Estética epistémica: el arte como representación
The conceptual tool “episteme” erected in the first period of Michel Foucault’s thought, allows to perform an analytic of art from the rules of discursive formation, which displace the traditional treatments that evoke the “mentality” or “conscience” of individuals. Foucault distinguishes three epis...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | Colombia |
| Institución: | Universidad Santo Tomás |
| Repositorio: | Repositorio Institucional USTA |
| Idioma: | español |
| OAI Identifier: | oai:repository.usta.edu.co:11634/13435 |
| Acceso en línea: | http://revistas.ustatunja.edu.co/index.php/qdisputatae/article/view/1534 |
| Access Level: | acceso abierto |
| Palabra clave: | Estética filosofía historia del arte epistemología Aesthetics philosophy art history epistemology Esthétique Philosophie histoire de l’art épistémologie filosofia história da arte epistemologia |
| Sumario: | The conceptual tool “episteme” erected in the first period of Michel Foucault’s thought, allows to perform an analytic of art from the rules of discursive formation, which displace the traditional treatments that evoke the “mentality” or “conscience” of individuals. Foucault distinguishes three epistemological components in his examination of Western society: The Renaissance, the Classical and the Modern. His analysis of Las Meninas provides elements to show the emergence of the classical episteme that revolves around representation and not about the similarity that characterized the Renaissance episteme. Don Quixote presents himself to Foucault as the hinge between the Renaissance and the classic episteme when he searches for words in things. |
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