{"title":"最后一场塞纳河中的礼貌对话：Jordi Claramonte和Feliza Bursztyn","authors":"Adryan Fabrizio Pineda Repizo","doi":"10.14483/21450706.15408","DOIUrl":null,"url":null,"abstract":"Based on the modal categories of Jordi Claramonte’s modal aesthetic theory, this text exposes a way of approaching the identification of modal relationships as axes of analysis of a work of art. To this end, a dialogue is proposed with La Ultima Sena of Colombian sculptor Feliza Bursztyn. This work allows to illustrate the tensions between the dispositional and that which belongs to the repertoire as constitutive elements of the artistic and the aesthetic reality.","PeriodicalId":41194,"journal":{"name":"Calle 14-Revista de investigacion en el Campo del Arte","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2019-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Diálogos modales en medio de una Última Sena: Jordi Claramonte y Feliza Bursztyn\",\"authors\":\"Adryan Fabrizio Pineda Repizo\",\"doi\":\"10.14483/21450706.15408\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Based on the modal categories of Jordi Claramonte’s modal aesthetic theory, this text exposes a way of approaching the identification of modal relationships as axes of analysis of a work of art. To this end, a dialogue is proposed with La Ultima Sena of Colombian sculptor Feliza Bursztyn. This work allows to illustrate the tensions between the dispositional and that which belongs to the repertoire as constitutive elements of the artistic and the aesthetic reality.\",\"PeriodicalId\":41194,\"journal\":{\"name\":\"Calle 14-Revista de investigacion en el Campo del Arte\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2019-12-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Calle 14-Revista de investigacion en el Campo del Arte\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.14483/21450706.15408\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Calle 14-Revista de investigacion en el Campo del Arte","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14483/21450706.15408","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
摘要
本文以乔迪·克拉蒙特的模态美学理论的模态范畴为基础，揭示了一种将模态关系识别为艺术作品分析轴线的方法。为此，我们提议与哥伦比亚雕塑家Feliza Bursztyn的La Ultima Sena进行对话。这个作品可以说明气质和属于作为艺术和美学现实的构成要素的曲目之间的紧张关系。
Diálogos modales en medio de una Última Sena: Jordi Claramonte y Feliza Bursztyn
Based on the modal categories of Jordi Claramonte’s modal aesthetic theory, this text exposes a way of approaching the identification of modal relationships as axes of analysis of a work of art. To this end, a dialogue is proposed with La Ultima Sena of Colombian sculptor Feliza Bursztyn. This work allows to illustrate the tensions between the dispositional and that which belongs to the repertoire as constitutive elements of the artistic and the aesthetic reality.
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