All Title Author
Keywords Abstract


Two Opposed Models of Approaching the Relationship between Art and Society and the Proposal of “Social-Aesthetic Constructs” as a Possibility of Mediation

DOI: 10.4236/adr.2018.61001, PP. 1-11

Keywords: Jacques Rancière, Richard Shusterman, Theodor Adorno, Autonomy of Art, Social-Aesthetic Constructs

Full-Text   Cite this paper   Add to My Lib

Abstract:

The objective of this article is to investigate two opposed models of approaching the relationship between art and society. The first one—that of Jacques Rancière—stresses the idea of aesthetic autonomy as a result of a historical process that began with Kant’s Critique of Judgement, reaching its most developed form in contemporaneity, and the second model, represented here by Richard Shusterman (inspired by John Dewey pragmatist aesthetics), focuses on the deep roots that artistic phenomena have in society and culminates with his analysis of the hip hop culture. Taking into account as well their respectively fruitfulness as some of their limitations and inspired by Theodor Adorno, I propose the concept of “social-aesthetic construct”, which is meant to be a mediation between the aforementioned opposed models.

References

[1]  Adorno, T. W., & Horkheimer, M. (1996). Dialectic of Enlightenment. New York: Continuum.
[2]  Adorno, T. W. (1991). Culture Industry Reconsidered. In: J. M. Bernstein (Ed.), The Culture Industry. Selected Essays on Mass Culture. London and New York: Routledge.
[3]  Adorno, T. W. (1991a). Notes to Literature (Volume One). S. W. Nicholsen (Trans.). New York: Columbia University Press.
[4]  Duarte, R. (2007). Sobre o construto estético-social. Sofia, XII, 17&18, 239-246.
[5]  Duarte, R. (2014). Vilém Flusser e a estetosfera brasileira. In: R. Duarte, A. Serra, & R. Freitas (Eds.), Imagem, imaginação, fantasia. Vinte anos sem Vilém Flusser (pp. 177-189). Belo Horizonte: Relicário Edições.
[6]  Gans, H. J. (1974). Popular Culture and High Culture: An Analysis and Evaluation of Taste. New York: Basic Books.
[7]  Michell-Kernan, C. (1972). Signifying, Loud-Talking and Marking. In: T. Kochman (Ed.), Rappin’ and Stylin’ Out (pp. 326-327). Urbana: University of Illinois Press.
[8]  Rancière, J. (2004). The Politics of Aesthetics. The Distribution of the Sensible. New York/London: Continuum.
[9]  Rancière, J. (2009). Aesthetic Separation, Aesthetic Community. In: G. Elliot (Trans.), The Emancipated Spectator (pp. 51-82). London: Verso.
[10]  Shusterman, R. (2000). Pragmatist Aesthetics. Living Beauty, Rethinking Art. Lanham/Boulder/New York/London: Rowman & Littlefield Publishers.

Full-Text

comments powered by Disqus