Studies on the Historical Contexts of "The End of Art" and its Significance at the Present Day

我们举行了三次研究会议，1)2004年8月21日至22日在山形召开，2)2004年11月20日至21日在新潟召开，3)2005年8月6日至7日在新潟召开（最后两次为公开会议）。他们帮助调查者对我们的主题有了共同的理解。在考察旅行方面，Hisatake Kato和五名调查人员于2005年2月28日至3月7日在纽约学习；2005年7月2日至10日在科隆大学klaus duusing教授指导下的Zakota， Kurihara和Kido；加藤和6名调查人员于2005年8月27日至9月5日在德国和意大利进行了调查。山崎淳与2005年10月来日本的walter Jaeschke博士进行了几次会面。dr . jaeschke给了我们一些有趣的建议，并在我们的报告中写了一篇关于艺术终结的新文章。栗原隆（Takashi Kurihara）从解释学的角度研究了《艺术的终结》主题的语境，认为为了建立讨论艺术的艺术哲学，艺术作为其对象必须已经走向终结。他把弗里德里希·阿斯特较晚的解释学著作译成日文。加藤久武揭示了黑格尔美学的原型，认为黑格尔的“绝对”受到了斯宾诺莎物质观的影响，艺术是对绝对自我认识的精神形式之一。他还揭示了黑格尔的历史哲学不能接受过去的授权。田田丰师从黑格尔学派的主要学者克劳斯·杜辛教授，并将一位参加黑格尔美学讲座（1820/21）的学生的一本不知名笔记翻译成日文。伊坂胜世在德国浪漫主义画家弗里德里希（C.D.Friedrich）的绘画中提出了“黑暗”和“坏”的原则，他认为，当绘画是为了表达思想或情感时，艺术必须在哲学之前结束。木户惇研究了康德《判断力批判》中的崇高分析，并讨论了康德的批判崇高与德国唯心主义的形而上学崇高的区别与同一性。森本Kouichi Morimoto考察了“艺术终结”或“艺术反终结”的当今意义，认为“艺术终结”的论点对我们来说意味着支持艺术理念的“话语”走向终结。少

We held three study conferences, i)in Yamagata on August 21/22, 2004, ii)in Niigata on November 20/21, 2004, iii)also in Niigata on August 6/7, 2005 (last two were held as public conferences). They helped the investigators to have common understandings of our themes. Concerning study trips, Hisatake Kato and five investigators studied in New York from February 28 to March 7, 2005 ; Zakota, Kurihara and Kido under Pr.Klaus Dusing at Koln University from July 2 to 10, 2005 ; Kato and six investigators in Germany and Italy from August 27 to September 5, 2005. Jun Yamasaki had several meetings with Pr.Walter Jaeschke who came to Japan in October 2005. Pr.Jaeschke gave us some interesting suggestions and wrote a new article on the End of Art in our report.Takashi Kurihara studied contexts of the themes of the End of Art from the hermeneutical point of view, arguing that, in order to establish the philosophy of art that discussed art, art as its object already had to come to an end. He trans … More lated hermeneutical works of Friedrich Ast into Japanese. Hisatake Kato revealed an archetype of Hegel's Aesthetics, arguing that "the Absolute" of Hegel had been influenced by Spinoza's view of substance, and art was one of the spiritual forms of self-recognition of the Absolute. He also revealed that the Hegelian philosophy of history could not accept the authorization of the past. Yutaka Zakota studied under Pr.Klaus Dusing, a leading Hegelian scholar, and translated an unknown notebook of a student who attended Hegel's Lectures on Aesthetics (1820/21) into Japanese. Seishi Isaka brought notice to the principles of "the darkness" and "the bad" on the paintings of C.D.Friedrich, painter of German Romanticism, and argued that art had to end before philosophy when the roll of painting was to express ideas or emotions. Atsushi Kido studied the Analytic of the Sublime in Kant's Critique of the Power of Judgment and discussed the difference and identity between the Kantian critical sublime and the metaphysical sublime of German Idealism. Kouichi Morimoto examined the present-day significance of the End of Art or its Anti-End, arguing that the thesis of the End of Art means for us that the "discourses" which have supported the idea of art come to end. Less