立原道造は昭和初期に評価を上昇させていた新古今和歌を学習し、語句が倒置表現によって二箇所に掛かり異質な二者が連結される「主部述部＋副詞句＋主部述部」の構造、及び述部が二つの対象を分かたずに受け異なる二者が繋がれる「主部＋述部＋主部」の構造を取得し自作へと応用した。一方同時期の実作における新古今和歌受容は「幽玄」的雰囲気の醸成を主としており、その統語法を移入した点に立原の独自性を見出すことができる。

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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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Contemporary artist David Hockney's (b. 1937) trips to Japan were connected to the works he created in the 1970s and 1980s. However, prior studies have not analysed these works in detail. This report re-examines Hockney's interest in Japan by collating the Japanese art that he encountered during his travels. Some scholars identify the works that Hockney created after first visiting Japan in 1971 as the impetus for his moving beyond naturalistic composition based on one-point perspective. This report additionally compares his works with Japanese paintings he may have encountered and indicates their similarity in terms of techniques depicting time. In the 1980s, Hockney created collages of photographs, which require time to shift the viewer's gaze across multiple points of focus. He called this visual sense "reverse perspective". Although preceding studies have referenced 'reverse perspective' theory, they have lumped together Chinese and Japanese art. Hockney has stated that his visit to Kyoto's Ryoan-ji Temple inspired his "reverse perspective" theory, the background of which requires further examination. Hockney explained this theory by referring to Chinese scrolls; however, when his works from that period are analysed in detail, they reveal that he might also have gained knowledge from his exposure to Japanese scrolls.

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This paper addresses the concept of the human body, especially the aspect of being wise, which is necessary for considering the ability of the human body from a phenomenological viewpoint. This paper tries to answes the following five questions in order to clarify what Wise Body means. (1)Why does being Wise of Body become a subject matter? (2)What are the characteristics of practice? To solve this question is to stresss the importance of the human body. (3)How can one become wise by practice? (4)What is the new concept of "acticept", on which being Wise of Body is based? (5)How is the human body structuralized as Wise Body? The conclusions of this paper are as follows. Being Wise of Body is the ability to solve problems in practical situations. In other words, it is the ability to do perform appropriately in a given situation and to do what is necessasy for further practice. Anybody has the capacity to make the body wise in practice, but in order to actually become wiser, everybody has to structuralize the human body more effectively for every situation, since the structure of the human body makes concrete judgments possible and furthermore enables accurate correspondence to accompany the judgments. Practical judgments originate from acticepts which are differentiated as perceptual Gestalt. The acticept is a compound word of action, percept and concept. It means an articulated percept which is always accompanied by an action, and it gains a function of concept when it is refined. Therefore many acticepts have to be held in the human body as practical wisdom, and the acticepts have to be articulatd in one's own bodily time-space as a criterion. Depending on the criterion we can relate ourselves to things or other persons, and can gain more effective acticepts for practice. New articulated and identified acticepts influence the structure of the human body. Wise Body is the same concept that allows the human body to hold a more developed structure. We need to possess a Wise Body in order to exert free will and to experience our environment.

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