SHOCKED TO THE AESTHETIC COMMUNITY
Autor(a) principal: | |
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Data de Publicação: | 2011 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Travessias (Cascavel. Online) |
Texto Completo: | https://e-revista.unioeste.br/index.php/travessias/article/view/5507 |
Resumo: | From the 1980s and 1990s the discussion about the post - modernism, inserted into the postmodern period, burst upon the artistic and theoretical, based on axioms for such a dichotomous scenario and transitive; grounded in consequences of World War II and beginning of the Cold War, formatting the rematch between capitalism and communism, building economic and political models, however, during the last decades of the twentieth century has become such a context, coming to an end the conflict between the two poles of political and economic order of the Cold War and economic liberalism. However, the term "order" was not restricted to be the only center of discussions of political and economic contexts of the time, but also long been a problem of art. The "end of art" composed "bilateralism" art theorist, with authors affirmative and negative, by the way, the first believed in the epilogue of the art and the latter rose up this epilogue. After all, the "end of art" was the "end" of an artistic way and a political and economic context, called modernism and liberalism, respectively. Thus, this article has as objective to present the art that ended in order to change the artistic and aesthetic modernism to postmodernism, which sent about, modern art and postmodern art. And if such changes are endogenous to a political system and what are the consequences of this system in contemporary art as aesthetic enjoyment and public reception with the recent artistic production. |
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SHOCKED TO THE AESTHETIC COMMUNITYSORPRENDIÓ AL ESTÉTICA DE LA COMUNIDADDO CHOC À ESTÉTICA COMUNITÁRIAArte e políticaCulturaArtes-Plásticas.From the 1980s and 1990s the discussion about the post - modernism, inserted into the postmodern period, burst upon the artistic and theoretical, based on axioms for such a dichotomous scenario and transitive; grounded in consequences of World War II and beginning of the Cold War, formatting the rematch between capitalism and communism, building economic and political models, however, during the last decades of the twentieth century has become such a context, coming to an end the conflict between the two poles of political and economic order of the Cold War and economic liberalism. However, the term "order" was not restricted to be the only center of discussions of political and economic contexts of the time, but also long been a problem of art. The "end of art" composed "bilateralism" art theorist, with authors affirmative and negative, by the way, the first believed in the epilogue of the art and the latter rose up this epilogue. After all, the "end of art" was the "end" of an artistic way and a political and economic context, called modernism and liberalism, respectively. Thus, this article has as objective to present the art that ended in order to change the artistic and aesthetic modernism to postmodernism, which sent about, modern art and postmodern art. And if such changes are endogenous to a political system and what are the consequences of this system in contemporary art as aesthetic enjoyment and public reception with the recent artistic production. Desde la década de 1980 y 1990 la discusión sobre el post - modernismo, se inserta en el periodo posmoderno, irrumpió en la artística y teórica, basada en axiomas para un escenario dicotómico y transitiva, basada en las consecuencias de la Segunda Guerra Mundial y comienzo de la Guerra Fría, el formato de la revancha entre el capitalismo y el comunismo, la construcción de modelos económicos y políticos, sin embargo, durante las últimas décadas del siglo XX se ha convertido en tal contexto, llegando a su fin el conflicto entre los dos polos de orden político y económico de la Guerra Fría y liberalismo económico. Sin embargo, el término "orden" no se limita a ser el único centro de las discusiones de los contextos políticos y económicos de la época, pero también desde hace tiempo un problema de arte. El "fin del arte" compuesto "bilateralismo" teórico del arte, con los autores afirmativas y negativas, por cierto, los primeros que creyeron en el epílogo de la técnica y el segundo se levantó este epílogo. Después de todo, el "fin del arte", fue el "fin" de una manera artística y un contexto político y económico, llamado modernismo y el liberalismo, respectivamente. Por lo tanto, este artículo tiene como objetivo presentar el arte que terminó con el fin de cambiar el modernismo artístico y estético de la postmodernidad, que envió sobre el arte moderno y el arte posmoderno. Y si tales cambios son endógenos a un sistema político y cuáles son las consecuencias de este sistema en el arte contemporáneo como el goce estético y la recepción del público con la producción artística reciente.A partir das décadas de 1980 e 1990 a discussão acerca do pós – modernismo, inserido no período pós-moderno, irrompeu no cenário artístico e teórico, tendo como base para tais axiomas um cenário dicotômico e transitivo; alicerçado em conseqüências da Segunda Guerra Mundial e o início da Guerra Fria, formatando o revanchismo entre capitalismo e comunismo, construindo modelos econômicos e políticos, entretanto, nestas últimas décadas do século XX tal contexto se transformou, chegando ao fim o conflito entre os dois pólos políticos e econômicos, fim da Guerra Fria e do liberalismo econômico. No entanto, a termo “fim” não se restringiu em ser o centro das discussões apenas dos contextos políticos e econômicos da época, mas também, sendo uma longa problemática da arte. O “fim da arte” compôs o “bilateralismo” teórico da arte, com autores afirmativos e os negativos; a propósito, os primeiros acreditaram no epílogo da arte e os segundos sublevaram este epílogo. Afinal, o “fim da arte” foi o “fim” de uma maneira artística e de um contexto político e econômico, chamado modernismo e liberalismo, respectivamente. Dessa forma, o presente artigo possui como objetivo apresentar a arte que se findou, visando às mudanças artísticas e estéticas do modernismo para o pós-modernismo, aferindo, acerca, da arte moderna e a arte pós-moderna. E se tais mudanças são endógenas a um sistema político e, quais são as conseqüências desse sistema na arte contemporânea enquanto fruição estética e recepção do público com a produção artística recente.Unioeste2011-10-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://e-revista.unioeste.br/index.php/travessias/article/view/5507Travessias; Vol. 5 No. 2 (2011)Travessias; Vol. 5 Núm. 2 (2011)Travessias; v. 5 n. 2 (2011)1982-5935reponame:Travessias (Cascavel. Online)instname:Universidade Estadual do Oeste do Paraná (Unioeste)instacron:Unioesteporhttps://e-revista.unioeste.br/index.php/travessias/article/view/5507/4317Copyright (c) 2011 Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob CC-BY-NC-SA 4.0 que permite o compartilhamento do trabalho com indicação da autoria e publicação inicial nesta revistainfo:eu-repo/semantics/openAccessMendonça, Ítala2020-12-08T11:42:55Zoai:ojs.e-revista.unioeste.br:article/5507Revistahttps://e-revista.unioeste.br/index.php/travessiasPUBhttps://e-revista.unioeste.br/index.php/travessias/oairevista.travessias@unioeste.br1982-59351982-5935opendoar:2020-12-08T11:42:55Travessias (Cascavel. Online) - Universidade Estadual do Oeste do Paraná (Unioeste)false |
dc.title.none.fl_str_mv |
SHOCKED TO THE AESTHETIC COMMUNITY SORPRENDIÓ AL ESTÉTICA DE LA COMUNIDAD DO CHOC À ESTÉTICA COMUNITÁRIA |
title |
SHOCKED TO THE AESTHETIC COMMUNITY |
spellingShingle |
SHOCKED TO THE AESTHETIC COMMUNITY Mendonça, Ítala Arte e política Cultura Artes-Plásticas. |
title_short |
SHOCKED TO THE AESTHETIC COMMUNITY |
title_full |
SHOCKED TO THE AESTHETIC COMMUNITY |
title_fullStr |
SHOCKED TO THE AESTHETIC COMMUNITY |
title_full_unstemmed |
SHOCKED TO THE AESTHETIC COMMUNITY |
title_sort |
SHOCKED TO THE AESTHETIC COMMUNITY |
author |
Mendonça, Ítala |
author_facet |
Mendonça, Ítala |
author_role |
author |
dc.contributor.author.fl_str_mv |
Mendonça, Ítala |
dc.subject.por.fl_str_mv |
Arte e política Cultura Artes-Plásticas. |
topic |
Arte e política Cultura Artes-Plásticas. |
description |
From the 1980s and 1990s the discussion about the post - modernism, inserted into the postmodern period, burst upon the artistic and theoretical, based on axioms for such a dichotomous scenario and transitive; grounded in consequences of World War II and beginning of the Cold War, formatting the rematch between capitalism and communism, building economic and political models, however, during the last decades of the twentieth century has become such a context, coming to an end the conflict between the two poles of political and economic order of the Cold War and economic liberalism. However, the term "order" was not restricted to be the only center of discussions of political and economic contexts of the time, but also long been a problem of art. The "end of art" composed "bilateralism" art theorist, with authors affirmative and negative, by the way, the first believed in the epilogue of the art and the latter rose up this epilogue. After all, the "end of art" was the "end" of an artistic way and a political and economic context, called modernism and liberalism, respectively. Thus, this article has as objective to present the art that ended in order to change the artistic and aesthetic modernism to postmodernism, which sent about, modern art and postmodern art. And if such changes are endogenous to a political system and what are the consequences of this system in contemporary art as aesthetic enjoyment and public reception with the recent artistic production. |
publishDate |
2011 |
dc.date.none.fl_str_mv |
2011-10-31 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://e-revista.unioeste.br/index.php/travessias/article/view/5507 |
url |
https://e-revista.unioeste.br/index.php/travessias/article/view/5507 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://e-revista.unioeste.br/index.php/travessias/article/view/5507/4317 |
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info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Unioeste |
publisher.none.fl_str_mv |
Unioeste |
dc.source.none.fl_str_mv |
Travessias; Vol. 5 No. 2 (2011) Travessias; Vol. 5 Núm. 2 (2011) Travessias; v. 5 n. 2 (2011) 1982-5935 reponame:Travessias (Cascavel. Online) instname:Universidade Estadual do Oeste do Paraná (Unioeste) instacron:Unioeste |
instname_str |
Universidade Estadual do Oeste do Paraná (Unioeste) |
instacron_str |
Unioeste |
institution |
Unioeste |
reponame_str |
Travessias (Cascavel. Online) |
collection |
Travessias (Cascavel. Online) |
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Travessias (Cascavel. Online) - Universidade Estadual do Oeste do Paraná (Unioeste) |
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revista.travessias@unioeste.br |
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