1. Meanings of “Action” in Jean-Georges Noverre
Jean-Georges Noverre, one of the most prominent figures in Western dance history, is often referred to as a leading exponent of the concept of “ballet d'action”. However, we have first to note that he never employs the expression “ballet d'action” in his work entitled Lettres sur la danse, et sur les ballets.
This fact suggests that the concept of “ballet d'action” is not as fixed nor as self-evident in Noverre as we would think today. By carefully reading his Lettres, we come to realize that Noverre seeks to discuss several issues with the expressions “d'action” or “en action”.
Therefore, to fully understand Noverre's theory developed in his Lettres, we must clarify what Noverre intends to describe by these expressions. To be more precise, what is in question here is the meanings of the polysemous word “action” in Noverre.
2. “Action” as a principle of composition
Today, “ballet d'action” is sometimes translated as “story ballet”. In fact, we can find a more or less corresponding definition of “action” in 18th-century dictionaries, and Noverre himself employs the word “action” with this meaning also. It is especially important to notice that, throughout Lettres, Noverre attaches importance to coherency of “action” by referring to the form “introduction-climax-dénouement”. Here we can observe an echo from his contemporary dramatic theory strongly influenced by the Aristotelian Poetics. Also, we can mention the effect of his rhetoric (use of pictorial metaphor) in his view of “action”.
3. “Action” as a principle of bodily expression
However, we have to emphasize that Noverre's “action” has another dimension. According to Noverre, “action, in relation to dancing is the art of transferring out sentiments and passions to the souls of the spectators by means of the true expression of our movements, gestures and features”. Here Noverre is concerned with the art of bodily expression, still employing the word “action”. Undoubtedly, this “action” is correlative to the trend of the age toward reevaluation of bodily expression.

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La théorie des « simulacres subsistants », dans la représentation des dieux grecs antiques, énoncée au quatrième chapitre des Essais sur la peinture（ 1765）, présente un contraste marqué avec le concept de simulacre élaboré dans le cadre de la théorie du théâtre à la fin des années 1750, pour caractériser le « modèle idéal » que Diderot a placé au coeur de sa pensée artistique. Cette inflexion est soulignée dans un passage qui traite du changement de paradigme de la philosophie moderne. C’est autour du concept de simulacre que se joue, selon Diderot, la Querelle des Anciens et des Modernes au sujet des arts. Le tournant philosophique moderne substitue en effet, aux croyances surnaturelles qui dominaient les représentations anciennes, les lois de la nature. Mais si, aux yeux des Modernes, les « simulacres subsistants » des dieux antiques ont perdu de leur pertinence, il reste encore aux Modernes à construire un « modèle idéal » qui leur soit propre.

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臙脂は，紀元前2世紀に西域より中国にもたらされた赤色の色料である。初期の臙脂は，ベニバナを原料としてつくられた化粧品であった。7世紀頃には，ラック色素を円形の薄い綿に染みこませた綿臙脂がつくられるようになった。綿臙脂は，近代に至るまで，化粧品，医薬品，美術工芸の色料として用いられていた。現代では，綿臙脂の製造が廃れ，製法も不明である。しかし，古典的な美術工芸や文化財の保存修復では，臙脂は重要な材料であり，その再現が強く求められている。筆者らは，文献の研究，実地調査，科学分析と実験によって，綿臙脂の再現を目指している。唐代の医学書の『外台秘要方』には，綿臙脂の詳細な処方が記載されている。その処方に基づき，筆者らは，各材料の同定，分量の解明をすすめ，紫鉱（ラック）と数種の漢方の薬種を用いて，臙脂の試作を行った。本稿では，臙脂の歴史的な変遷を解説し，試作の過程について報告する。

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The purpose of this study was to clarify characteristics obtained through similarities and differences in images of dance works awarded prizes at an international creative dance contest. The problems were solved through analyzing outer images measured by focusing on words relating to dance movements and inner images measured by focusing on adjective words in semantic space statistically. The results were given a supplementary explanation through using outlines of the matters of dance works on the program and the forms of the works on the VTR, which were evoked images.

Four dance works as prizewinners which were adjudicated by 18 judges and were accepted in "The 10th Saitama International Creative Dance Contest '99" at Saitama in Japan, were selected for this study. In order to measure dance images through a semantic differential method and analyze characteristics of the dance works, 31 scales for outer images and 46 scales for inner images were used. Multivariate statistical analysis procedures were applied to raw data gained from the results which 72 students responded to those scales for each of the dance works.

As the results, the following inferences were derived.

1.Similarities in the dance works

It was found that there were similarities in the four dance works, such as weak impressions in "simple step","transferring by a whole body" and "fluidity" as three dimensions out of 12 in outer images measured, strong impressions in "difficulty" as a dimension out of 8 in inner images measured and devices using various sound materials on the VTR. Especially, it was said in inner images that directions of "difficult feeling" and "beautiful feeling" were imaged commonly in high level's dance works. In addition, there were more similarities in two dance works by Japanese choreographers than those by other countries.

Therefore, it was suggested that similarities in the four dance works were found in outer images and inner images.

2 . Differences in the dance works

It was found that there were the most differences in "balance", "contact with floor" and "costume" as three dimensions out of 12 in outer images measured and in "lucidity" and "spatiality" as two dimensions out of 8 in inner images measured. More over, differences were found in the four dance works such as in titles, themes, compositions of sounds and movements, costumes and tools and sets through analyzing the program and the VTR.

Therefore, it was suggested that differences in the dance works were found in outer images and inner images. In addition to, there were more differences than similarities in the four dance works.

Hence, it is inferred that the characteristics of the dance works accepted at "The 10th International Creative Dance Contest '99" are clarified through analyzing outer images and inner images for dance works.

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19世紀のアメリカの風景画に見出される大自然へのまなざしの特質を明らかにし, アメリカの国立公園の成立にもこの同じ大自然へのまなざしが働いていたことを考察するものである。風景画を作品内容, アメリカ美術史, ヨーロッパ風景画との相違, 背後にある思想の観点から分析を行い, 風景画にみられる大自然へのまなざしの特質を壮大なウィルダネスの景観への指向, パノラマの視覚, 崇高と汎神論の思想として明らかにし, 国立公園にも分析を加えて同じ特質が認められることを考察した。19世紀のアメリカにおいて, 大自然へのまなざしとも呼ぶべき大自然を捉えるアメリ力固有の風景観が独特の風景画と国立公園を生みだしていたと指摘できる。

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本研究では，美術教育において広がりを持っている対話型鑑賞ワークショップについて，これを鑑賞者の知識構築の過程として捉え，ナビゲイター（ファシリテーター）による情報提供がどのように知識構築に寄与するのかについて検討した．鑑賞会への参与観察およびファシリテーションを担当した14名の学生ナビゲイターへのインタビューから，鑑賞における情報提供は「考えるための情報」と「確認のための情報」に分類された．プロトコル分析から，「考えるための情報」は，作品の表現内容と組み合わせて知識構築を促すために提供され，「確認のための情報」は議論の押さえとして，それぞれ提供タイミングが図られていることが明らかになった．

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今回のフォーラムの意図は学校美術教育に美術批評を取り入れることで,学習内容を今日的美術状況と結びつけようとするものと言えるだろう。美術作品や美術状況と密着した学習とは,美術を形式や様式として学ぶのではなく,美術作品の価値を学ぶものと言い換えることができる。 明治に始まる図画教育は,今では図画工作,美術と教科名を変えて続いているが,時として,これをひとまとめに美術教育として論ずることが多い。しかし,明治,大正,昭和,そして平成の今日と,行われてきた図画教育は,はたして美術教育と一つに括れるものだろうか。少なくとも美術教育と言うからには美術の理解を通して美術の価値を教え,その上で新な美術を創造する能力を養い育てるものでなくてはならない。しかし通観するに,美術の確かな価値を伝えるという教育はどの時代にも見つからない。子ども等の造形の活動はあるが美術の創造には結び付かず,造形活動そのものの価値が教育の観点から奨励されるにとどまっている。 結局,今日までの小・中学校,図画工作・美術教育は,美術,あるいは美術状況と無縁に行われてきたといえるのではないか。ひたすらに造形活動をくり返すことによって創造力や美的能力が高まるという幻想を捨て,美術理解を基礎にした指導により確かな鑑賞と創造に導く教育の実現を図ろうとするのが今回の提案であると考える。

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Au XVIII^e siecle, le critique ne peut pas negliger les canons de l'Academie royale de peinture et sculpture, surtout la hierarchie des genres : la peinture d'histoire au sommet, suivie des autres genres. Diderot, par contre, est toujours pret a faire l'eloge des <<peintures de genre>>. Sous quels criteres a-t-il apprecie les peintres contemporains ? Nous portons notre attention sur son utilisation du mot <<illusion>>. On peut d'abord considerer ce mot comme signifiant une <<erreur qui semble se jouer de nos sens>>. Roland de La Porte, assez dedaigne par Diderot, nous fournit ce genre d'illusion avec ostentation dans son art du trompe-l'oeil, tandis que Chardin se fait oublier tant ses tableaux ont la force du reel. Enfin, les criteres de Diderot sont toujours bases sur l'esthetique classique.

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The main purpose of this paper is to examine Roger de Piles' Conversations (1677), not only as the consistent theory of paintings, but also as a story, where the characters communicate with each other, looking for some steady grounds for consensus of their tastes. In the first part of Conversations, three characters discuss the proper taste and correct judgement on paintings. Pamphile, the instructor, firstly shows that, in order to obtain sane judgement, it is necessary to argue about various paintings with others, but at the same time not to accept their opinions without the conviction that they are reasonable. However, there is no further explanation of this seemingly important concept, "reasonable" in the whole book. Instead of such detailed explanation, Pamphile affirms that one has to build his taste on the basis of the Antique works' taste which is amended by Nature. Three additional characters in the second part, that is, Caliste, Leonidas, and Philarque respectively can be considered as advocates of the Antique works, Nature, and the Antique works amended by Nature. Here, de Piles do not ask whether each kinds of taste is fundamentally reasonable or not, but depict Caliste as a failure in this honnete conversation.

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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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In 1898, Okakura Kakuzo chose "Expression" as an objective at the first Nippon Bijutsuin Exhibition in Tokyo. After the autumn of 1897, the "Expression" became a terminology to critique exhibitions, but not before spring 1897. What did "Expression" mean? Why did the critics of the time pay attention to it? How did a modern Japanese painting artist, Yokoyama Taikan, apply this concept in his art? Yokoyama Taikan's Listening to the Buddha's Laws was considered as the work that followed the concept of "Expression." Taikan himself revealed that he explored the concept in his work. We understand from his explanation that "expression" for Taikan meant the expressions of people's emotion. My research found the two sources to be the cause of such a new trend: one was Suematsu Kencho's article, "Query on Japanese Painting," published on July 19, 1897 in the Yomiuri Newspaper, and the other was Lafcadio Hearn's "Theory of Japanese Painting," in Taiyo, vol. 3, #5, published on July 20, 1897. These articles caused the debate on "Expression." Taikan tried the technique of chiaroscuro for the first time in Listening to the Buddha's Laws to experiment the concept of "Expression," because the debate was focused on the relationship between the expression and the techniques of chiaroscuro.

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