El trabajo ensayistico de Susan Sontag se basa en la tension y discusion critica entre estetica, cultura, moral y politica. En ese sentido, se vale de diversos objetos, disciplinas y teorias desde los cuales erige su pensamiento. Uno de estos es el cine, que opera como cinefilia, en tanto “specific kind of love that cinema inspired”, y como dispositivo politico que da cuenta de la decadencia del cine, pero a la vez de su espesor cultural e historico. En esa linea, este articulo realiza una revision bibliografica del trabajo ensayistico de Susan Sontag en torno al cine y la cinefilia. Desde ahi, se busca articular una reflexion en torno al cine como dispositivo de escritura y pensamiento critico y teorico.
{"title":"Susan Sontag. Escritura, cinefilia y el cine como dispositivo de pensamiento crítico","authors":"Luis Valenzuela Prado","doi":"10.7764/aisth.66.19","DOIUrl":"https://doi.org/10.7764/aisth.66.19","url":null,"abstract":"El trabajo ensayistico de Susan Sontag se basa en la tension y discusion critica entre estetica, cultura, moral y politica. En ese sentido, se vale de diversos objetos, disciplinas y teorias desde los cuales erige su pensamiento. Uno de estos es el cine, que opera como cinefilia, en tanto “specific kind of love that cinema inspired”, y como dispositivo politico que da cuenta de la decadencia del cine, pero a la vez de su espesor cultural e historico. En esa linea, este articulo realiza una revision bibliografica del trabajo ensayistico de Susan Sontag en torno al cine y la cinefilia. Desde ahi, se busca articular una reflexion en torno al cine como dispositivo de escritura y pensamiento critico y teorico.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75550961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Los de abajo. Tres siglos de sirvientes en el arte y la literatura de América Latina, editado por María Julia Rossi y Lucía Campanella","authors":"Rosario Fernández Ossandón","doi":"10.7764/aisth.66.12","DOIUrl":"https://doi.org/10.7764/aisth.66.12","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75601165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.13128/AISTHESIS-11166
A. Pichler
{"title":"A Typology of the Philosopher Ludwig Wittgenstein’s Writing of Text Alternatives","authors":"A. Pichler","doi":"10.13128/AISTHESIS-11166","DOIUrl":"https://doi.org/10.13128/AISTHESIS-11166","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83430974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.13128/AISTHESIS-10916
Riikka Latva-Somppi, M. Mäkelä
The challenge of nominalism in philosophy and theology to the reality of universals has been a motor of modern thought. Translated into aesthetic terms, it has abetted resistance to generic conventions and helped undermine essentialist notions of aesthetic form. Theodor W. Adorno had a characteristically dialectical response to nominalism, applauding its subversion of categorical reifications, but alarmed by its indiscriminate leveling of the distinction between concept and object, which could also efface the distinction between works of art and everyday objects. In musical terms, he appreciated the nominalist emphasis on individual works as opposed to generic formal categories, and praised Arnold Schoenberg's atonal revolution. But he was also aware that carried to an extreme, nominalism could lead to the subjective domination of a nature that was understood to be without essential characteristics of its own. In his late embrace of musique informelle, he admired a music that eschewed both reified categories and subjective domination of the apparent contingency of the material world, a music that expressed a nominalism that might better be called “magical” than “conventional.”
哲学和神学中唯名论对共相现实的挑战一直是现代思想的动力。翻译成美学术语，它助长了对通用惯例的抵制，并帮助破坏了美学形式的本质主义概念。西奥多·w·阿多诺(Theodor W. Adorno)对唯名论有一种典型的辩证回应，他赞赏唯名论对绝对物化的颠覆，但对其不分青皂白地抹平概念和对象之间的区别感到震惊，这也可能抹去艺术作品和日常物品之间的区别。在音乐方面，他欣赏唯名论对个人作品的强调，而不是一般的形式范畴，并赞扬阿诺德·勋伯格的民族革命。但他也意识到，走到极端，唯名论可能会导致对自然的主观支配，而自然被理解为没有自己的本质特征。在他对非正式音乐的后期拥抱中，他欣赏一种音乐，这种音乐既避免了物化的范畴，也避免了对物质世界的明显偶然性的主观支配，这种音乐表达了一种唯名论，这种音乐可能更适合被称为“魔法”，而不是“传统”。
{"title":"Exploring Ecological and Material Sensitivity through Craft Practice in the Context of the Venice Lagoon","authors":"Riikka Latva-Somppi, M. Mäkelä","doi":"10.13128/AISTHESIS-10916","DOIUrl":"https://doi.org/10.13128/AISTHESIS-10916","url":null,"abstract":"The challenge of nominalism in philosophy and theology to the reality of universals has been a motor of modern thought. Translated into aesthetic terms, it has abetted resistance to generic conventions and helped undermine essentialist notions of aesthetic form. Theodor W. Adorno had a characteristically dialectical response to nominalism, applauding its subversion of categorical reifications, but alarmed by its indiscriminate leveling of the distinction between concept and object, which could also efface the distinction between works of art and everyday objects. In musical terms, he appreciated the nominalist emphasis on individual works as opposed to generic formal categories, and praised Arnold Schoenberg's atonal revolution. But he was also aware that carried to an extreme, nominalism could lead to the subjective domination of a nature that was understood to be without essential characteristics of its own. In his late embrace of musique informelle, he admired a music that eschewed both reified categories and subjective domination of the apparent contingency of the material world, a music that expressed a nominalism that might better be called “magical” than “conventional.”","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85811221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El objetivo de este articulo es realizar algunas notas sobre los arqueros, especificamente el caso de Pandaro en la Iliada. En primer lugar, abordaremos brevemente las implicancias entre el mito y la figura del heroe. En segundo lugar, nos centraremos en las apariciones, el linaje, la nobleza y las peleas. Finalmente, reforzaremos la importancia de los mitos griegos: sus temas y motivos en el tiempo y como Pandaro se muestra como un heroe, pero segun las caracteristicas de los arqueros. Siempre hay elementos que los rebajaran, de alguna u otra manera, frente al resto de los heroes. No tiene caballos, renuncia a ellos, no gana sus batallas, rompe la tregua entre los ejercitos: usa el arco en vez de la lanza. La vision del arquero siempre fue negativa, y esto se observa en los heroes que utilizaron el arco.
{"title":"Algunas notas sobre los arqueros: el caso de Pándaro en la Ilíada de Homero","authors":"Alfredo Fredericksen Neira","doi":"10.7764/AISTH.66.4","DOIUrl":"https://doi.org/10.7764/AISTH.66.4","url":null,"abstract":"El objetivo de este articulo es realizar algunas notas sobre los arqueros, especificamente el caso de Pandaro en la Iliada. En primer lugar, abordaremos brevemente las implicancias entre el mito y la figura del heroe. En segundo lugar, nos centraremos en las apariciones, el linaje, la nobleza y las peleas. Finalmente, reforzaremos la importancia de los mitos griegos: sus temas y motivos en el tiempo y como Pandaro se muestra como un heroe, pero segun las caracteristicas de los arqueros. Siempre hay elementos que los rebajaran, de alguna u otra manera, frente al resto de los heroes. No tiene caballos, renuncia a ellos, no gana sus batallas, rompe la tregua entre los ejercitos: usa el arco en vez de la lanza. La vision del arquero siempre fue negativa, y esto se observa en los heroes que utilizaron el arco.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73838672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-04DOI: 10.13128/AISTHESIS-23818
C. Rozzoni
The œuvre of Portuguese photographer Jorge Molder (Lisbon, 1947) can be construed as a series of series. These series are filled with a wealth of absent presences, of possibilities that arise and fade without ever reaching actualization or confirmation, thereby contributing to create a ‘detective-story’ atmosphere. This also proves to be true as regards Molder’s own body. Indeed, his face, his hands are recurrent “subjects” running through his 40 years of work. Even so, when we ask who the man is that we see in Molder’s series, the answer is problematic. On the one hand, we know it is “him”, insofar as he himself is the model for his iconic “constructions”. On the other hand, Molder’s images are not “self-portraits” aiming to reveal the essence of his self, but rather “self-representations” creating a peculiar “character” who is and yet is not him: a double .
{"title":"Photographic agents. Jorge Molder: detective, magician, actor.","authors":"C. Rozzoni","doi":"10.13128/AISTHESIS-23818","DOIUrl":"https://doi.org/10.13128/AISTHESIS-23818","url":null,"abstract":"The œuvre of Portuguese photographer Jorge Molder (Lisbon, 1947) can be construed as a series of series. These series are filled with a wealth of absent presences, of possibilities that arise and fade without ever reaching actualization or confirmation, thereby contributing to create a ‘detective-story’ atmosphere. This also proves to be true as regards Molder’s own body. Indeed, his face, his hands are recurrent “subjects” running through his 40 years of work. Even so, when we ask who the man is that we see in Molder’s series, the answer is problematic. On the one hand, we know it is “him”, insofar as he himself is the model for his iconic “constructions”. On the other hand, Molder’s images are not “self-portraits” aiming to reveal the essence of his self, but rather “self-representations” creating a peculiar “character” who is and yet is not him: a double .","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75468229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-04DOI: 10.13128/AISTHESIS-23456
N. Conceição
Within the context of the contemporary heterogeneity of photographic practices, the present text describes some of the possibilities of understanding the temporality of photographs, giving an account of some important theoretical references (Benjamin, Kracauer, Barthes, Derrida). Bearing this in mind, describing photographs as sparks of reality is a way of expanding the Benjaminian proposal and avoiding the strict logics of causality. The strength of photography unfolds the technologically rooted paradox of photographs, whose contemporary relevance can be analysed in the intersection between aesthetics, history and politics. The film 48 , by the Portuguese filmmaker Susana Sousa Dias, explores this intersection by using and showing the cracks of the political prisoners’ mug shots.
{"title":"Sparks of reality: on the temporalities of the photographic image","authors":"N. Conceição","doi":"10.13128/AISTHESIS-23456","DOIUrl":"https://doi.org/10.13128/AISTHESIS-23456","url":null,"abstract":"Within the context of the contemporary heterogeneity of photographic practices, the present text describes some of the possibilities of understanding the temporality of photographs, giving an account of some important theoretical references (Benjamin, Kracauer, Barthes, Derrida). Bearing this in mind, describing photographs as sparks of reality is a way of expanding the Benjaminian proposal and avoiding the strict logics of causality. The strength of photography unfolds the technologically rooted paradox of photographs, whose contemporary relevance can be analysed in the intersection between aesthetics, history and politics. The film 48 , by the Portuguese filmmaker Susana Sousa Dias, explores this intersection by using and showing the cracks of the political prisoners’ mug shots.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79118595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-01DOI: 10.13128/AISTHESIS-23281
O. Rignani
The paper examines and discusses Michel Serres’ idea, expressed in the eighties, of the rediscovery of the senses and his idea expressed in the nineties of the metamorphism and mimicry of the body, reading them as a hominescence.
{"title":"Tra sensi, metamorfismo e mimetismo. Il corponuovo nella (recente) riflessione di MichelSerres","authors":"O. Rignani","doi":"10.13128/AISTHESIS-23281","DOIUrl":"https://doi.org/10.13128/AISTHESIS-23281","url":null,"abstract":"The paper examines and discusses Michel Serres’ idea, expressed in the eighties, of the rediscovery of the senses and his idea expressed in the nineties of the metamorphism and mimicry of the body, reading them as a hominescence.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90457662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La internacionalizacion del teatro es un fenomeno de reciente preocupacion en los Estados latinoamericanos, ya que propicia, la visibilidad cultural de los paises y el intercambio artistico y critico, ademas de nuevas posibilidades economicas. Tal circulacion interna- cional de obras teatrales supone la creacion de un repertorio que llamare “repertorio de exportacion”, a traves del cual se proyecta una imagen cultural del pais de procedencia, en tanto resultado de una construccion mediada por una seleccion. A traves del estudio de un grupo de obras chilenas presentadas en el extranjero es posible observar las convergencias y divergencias de dicho repertorio, identificar los diversos aspectos implicados en la cir- culacion internacional y reflexionar acerca de la imagen cultural proyectada por el teatro.
{"title":"Repertorio teatral e internacionalización del teatro chileno: un estudio de caso","authors":"P. Salvatori","doi":"10.7764/aisth.62.6","DOIUrl":"https://doi.org/10.7764/aisth.62.6","url":null,"abstract":"La internacionalizacion del teatro es un fenomeno de reciente preocupacion en los Estados latinoamericanos, ya que propicia, la visibilidad cultural de los paises y el intercambio artistico y critico, ademas de nuevas posibilidades economicas. Tal circulacion interna- cional de obras teatrales supone la creacion de un repertorio que llamare “repertorio de exportacion”, a traves del cual se proyecta una imagen cultural del pais de procedencia, en tanto resultado de una construccion mediada por una seleccion. A traves del estudio de un grupo de obras chilenas presentadas en el extranjero es posible observar las convergencias y divergencias de dicho repertorio, identificar los diversos aspectos implicados en la cir- culacion internacional y reflexionar acerca de la imagen cultural proyectada por el teatro.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82147436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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