Nem moderno, nem pós-moderno: Jacques Rancière e os regimes de identificação das artes
DOI:
https://doi.org/10.5965/1414573102232014063Abstract
O presente artigo descreve o uso conceitual, na obra de Jacques Rancière, dos “regimes de identificação das artes” – ético, representativo e estético –, em distinção aos argumentos dos intér-pretes da modernidade artística, como Walter Benjamin, Clement Greenberg, Pierre Bourdieu, Theodor Adorno & Max Horkheimer e Jean-François Lyotard, que defendem as noções de “modernidade”, “vanguarda” e “pós-modernidade” como categorias de interpretação da experiência artística dos últimos duzentos anos.
Downloads
Downloads
Published
How to Cite
Issue
Section
License
Copyright Statement
The articles published by the magazine are free to use. The copyright is all assigned to the magazine. The articles whose authors are identified represent the expression from the point of view of their authors and not the official position of the journal Urdimento. The author (s) undertakes whenever publishing material relating to the article published in Revista Urdimento mention the said publication as follows: This article was originally published by Urdimento magazine in its volume (put the volume), number (put the number) in the year of (put the year) and can be accessed at:
http://www.revistas.udesc.br/index.php/urdimento
This work is licensed under a Creative Commons Attribution 4.0 International License.
