[日本語から英語への翻訳依頼] 第三章では、GとPそれぞれの特徴が「見る」という行為であること、共通点として「人・行為・空間の中での行為」「個と全体の彫刻の関係」という事柄が見られること...

Original text

第三章では、GとPそれぞれの特徴が「見る」という行為であること、共通点として「人・行為・空間の中での行為」「個と全体の彫刻の関係」という事柄が見られることを指摘した。第四章では、GとPの中で現象として現れていたものが、人と個々の彫刻の関係性の総体であり、人の行為によって様々な様相を見せる空間であることを明らかにした。第五章では、研究のまとめとして、第四章で明らかにした現象を作ることがノグチの制作の意図であると解釈し、その現象をノグチにおけるlandscapeとして確定した。

翻訳 / 英語

Chapter 3 indicates the special feature of G and P is the act of "watch." These two have something in common, such as "behavior in crowd, during execution, and in space," and "a correlation between oneself and the whole piece of a sculpture." Chapter 4 clarifies what appears inside of G and P is the whole of relationship for a human being and scattered people; moreover, that whole shows various aspects in space by an act of human being. Chapter 5 decides, as a summary of this research, the interpretation of Noguchi's intention was at work a phenomenon clarified in the Chapter 4 so that its development is his landscape.

翻訳 / 英語

In chapter 3, I've indicated that the aspect for each G and P is to "watch" and as the common points for each is "the act occur inside of space, conduct and human" and "relation of carving between individual and integral".
In chapter 4, I've explain the phenomenon which arised inside of G and P is actually an aggregation of relation nature of each carving and human. It is an interspace that shows a whole new picture related to human behavior.
In chapter 5, as a conclusion of my research, I've construe that the phenomenon which I've revealed in chapter 4 is the Noguchi's intention of output.
I also conclude that the phenomenon itself is the landscape of Noguchi.