14 found

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  1. About Two Types of Similes: By Applying the Linguistic Theories of Saussure and Jacobson.Fumiyo Hakotani - 2009 - Bigaku 60 (1):30-43.
    In this paper I inquire into the problems of similes. Since the age of Aristotle similes have been considered inferior to metaphors as a rhetorical skill. Nevertheless, it is apparent that artistic possibilities immanent in similes deserve to be reevaluated. Similes are skills of rhetoric that compare two objects by using words which express explicitly a comparison. Similes are divided into two groups according to whether there is some point of commonality or not between a pair of words laid in (...)
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  2. Pentatonicism and »Mi-Sol-La Figure« in Franz Schubert's Vocal Music From His »Romantic Period«: Toward the Meanings of its Salient Appearances.Tomohei Hori - 2009 - Bigaku 60 (1):154-167.
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  3. Lucrezia Romana Violata da Tarquino: Titian's Tarquin and Lucretia As a Diplomatic Means.Kiyo Hosono - 2009 - Bigaku 60 (1):112-125.
    Titian completed the Tarquin and Lucretia for Philip II of Spain in 1571. The painter called the masterpiece "Lucrezia Romana violata da Tarquino" in his letter to Philip II on 1st August 1571. This paper examines the reason why Titian called the painting in this way and the period of its execution. This picture has been considered to be erotic. However, one should pay attention to the fact that the painting was carried from Venice to Madrid in 1571 by a (...)
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  4. 'Le Travail Est Un Merveilleux Réulateur De Santé Morale Et Physique': The Science of Work and Rhythm of Body in the Late Nineteenth-Century Arts.Haruhiro Ishitani - 2009 - Bigaku 60 (1):58-71.
    The two major artists, Camille Pissarro and Henry Van de Velde, participated in and discussed the Arts Nouveau exhibition held in 1895. Afterward Pissarro said, 'Le travail est un merveilleux réulateur de santé morale et physique', and Van der Velde praised the new style of arts of the engineers in view of 'l'ornamentation linéaire et dynamographique'. This paper examines the aesthetic of the arts and crafts through their expressions and the discourses of the sciences of work in the late nineteenth (...)
     
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  5. Critica d'arte come forma di negoziato diplomatico: attraverso le raccolte delle lettere di Pietro Aretino.Shiori Kato - 2009 - Bigaku 60 (1):98-111.
    Pietro Aretino non si limitò a svolgere un ruolo di importanza nella letteratura e nella politica del Rinascimento, ma fu anche un fine intenditore dell'arte a lui contemporanea. A tale riguardo, essendosi trasferito a Venezia, è noto il suo sodalizio con Tiziano. Questo autore eclettico, attraverso la propria corrispondenza, presentò Tiziano a principi e re, cosa che fece non solo con l'illustre pittore veneziano, mettendo in contatto vari artisti con diverse corti. Simili transazioni commerciali erano effettuate tramite la corrispondenza di (...)
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  6. Edward Bullough's Concept of 'Psychical Distance'.Naoko Korita - 2009 - Bigaku 60 (1):85-97.
    '"Psychical Distance" as a Factor in Art and an Aesthetic Principle' is a thesis on the subject of aesthetics and art written by Edward Bullough . Using the term 'Psychical Distance', he showed that the states of aesthetic appreciation and artistic production stood outside the context of our personal needs and ends. According to Bullough, this distance lies between the self and affections or objects as the sources of those affections.This paper will attempt to make his concept of 'Psychical Distance' (...)
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  7. Vom Verhältnis zwischen dem Schematismus und der Dualität der Sprache bei Schleiermacher: Im Vergleich mit dem Schematismus Kants und Schellings.Shunsuke Kuwahara - 2009 - Bigaku 60 (1):44-57.
    M. Frank bezeichnet die Sprache bei Schleiermacher als "das individuelle Allgemeine". In diesem Aufsatz wird gesucht, den dieser Dualität der Sprache, insbesondere der des Wortes zugrunde liegenden Schematismus im Vergleich zum Schematismus Kants und Schellings zu charakterisieren.Für Kant ist das Schema die allgemeine "Regel der Synthesis der Einbildungskraft"; Schelling verknüpft diesen Schematismus von neuem mit der Sprache, denn Schelling zufolge "ist selbst die Sprache nichts anders als ein fortgesetztes Schematisieren". Wärend beide die Allgemeinheit des Schemas voraussetzen, betrachtet Schleiermacher dies als (...)
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  8. The Arrival of the Western Paintings. [REVIEW]Takanori Nagai - 2009 - Bigaku 60 (1):168.
     
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  9. The Memory of Place and Ruins.Kiyokazu Nishimura - 2009 - Bigaku 60 (1):2-15.
    Ruins are places in which memories have been accumulated. For understanding the aesthetic phenomenon of ruins, we must make it clear what places really are.M. de Certeau considers a place as a configuration of the elements distributed within the relations of coexistence and a space as a crossing of historical subjects and 'a practiced place'. This conception of place is close to Gibson's 'ground theory' of space perception. The environment we perceive is, first of all, not an empty space but (...)
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  10. Paul Klees Schriftbild «Emilie» von 1917: Der Text und das Bild.Yubii Noba - 2009 - Bigaku 60 (1):126-139.
    Klee schuf 1917 sein Schriftbild «Emilie». Der Verbleib des Werkes ist unbekannt. Mittels eines Farbfotos im Zentrum Paul Klee werden die Form und der Inhalt des Gedichtes im Bild und die Zusammensetzung des Werkes analysiert, auf die die Forschung bislang nicht ausreichend eingegangen ist. Wortspiel und eine skeptische Einstellung wie in den Gedichten Morgensterns oder der Dadaisten sind in «Emilie» zu erkennen. Das Bild der Figur, die sich aus dieser Welt des Kriegszustandes entfernt und die in eine den Orient als (...)
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  11. The Genesis of the Symbol [Sinn-Bild] as in the Art Experience.Masashi Oishi - 2009 - Bigaku 60 (1):16-29.
    My paper is divided into three parts. The first is entitled 'Theories of the image', where I argue about the intermediate position of image between intuition and conception, representation and meaning, imagination and feeling, and demonstrate that the image is not a real object, but it has peculiar reality on the basis of the given meaning through apperception and the affective conviction of its existence.In the second part, 'The formation of signifying image', I introduce Ingarde's theory of a purely intentional (...)
     
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  12. Les aspects de la tragédie lyrique à la fin de l'Ancien Régime-étude de Thésée de F.-J. Gossec.Yoshie Sakate - 2009 - Bigaku 60 (1):140-153.
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  13. Der Raum der Stadt: Raumtheorien Zwischen Architektur, Soziologie, Kunst Und Philosophie in Japan Und Im Westen. [REVIEW]Hitoshi Tanaka - 2009 - Bigaku 60 (1):171.
     
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  14. Durée de l'univers et logique du corps: le bergsonisme comme «esthéique de la sympathie».Tomoki Yamauchi - 2009 - Bigaku 60 (1):72-84.
    Jusqu'à aujourd'hui, très peu d'études se sont penchées sur le concept de la «sympathie» chez Henri Bergson en tant que concept esthétique. Pourtant, l'expérience de l'art dans la pensée bergsonienne est inséparable de ce concept de la sympathie. La sympathie, de part sa définition et son sens étymologique, signifie posséder le pathos en communauté. La nature de l'art étant de saisir le réel, la particularité de la sympathie ne peut pas être réduite à une simple communauté psychologique. Dans Leçons d'esthétique, (...)
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