Modern art in dispute. appearance and reconciliation
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Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Griot : Revista de Filosofia |
Texto Completo: | http://www3.ufrb.edu.br/seer/index.php/griot/article/view/750 |
Resumo: | In the present articles we will analyze the way in which Dieter Henrich interprets the aesthetic conception of Hegel. As we shall see, the author considers that, during the last years of his life, Hegel revised his position contrary to modern art and developed a favorable interpretation of it. Henrich discovers in Hegel's intuitions about objective humor an appropriate starting point for thinking about a non-sovereign conception of subjectivity and for developing an affirmative aesthetic of truth. To do this, however, he not only departs from the assumptions of Hegelian aesthetics but also projects traditional categories on modern art and contemporary art. For this reason, after reviewing Henrich's critiques of reflexive theories of consciousness and reconstructing the way in which he understands the relation between art and subjectivity, we will delineate some considerations concerning the difficulties that are contained in his tendency to ignore the radical autonomy of modern art. As we will argue, Henrich denies the critical moments of modernity by neutralizing his possible excesses and constructs a theory of modern art that can no longer be faithful to its constitutive ambiguity. |
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Modern art in dispute. appearance and reconciliationEl arte moderno en disputa. apariencia y reconciliaciónDieter Henrich; Estética hegeliana; Humor objetivo; Subjetividad estética; Modernidad.Dieter Henrich; Hegelian aesthetics; Objective humor; Aesthetic subjectivity; Modernity In the present articles we will analyze the way in which Dieter Henrich interprets the aesthetic conception of Hegel. As we shall see, the author considers that, during the last years of his life, Hegel revised his position contrary to modern art and developed a favorable interpretation of it. Henrich discovers in Hegel's intuitions about objective humor an appropriate starting point for thinking about a non-sovereign conception of subjectivity and for developing an affirmative aesthetic of truth. To do this, however, he not only departs from the assumptions of Hegelian aesthetics but also projects traditional categories on modern art and contemporary art. For this reason, after reviewing Henrich's critiques of reflexive theories of consciousness and reconstructing the way in which he understands the relation between art and subjectivity, we will delineate some considerations concerning the difficulties that are contained in his tendency to ignore the radical autonomy of modern art. As we will argue, Henrich denies the critical moments of modernity by neutralizing his possible excesses and constructs a theory of modern art that can no longer be faithful to its constitutive ambiguity.En el presente artículos analizaremos el modo en que Dieter Henrich interpreta la concepción estética de Hegel. Como veremos, el autor considera que, durante los últimos años de su vida, Hegel revisó su posición contraria al arte moderno y desarrolló una interpretación positiva del mismo. Henrich descubre en las intuiciones de Hegel acerca del humor objetivo un punto de partida adecuado tanto para pensar una visión no soberana de la subjetividad, como para desarrollar una estética de la verdad de carácter afirmativo. No obstante, para hacerlo no solo se aparta de los supuestos de la estética hegeliana sino que, además, proyecta sobre el arte moderno y el arte contemporáneo categorías que serían propias del pensamiento tradicional. Por este motivo, tras revisar las críticas de Henrich a las teorías reflexivas de la conciencia y reconstruir el modo en que entiende la relación entre arte y subjetividad, delinearemos algunas consideraciones relativas a las dificultades que trae aparejada su tendencia a desconocer la autonomía del arte moderno en toda su radicalidad. Según sostendremos, Henrich niega los momentos críticos de la modernidad por medio de la neutralización de sus posibles excesos y a construye una teoría del arte moderno que ya no puede dar cuenta de la ambigüedad constitutiva del mismo.Universidade Federal do Recôncavo da Bahia2017-06-18info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionPeer-ReviewedEvaluados por los paresAvaliados pelos paresapplication/pdfhttp://www3.ufrb.edu.br/seer/index.php/griot/article/view/75010.31977/grirfi.v15i1.750Griot : Revista de Filosofia; v. 15 n. 1 (2017); 75-992178-1036reponame:Griot : Revista de Filosofiainstname:Universidade Federal do Recôncavo na Bahia (UFRB)instacron:UFRBporhttp://www3.ufrb.edu.br/seer/index.php/griot/article/view/750/465Copyright (c) 2017 María Verónica Galfioneinfo:eu-repo/semantics/openAccessGalfione, María Verónica2020-06-30T18:15:43Zoai:seer.www.ufrb.edu.br:article/750Revistahttp://www.ufrb.edu.br/griot/PUBhttp://www3.ufrb.edu.br/seer/index.php/griot/oai||griotrevista@gmail.com2178-10362178-1036opendoar:2020-06-30T18:15:43Griot : Revista de Filosofia - Universidade Federal do Recôncavo na Bahia (UFRB)false |
dc.title.none.fl_str_mv |
Modern art in dispute. appearance and reconciliation El arte moderno en disputa. apariencia y reconciliación |
title |
Modern art in dispute. appearance and reconciliation |
spellingShingle |
Modern art in dispute. appearance and reconciliation Galfione, María Verónica Dieter Henrich; Estética hegeliana; Humor objetivo; Subjetividad estética; Modernidad. Dieter Henrich; Hegelian aesthetics; Objective humor; Aesthetic subjectivity; Modernity |
title_short |
Modern art in dispute. appearance and reconciliation |
title_full |
Modern art in dispute. appearance and reconciliation |
title_fullStr |
Modern art in dispute. appearance and reconciliation |
title_full_unstemmed |
Modern art in dispute. appearance and reconciliation |
title_sort |
Modern art in dispute. appearance and reconciliation |
author |
Galfione, María Verónica |
author_facet |
Galfione, María Verónica |
author_role |
author |
dc.contributor.author.fl_str_mv |
Galfione, María Verónica |
dc.subject.por.fl_str_mv |
Dieter Henrich; Estética hegeliana; Humor objetivo; Subjetividad estética; Modernidad. Dieter Henrich; Hegelian aesthetics; Objective humor; Aesthetic subjectivity; Modernity |
topic |
Dieter Henrich; Estética hegeliana; Humor objetivo; Subjetividad estética; Modernidad. Dieter Henrich; Hegelian aesthetics; Objective humor; Aesthetic subjectivity; Modernity |
description |
In the present articles we will analyze the way in which Dieter Henrich interprets the aesthetic conception of Hegel. As we shall see, the author considers that, during the last years of his life, Hegel revised his position contrary to modern art and developed a favorable interpretation of it. Henrich discovers in Hegel's intuitions about objective humor an appropriate starting point for thinking about a non-sovereign conception of subjectivity and for developing an affirmative aesthetic of truth. To do this, however, he not only departs from the assumptions of Hegelian aesthetics but also projects traditional categories on modern art and contemporary art. For this reason, after reviewing Henrich's critiques of reflexive theories of consciousness and reconstructing the way in which he understands the relation between art and subjectivity, we will delineate some considerations concerning the difficulties that are contained in his tendency to ignore the radical autonomy of modern art. As we will argue, Henrich denies the critical moments of modernity by neutralizing his possible excesses and constructs a theory of modern art that can no longer be faithful to its constitutive ambiguity. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-06-18 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-Reviewed Evaluados por los pares Avaliados pelos pares |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://www3.ufrb.edu.br/seer/index.php/griot/article/view/750 10.31977/grirfi.v15i1.750 |
url |
http://www3.ufrb.edu.br/seer/index.php/griot/article/view/750 |
identifier_str_mv |
10.31977/grirfi.v15i1.750 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
http://www3.ufrb.edu.br/seer/index.php/griot/article/view/750/465 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2017 María Verónica Galfione info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2017 María Verónica Galfione |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal do Recôncavo da Bahia |
publisher.none.fl_str_mv |
Universidade Federal do Recôncavo da Bahia |
dc.source.none.fl_str_mv |
Griot : Revista de Filosofia; v. 15 n. 1 (2017); 75-99 2178-1036 reponame:Griot : Revista de Filosofia instname:Universidade Federal do Recôncavo na Bahia (UFRB) instacron:UFRB |
instname_str |
Universidade Federal do Recôncavo na Bahia (UFRB) |
instacron_str |
UFRB |
institution |
UFRB |
reponame_str |
Griot : Revista de Filosofia |
collection |
Griot : Revista de Filosofia |
repository.name.fl_str_mv |
Griot : Revista de Filosofia - Universidade Federal do Recôncavo na Bahia (UFRB) |
repository.mail.fl_str_mv |
||griotrevista@gmail.com |
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