Aesthetics

[title in Japanese]

2022 Volume 73 Issue 1 Pages cover1-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_cover1

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[title in Japanese]

2022 Volume 73 Issue 1 Pages cover2-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_cover2

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Intersection of Canguilhem’s Philosophy of Medicine and Alain’s Theory of Artistic Activity: Starting from an Examination of Their Evaluation of Technique

Hiroki UTO

2022 Volume 73 Issue 1 Pages 1-12
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_1

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This study aims to elucidate Alain’s and Georges Canguilhem’s common orientation in their examination of two philosophical problems. First, we focus on Canguilhem’s gesture of defining technique as a nonintellectual activity as an extension of Alain’s theory of artistic activity despite not appearing as such at first glance. Subsequently, we notice that Canguilhem developed this theory of technique in his medical thesis (1943) and point out their same attitudes which concern the relation between nature and techne¯. That is, fine arts involve the transformation and perfection of forms of nature (Alain), whereas medicine is the extension and perfection of the formative action of life (vis medicatrix naturae) (Canguilhem). Therefore, both scholars share a fundamental approach to solving philosophical problems: (1) the transformation of hylomorphism into morphe¯morphism and (2) the attempt to avoid the dichotomy between nature and artifice by defining fine arts and medicine as the perfection of nature.

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Le développement de la pensée sur ποίησις ποίησις chez Bergson: du poète au philosophe et au mystique

Hideki MOCHIJI

2022 Volume 73 Issue 1 Pages 13-24
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_13

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L’artiste (surtout le poète), le philosophe et le mystique constituent trois types d’individus pour lesquels Bergson reconnaît le rôle de l’intuition dans leurs travaux : l’inspiration poétique, l’intuition philosophique et l’émotion créatrice. Mais, leurs actes créateurs, la ποίησις, laquelle part de cette intuition, la θεωρία, diffèrent légèrement. Au troisième chapitre de l’Evolution créatrice (1907) Bergson analyse intérieurement le travail du poète: il résulterait d’une simple distension de l’esprit. Cette vision de la poésie inclus la notion de λόγος plotinienne, où l’expression de la pensée en mots distincts n’est qu’un affaiblissement de l’être. Dans l’Intuition philosophique (1911) Bergson aborde le travail du philosophe, autre art d’écrire. Là, l’intuition ne peut s’éparpiller en mots car cette nouveauté est intraduisible par des éléments tout faits. Face à cette incommensurabilité, le travail du philosophe consiste donc à diriger les mots préexistants vers une vie nouvelle en les entraînant dans le tourbillon de son esprit. Ainsi, chez le philosophe, tel travail de ποίησις touche de près au travail de πρᾶξις chez le mystique. C’est ce développement de la pensée sur ποίησις que nous constatons entre l’Évolution créatrice et Les deux sources de la morale et de la religion (1932).

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The Anti-theatrical Tradition and the Tableau: Michael Fried’s Historical View of Painting

Kota ORII

2022 Volume 73 Issue 1 Pages 25-36
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_25

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Michael Fried has engaged with the historical study of the French painting and criticism of the eighteenth and nineteenth century, since he left behind modernist art criticism in the late 1960s. In this paper, I shall clarify how his historical conception of pre-modernist art and theory is motivated by his modernist view of painting formulated through his early art criticism. First, I examine what Fried calls the “anti-theatrical tradition,” which is the development of pictorial art from mid-eighteenth century French paintings to contemporary art photography, in terms of the fiction of the beholder’s absence and the persuasive representation of absorption. According to him, the overcoming of theatricality, which he found in the evolution of French paintings, had reached a limit with the paintings of Manet in the 1860s. Second, by focusing on Fried’s reading of Diderot’s texts in Absorption and Theatricality (1980), I argue that Fried’s basic idea of overcoming of theatricality resides in his interpretation of Diderot’s concept of the “tableau.” Finally, I conclude that Fried’s understanding of the concept of the tableau is based on his projection of a modernist idea, the negation of the beholder, into pre- modernist art and theory.

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A Consideration of the Process of Yasuda Yojuro’s Growing Interest in Japanese Literature: Focusing on Classical Japanese Visual Artworks and Munakata Shiko

Taro ENDO

2022 Volume 73 Issue 1 Pages 37-47
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_37

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Yasuda Yojuro was a Japanese thinker of the Showa period. As earlier studies have demonstrated, early in his career, Yasuda was greatly affected by Marxism, the German Romantics, and Kinsei-kokugaku. However, these studies have not shown the process behind Yasuda’s growing interest in classical Japanese literature. This article aims to fill this gap by examining his early works, which were focused on this genre. First, it is important to note that Yasuda referred not to Japanese classical literature, but to classical Japanese visual artworks when he wrote about premodern Japan in his early works. Further, he associated classical Japanese visual artworks with his hometown, Nara. His major work about classical Japanese literature, Taikanshijinnogoichininsya was influenced by Munakata Shiko’s woodblock print, Yamatoshiuruwashi. This leads to the conclusion that Yasuda’s interest in classical Japanese literature was greatly affected by visual art.

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On Dark Star Park by Nancy Holt: Earthworks as Public Art

Risa MATSUMOTO

2022 Volume 73 Issue 1 Pages 48-58
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_48

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This paper analyzes Dark Star Park (1979-1984) by Nancy Holt in terms of the social and cultural context of the community and the visual experience and solar cycle time that characterize her earthworks. First, this essay demonstrates that the work in question was a part of an urban development project in Rosslyn. Holt realized that no park would be created within it and felt that it was forgetting people. Therefore, she built the park so that people could walk through and have myriad visual experiences. Furthermore, Dark Star Park also serves as a historical representation. The shadows cast by the poles and spheres that comprise this work align with the shadow pattern of the asphalt on the ground at approximately 9:32 a.m. on August 1 each year. This is the day that William Henry Ross acquired the property in 1860 and it became known as Rosslyn. However, when one focuses on the actual experience of August 1, the work abandons the clocklike equality of time and allows the viewer to experience being caught up in the time of the sun. Thus, Dark Star Park is characterized by community engagement and earthwork.

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Theology in the “Edited” Credo: The Gnosis and Schubert

Tomohei HORI

2022 Volume 73 Issue 1 Pages 59-70
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_59

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Engagement of Franz Schubert (1797-1828) in sacred music was quite liberal. Although such a tendency could be partly explained as pantheism, which was widely accepted in eighteenth-century German culture via Spinozism, this only applies in the case of Schubert’s oeuvre to a limited period. His creation can be more comprehensively explained by another archaic idea: the Gnosis. Its narrative—a godlike man falls to the earth, endures its nihility, and aspires to return to the heavens—is dominant in the Corpus Hermeticum, one of the most important Gnostic documents, which was translated into German in 1781 and appropriated by the poet Johann Meyrhofer, one of Schubert’s best friends. This Gnostic intention is traced in Schubert’s “editing” of Credo-text in his six Latin masses. Researchers have shown that this editing was gradually refined by the composer himself, but its theological motivation remains unstudied. When considering the archaic origins of Credo, the six passages Schubert excised are all crucial in that the Roman Catholic tried to distinguish himself from the then-rampant Gnosis. In this regard, reverse of the authority inherent in the original text—a “deconstruction” that was observed in Schubert’s German-lieder and characterized as “interpretive dramaturgy”—is thus clearly also recognized in his Latin masses.

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The Life of the Ikebana Flower: Realizing Itself in Cooperation with the Arranger

Taiki YANAGAWA

2022 Volume 73 Issue 1 Pages 71-82
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_71

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Florence Burgat [2020] made a distinction between the life of plants and that of animals. The former is characterized by its (A) fixation in the earth, (B) capability of reacting to stimuli, (C) potential immortality, and (D) existence in a network (non- individuality); whereas the latter is by its (A) mobility, (B) capability of responding to stimuli, (C) mortality, and (D) existence as an individual being. The ikebana flower which is cut off the earth is characterized, in my view, by its (A) mobility caused by the arranger, (B) capability of reacting to stimuli as far as it lasts, (C) mortality caused by being cut off, and (D) acquisition of an individual character by the hand of the arranger. The arranger may arrange the cut flower by tearing off unnecessary leaves, trimming stems appropriately, and placing it in a suitable space. The flower becomes an individual being through such arrangements, because it has already gained independence when it was cut, and it can bring its potential nature to its full development. In conclusion, the ikebana flower realizes itself through the hand of the arranger in a manner different from and more natural than it was in the wild.

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[title in Japanese]

Takanori ABE

2022 Volume 73 Issue 1 Pages 83-87
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_83

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[title in Japanese]

Shunsuke KUWABARA

2022 Volume 73 Issue 1 Pages 88-93
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_88

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[title in Japanese]

2022 Volume 73 Issue 1 Pages 94-97
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_94

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[title in Japanese]

2022 Volume 73 Issue 1 Pages 98-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_98

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[title in Japanese]

Soonhong PARK

2022 Volume 73 Issue 1 Pages 99-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_99

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[title in Japanese]

Chihoko ANDO

2022 Volume 73 Issue 1 Pages 100-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_100

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[title in Japanese]

Yoko INUMA

2022 Volume 73 Issue 1 Pages 101-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_101

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[title in Japanese]

Chihiro OSUGI

2022 Volume 73 Issue 1 Pages 102-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_102

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[title in Japanese]

Yukiko KAJINISHI

2022 Volume 73 Issue 1 Pages 103-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_103

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[title in Japanese]

Futa SASA

2022 Volume 73 Issue 1 Pages 104-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_104

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[title in Japanese]

Yoshiko ADACHI

2022 Volume 73 Issue 1 Pages 105-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_105

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[title in Japanese]

Ryo YOSHIKAWA

2022 Volume 73 Issue 1 Pages 106-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_106

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[title in Japanese]

2022 Volume 73 Issue 1 Pages 107-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_107

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[title in Japanese]

2022 Volume 73 Issue 1 Pages 108-110
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_108

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[title in Japanese]

2022 Volume 73 Issue 1 Pages 111-114
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_111

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[title in Japanese]

2022 Volume 73 Issue 1 Pages cover3-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_cover3

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[title in Japanese]

2022 Volume 73 Issue 1 Pages cover4-
Published: 2022
Released on J-STAGE: September 28, 2023

DOIhttps://doi.org/10.20631/bigaku.73.1_cover4

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