Belleza traicionada: la teoría estética y el desconocimiento del arte

Estudio sobre la Belleza traicionada: la teoría estética y el desconocimiento del art

The Implication of Images in the Revival of Aesthetics

Contemporary aesthetic theory is embedded in a culture dominated by images, and so would seem to require a reversal of Plato's critique of image-making. In adopting this stance, aesthetic theory follows in the footsteps of Nietzsche, whose own project was conceived as a reversal of Platonism. But the critique of Plato that underpins these views is based on a tradition that has misconstrued some of Plato's fundamental ideas. For this reason, the standard critique of Platonism is ineffective as a critical response to the culture of images. Aesthetic theory needs instead to produce a critique of the contemporary image-world based on the view that it emerges from a transformation in the paradigm of production. Images are no longer merely a part of the world that is produced, but themselves have a crucial role in the process of production

Hegemonija v estetski teoriji

The notion of »hegemony« appears in the work of Antonio Gramsci as a means to avoid the reductivism to which »economistic« versions of Marxist political thought had tended. More recent versions of Marxism - most notably as exemplified in Louis Althusser's theory of »interpellation« - modify the Gramscian notion of hegemony so as to theorize the means by which subjects are produced by the state's »ideological apparatuses« (ISA's). But any attempt to shift from the theory of the state and of subject-formation to the aesthetic field nonetheless incurs the risk that the notion of »hegemony« may produce the very sort of reductivism that Gramsci hoped to avoid. Indeed, it may restrict the ability to explain the counter-hegemonic elements of the aesthetic field. How can we avoid this limitation? Kant's appeal to the power of sensuous particulars to resist subsumption under universals presents a starting point for thinking about the counter-hegemonic potential of art, though Kant's notion is viable only if elaborated in such way as (1) to account for the pleasure and pain assoPojem hegemonije se pojavlja v delu Antonia Gramscija kot sredstvo, s katerim seje mogoče ogniti redukcionizmu, h kateremu so se nagibale »ekonomistične« verzije marksistične politične misli. Bolj sodobne različice marksizma - kot na primer teorija »interpelacije« Louisa Althusserja - modificirajo gramscijevski pojem hegemonije tako, da teoretizirajo sredstva, s katerimi ideološki aparati države (IAD) proizvajajo subjekte. A vsak poskus premakniti se od teorije države in oblikovanja subjektov na estetsko polje vseeno prinaša tveganje, da bi pojem »hegemonije« proizvedel prav tisto vrsto redukcionizma, ki se mu je Gramsci poskušal ogniti. Morda bi celo omejil sposobnost razložiti protihegemone elemente estetskega polja. Kako se tej omejitvi lahko ognemo? Kantov poziv k moči čutnih partikularnosti, ki se upira subsumiranju pod univerzalije, predstavlja izhodiščno točko za razmišljanje o protihegemonem potencialu umetnosti, čeprav je Kantov pojem smiseln samo, če je razvit tako, da (1) razloži ugodje in neugodje, ki sta povezana z izkušnjo teh partikularnosti, in (2) prepozna ugodje in neugodje kot točki, v katerih je subjekt odprt temu, česar ni mogoče določiti vnaprej. Ko se estetski subjekt loči od subjekta spoznanja (znanosti) in moralnosti (delovanja), si tako zasluži možnost zasesti protihegemono pozicijo. Kar zadeva estetsko »polje«, ne konstituira popolnoma oblikovanega področja, ki bi bilo čisto ločeno od znanosti in delovanja, ampak ponuja protipodobo logike, po kateri se zdita dominantna ali »hegemona«

Heidegger, Adorno in vztrajanje romanticizma

There are reasons to believe that the history of art, from romanticism to the present day, bears out Hegel's remark that art is a »thing of the past.« Arguments that now »anything goes« (A. Danto) provide theoretical grounds that support this view. But both Heidegger and Adorno suggest how Hegel's argument can yield constructive insights into art's critical capacities, even as its distance from non-art appears to vanish. Heidegger and Adorno are heirs of Hegel's romanticism, and while located intellectually within modernism both reveal how modernism is itself a continuation of romanticism. Salient points of contact between Adorno and Heidegger and also their differences, can be grasped in terms of shared romantic roots. To think of art as having a critical or disclosive power is a transformation of romantic expressivism. The conviction that art is embodied meaning and irreducible to its material elements is a development of Hegel's notion of spirit. Assessing the extent to which postmodern theory confronts or ignores these questions can also clarify its ties to romanticism.Obstajajo razlogi za prepričanje, da zgodovina umetnosti od romantike do današnjih dni potrjuje Heglovo opazko, daje umetnost »stvar preteklosti«. Trditve, po katerih zdaj velja »anything goes« (A. Danto), zagotavljajo teoretske podlage, ki podpirajo ta pogled. Toda tako Hei-degger kot Adorno opozarjata, da Heglova izjava lahko dopušča konstruktivne vpoglede v kritične zmožnosti umetnosti, čeprav se zdi, da njena razlika od ne-umetnosti izginja. Heidegger in Adorno sta dediča Heglove romantike in četudi sta intelektualno umeščena v znotraj modernizma, oba razkrivata kako je sam modernizem nadaljevanje romantike. Glavne stične točke med Adornom in Heideggeijem in tudi njune razlike je mogoče zapopasti v izrazih skupnih romantičnih korenin. Mišljenje, po katerem ima umetnost kritično ali izpovedno moč, je preobrazba romantičnega ekspresivizma. Prepričanje, daje umetnost utelešenje pomena in nezvedljiva na njene materialne elemente, predstavlja razvoj Heglovega pojma duha. Določitev obsega, do katerega se postmoderna teorija sooča s temi vprašanji ali se zanje ne meni, lahko osvetli tudi njene vezi z romantiko

Romantična politika in revolucionarna umetnost

This paper looks at avant-garde movements in 20th century art in relation to the romantic desire for a radical transformation of society by aesthetic means. The author argues that the avant-gardes carried forward a romantic project whose roots can be traced back at least as far as Schiller’s letters “On the Aesthetic Education of Mankind,” and that in spite of claims of radically new aesthetic departures, these movements did not fundamentally break with this dimension of romanticism. This is particularly apparent in many of the avant-garde manifestos, which appropriate a sub-genre whose origins are overtly political. In recent decades critics have been on guard against the parallel risks involved in the “aestheticization of politics.” It has widely been observed that power often works by thralldom and that the spectacle was one of fascism’s preferred means of persuasion. The rhetoric of the manifesto is spectacular in its own way, but poses a more difficult case: neither the fact of its association with emancipatory ideals nor a pedigree that derives from the writings of Marx and Engels proved sufficient to defend it against appropriation for authoritarian aims. The reason, I suggest, is that the manifesto took art outside of history; it carried a version of the romantic hope that an artist-class could transform the world where the working class had not. In conclusion, I propose that while the manifesto has long ceased to serve as a viable form for the expression of aesthetic or political views, we have yet to imagine a set of goals that could replace its romantic political hopes.Razprava povezuje avantgardna gibanja v dvajsetem stoletju z romantično željo po radikalni transformaciji družbe z estetskimi sredstvi. Avtor dokazuje, da so avantgarde peljale naprej romantični projekt, katerega koreninam lahko sledimo najmanj do Schillerjevih pisem O estetski vzgoji človeka, in da kljub zahtevam o radikalno novih estetskih usmeritvah ta gibanja niso temeljno prelomila z omenjeno razsežnostjo romantike. To je posebej očitno v številnih avantgardnih manifestih, ki so si prisvojili podzvrst, katere izvori so očitno politični. V minulih desetletjih so se kritiki varovali pred vzporednim tveganjem, povezanim z »estetizacijo politike«. Pojavilo se je splošno spoznanje, da moč pogosto deluje prek suženjstva in da je bil spektakel eno od priljubljenih fašističnih sredstev prepričevanja. Retorika manifesta je spektakularna na sebi lasten način, toda zastavlja težji primer: niti dejstvo njegove zveze z emancipatornimi ideali niti njegov izvor v Marxovih in Engelsovih spisih se nista izkazala zadostnega, da bi ga branila pred prisvojitvijo za avtoritarne cilje. Menim, da je razlog ta, da je manifest popeljal umetnost zunaj zgodovine; prinašal je različico romantičnega upanja, da bi umetniški razred lahko spremenil svet, kjer ga delavski razred ni. V zaključku predlagam, da medtem ko je manifest že dolgo nazaj prenehal služiti kot živa forma za izražanje estetskih ali političnih pogledov, si moramo vendarle zamisliti vrsto ciljev, ki bi lahko nadomestili njegove romantične politične upe

Sepharadim/conversos and premodern Global Hispanism

Sepharadim participated in the Hispanic vernacular culture of the Iberian Peninsula. Even in the time of al-Andalus many spoke Hispano-Romance, and even their Hebrew literature belies a deep familiarity with and love of their native Hispano-Romance languages. However, since the early sixteenth century the vast majority of Sepharadim have never lived in the Hispanic world. Sepharadim lived not in Spanish colonies defined by Spanish conquest, but in a network of Mediterranean Jewish communities defined by diasporic values and institutions. By contrast, the conversos, those Sepharadim who converted to Catholicism, whether in Spain or later in Portugal, Italy, or the New World, lived mostly in Spanish Imperial lands, were officially Catholic, and spoke normative Castilian. Their connections, both real and imagined, with Sephardic cultural practice put them at risk of social marginalization, incarceration, even death. Some were devout Catholics whose heritage and family history doomed them to these outcomes. Not surprisingly, many Spanish and Portugese conversos sought refuge in lands outside of Spanish control where they might live openly as Jews. This exodus (1600s) from the lands formerly known as Sefarad led to a parallel Sephardic community of what conversos who re-embraced Judaism in Amsterdam and Italy by a generation of conversos trained in Spanish universities. The Sephardic/Converso cultural complex exceeds the boundaries of Spanish imperial geography, confuses Spanish, Portuguese, Catholic, and Jewish subjectivities, and defies traditional categories practiced in Hispanic studies, and are a unique example of the Global Hispanophone

Filozofija kulture in teorija baroka

This essay takes the challenges posed by a definition of the baroque as model for thinking about the ways in which problems in aesthetic history can shape a philosophy of culture. Attempts to define the baroque as a period within art history have led to an astounding degree of confusion. The search for unifying stylistic markers amidst this confusion has led critics to seek deep structures, while historical analyses of the deep structures fail to sustain their connections to style or form. Using the baroque as a model, this essay looks at examples from the visual arts and architecture in order to demonstrate the ways in which deep-structure theories of culture falter by presupposing a more rigid distinction between surface and depth than may be the case. Drawing in part on Deleuze's notion of the fold, this essay proposes that we look at culture as driven by forces that are both materialized in surfaces that are themselves part of any »deep structure«.Esej se ukvarja z izzivi, ki jih zastavlja definicija baroka kot modela za razmišljanje o načinih, na katere lahko problemi v estetski zgodovini oblikujejo filozofijo kulture. Poskusi, da bi barok definirali kot obdobje znotraj umetnostne zgodovine, so vodili v osupljivo stopnjo zmede. Iskanje združevalnih stilističnih označevalcev sredi te zmešnjave je kritike vodilo k iskanju globokih struktur, medtem ko zgodovinske analize globokih struktur ne morejo podkrepiti njihovih povezav s stilom ali formo. Izhajajoč iz baroka kot modela to besedilo na primerih iz vizualnih umetnosti in arhitekture opozarja na načine, na katere teorije kulture z globoko strukturo omahujejo, ko predpostavljajo, da so razlike med površino in globino ostrejše, kot v resnici so. Deloma sledeč Deleuzovemu pojmu gube besedilo predlaga, da na kulturo gledamo, kot dajo vodijo sile, ki se materializirajo v površinah, ki so same del vsakršne »globoke strukture«

Belleza traicionada: la teoría estética y el desconocimiento del arte

Estudio sobre la Belleza traicionada: la teoría estética y el desconocimiento del art