuvres de Lygia Clark, et met parallèlement en lumière non
seulement la relation binaire de sujet-objet, mais aussi la vie quotidienne qui est un
élément indispensable pour la réalisation de « vivências ».
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You-Kyung CHO
2022 Volume 73 Issue 2 Pages
85-96
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This paper reconsiders the first postwar generation Bernd Alois Zimmermann’s notion
of time from the perspective of the intersection of philosophical, literary, and musical
spectrum to reveal the composer’s latent aesthetics. Zimmermann studies in the 80s
defined his philosophy of time as encapsulated by Kugelgestalt der Zeit that can make
past, present, and future interchangeable and simultaneously disposed. This concept
is incorporated in his late works in the form of collage, pluralistic compositional
technique. Previous studies mainly focus on its structural analysis, but calling such
methodology into question, this paper scrutinizes its semantic value by disclosing his
philosophy of time theorizes criticism of society and human existence.
The first section examines his absorption of phenomenological time with a focus on
eine ständige Gegenwart. The task here is to clarify that his philosophy of time entails
an element of ontology. Then referring to Zimmermann’s writings on Die Soldaten, the
second section points out the influence of J. M. R. Lenz’s “open form” of drama. This
verifies his philosophy of time has something to do with encouraging the listener to
think critically against social absurdities. Based on the composer’s historical awareness,
the last section argues pluralism in Zimmermann’s aesthetics represents historical
pluralism.
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2022 Volume 73 Issue 2 Pages
97-101
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Eriko ADACHI
2022 Volume 73 Issue 2 Pages
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Tatsuhiko IWASAWA
2022 Volume 73 Issue 2 Pages
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Shinnosuke OKADA
2022 Volume 73 Issue 2 Pages
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Hiroshi OKANO
2022 Volume 73 Issue 2 Pages
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Keiko KAWANO
2022 Volume 73 Issue 2 Pages
106-
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Haruka KIMURA
2022 Volume 73 Issue 2 Pages
107-
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Shota KOZUKI
2022 Volume 73 Issue 2 Pages
108-
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Takahiro SAKAI
2022 Volume 73 Issue 2 Pages
109-
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Yukitada SHIMAMURA
2022 Volume 73 Issue 2 Pages
110-
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Bunmei SHIRABE
2022 Volume 73 Issue 2 Pages
111-
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Wataru SUZUKI
2022 Volume 73 Issue 2 Pages
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Xin-Hui CHANG
2022 Volume 73 Issue 2 Pages
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Hiroko NISHIDA
2022 Volume 73 Issue 2 Pages
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Jooun HAR
2022 Volume 73 Issue 2 Pages
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Toki HARADA
2022 Volume 73 Issue 2 Pages
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Rieux FUNAKI
2022 Volume 73 Issue 2 Pages
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Jean LIN
2022 Volume 73 Issue 2 Pages
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Hiroko NISHIDA
2022 Volume 73 Issue 2 Pages
119-124
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Tomoko KAKUYAMA
2022 Volume 73 Issue 2 Pages
125-129
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2022 Volume 73 Issue 2 Pages
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Yūsuke KAMEYAMA
2022 Volume 73 Issue 2 Pages
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Chiaki YAMANE
2022 Volume 73 Issue 2 Pages
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Hiroaki FURUKAWA
2022 Volume 73 Issue 2 Pages
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Daisuke SHIMOYAMA
2022 Volume 73 Issue 2 Pages
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Kentaro OGURA
2022 Volume 73 Issue 2 Pages
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Akiko TAKIZAWA
2022 Volume 73 Issue 2 Pages
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Yoko IWASAKI
2022 Volume 73 Issue 2 Pages
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Shunsuke KUWABARA
2022 Volume 73 Issue 2 Pages
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Shobu NAKAMURA
2022 Volume 73 Issue 2 Pages
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Hiromi MATSUMOTO
2022 Volume 73 Issue 2 Pages
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2022 Volume 73 Issue 2 Pages
141-144
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2022 Volume 73 Issue 2 Pages
145-146
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2022 Volume 73 Issue 2 Pages
147-150
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2022 Volume 73 Issue 2 Pages
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2022 Volume 73 Issue 2 Pages
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