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 (...) a figurative relation. To paraphrase the similes without commonality by applying the theory of Saussure, these kinds of similes cut out the ossified "langue" afresh. In this process our experiences also can acquire a renewal. On the other hand, in paraphrasing similes with commonality by applying the theory of Jacobson, such similes bring forth an image different to the visual one because of the interaction of the two images, the one perceived and the other selected by the writer. In this way we realize that our experiences consist of language. I verify my opinion by referring to some poetical real works. These examples of the poetical and epistemological functions that similes can perform testify as one of the reasons this kind of rhetoric in poetry exists. (shrink)

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 (...) special envoy, Antonio Tiepolo. His mission was to request Philip II to send reinforcements to rescue the Cyprus, territory of Venice, from the attack of Ottomans. In addition to the facts, the story of Tarquin and Lucretia is about a revenge for the royalty of a different race who raped the wife of an ancient roman nobleman, the overthrow of a tyranny and the liberation of the country. Moreover, the subject of the rape has the meanings of invasion and capture. One could think therefore that the painting represents the Cyprus which was asking for help as it was about to fall and it functioned as a diplomatic means for the achievement of Tiepolo's mission. Considering the above circumstances, it seems that Titian embarked on the picture not in 1568 but in 1570 when the War of Cyprus began. (shrink)

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 (...) century.The science of work in this period consists in the idea of the time; the new experimental instruments examined and visualized the temporality of the effort and the fatigue during the movement of body and the perception. In this discovery of newly embodied time, the sense of the agreeable and the disagreeable replaced in the rhythm of the body and mind, and then the psychologists and aesthetician were concerned in the problem of the neurasthenia and the economy of effort. Also the new practices of artists interweaved with the concepts of this rhythm of body. (shrink)

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 (...) Aretino. Queste lettere vennero riordinate dall'autore stesso per poi essere pubblicate sotto forma di raccolte epistolari. I contenuti di tali lettere però non si limitavano al solo ambito commerciale, in quanto vi si possono trovare elementi di teoria della pittura, di poetica unitamente a ekphrasis e a panegirici. Questo saggio tratta delle strategie diplomatiche di Aretino in questo ambito sulla base degli elementi che emergono dalle raccolte epistolari rimasteci. (shrink)

'"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' (...) clearer. Several studies have been made on the definition and validity of 'Psychical Distance'. Those studies assert that it's a psychical act or a set of properties of objects projected from subjective impressions. 'Psychical Distance' is variable both according to the distancing-power of the individual, and according to the character of the object. It is this interplay that makes it possible to take the concept of 'Psychical Distance' both as an act and as properties.Its interplay can also apply to the personal and the social factors in the history of Art. Bullough accounted for the contrary theories of Art by using 'Psychical Distance'. This concept has the capacity to extend over the various forms of Art. (shrink)

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 (...) von Einzelnen empirisch Gebildetes.Für Schleiermacher ist das Schema "die sinnliche Seite des Begriffs", d. h. "das allgemeine Bild", das in sich die Vorstellungsmöglichkeit von einer Menge der einzelnen, unter denselben Begriff zu subsumierenden Bilder beinhaltet, bzw. "diese Möglichkeit selbst". Der Schematisierungsprozess, d. h. die Bildung des Schemas, ist ein Teil allgemeiner Begriffsbildung, so dass das Schema einerseits zur Allgemeinheit "prädeterminiert" ist. Das Schema, als diese Vorstellungsmöglichkeit selbst, ist anderseits immer "verschiebbar", weil es stets und ständig durch etwas Neues verändert werden kann, das unter denselben Begriff neu subsumiert wird. Zwar kann das Schema durch die Kommunikation tatsächlich verallgemeinert werden, doch ist diese Allgemeinheit prinzipiell im Einzelnen Begrenztes. Das Wort, d. h. "ein Zeichen des Schemas", bleibt also immer das individuelle Allgemeine. (shrink)

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 (...) a place as a surface of the earth on which we are standing. The perception of the environment as the persisting structure of surfaces accompanies the perception of an instantaneous self, including the head, body, arms, and hands. And the nonperceptual awareness such as memory or expectation is made possible by the fact that the concurrent perception of the persistence of place and that of the change of a moving self are concurrent.Memory and expectation open a space of history. Yet the space turns back to the persisting place of a ruin when the history has come to be forgotten. The poetics of ruins consists not in retelling a history but in the awareness of the persistent linkage between us and the past. (shrink)

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 (...) den Märchenland andeutenden Landschaft fliegt, entspricht der thematischen Strategie von Waldens Klee-Ausstellungen 1916-17, der den Friedenwunsch des Publikums aufnahm. Aber dass die mit den Schriftrollen des Nonsens-Gedichtes umschlossene "Emilie" mit ihrem papierdünnem Körper im reinen Nachthimmel schwebt, ihr schiefes Gesicht wie ein Mops und ihre den Bauch mit den Händen haltende, fluguntaugliche Gebärde sind als Lachen üer Klee anzusehen, der dem Krieg seine ersten Erfolge verdankte, obwohl er sich von ihm zu distanzieren glaubte. (shrink)

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 (...) object, and Iser's interactive reading theory. Ingarden argues about the complementary concretization of represented object, but Iser criticizes him and insists the image-building through an interaction between reader and text.In the third part, 'The appearance as symbol', and the Conclusion, I deal with Kant's and Schiller's theory of the beauty as symbol, and point out that the concept of the outer symbol of the inner feeling has the same logical and psychological structure with the Empathic aesthetics. Based on this structure, the being and the meaning of aesthetic object are interlaced and the artwork appears as a , which is different in its inner becoming process from Hegel's similar definition of the classic beauty of art. (shrink)

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, (...) le jeune Bergson établi le concept de la sympathie comme un anthropomorphisme. Plus tard, dans Durée et simultanéité, il définira ce même concept comme une analogie. Mais le concept de la sympathie développé par Bergson dans l'Essai et Lévolution créatrice soulève aussi la problématique du corps et de l'instinct. A ce niveau, la sympathie physique, fondée sur la camaraderie avec le réel devient une notion essentielle, et ne doit pas être considérée comme une coïncidence mais plutôt comme une coexistence avec le réel. Dans cette étude nous nous proposons de repenser l'esthétique bergsonienne comme l'esthétique de la sympathie. (shrink)