Confrontando teorías: ¿Propone Didi-Huberman un programa de investigación en Confronting Images: Questioning the Ends of a Certain History of Art?
This paper examines the theoretical and methodological thesis of Georges Didi-Huberman in “Confronting Images: Questioning the Ends of a Certain History of Art”. The analysis model is based on Imre Lakatos’ thesis on “The Methodology of Scientific Research Programmes”, therefore the Freudian Didi-Hu...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2014 |
| País: | Costa Rica |
| Institución: | Universidad de Costa Rica |
| Repositorio: | Portal de Revistas UCR |
| Idioma: | español |
| OAI Identifier: | oai:portal.ucr.ac.cr:article/17747 |
| Acceso en línea: | https://revistas.ucr.ac.cr/index.php/filosofia/article/view/17747 |
| Access Level: | acceso abierto |
| Palabra clave: | lakatos iconology freudism art history didi-huberman iconología freudismo historia del arte |
| Sumario: | This paper examines the theoretical and methodological thesis of Georges Didi-Huberman in “Confronting Images: Questioning the Ends of a Certain History of Art”. The analysis model is based on Imre Lakatos’ thesis on “The Methodology of Scientific Research Programmes”, therefore the Freudian Didi-Huberman’s proposal was evaluated against a mature science: the neo-Kantian iconology of Erwin Panofsky. Did Didi-Huberman propose a research program? After reviewing “Confronting Images” one realizes many of his criticisms on Panofsky, the iconology and Art History are not correctly argued. It also seeks to demonstrate how the proposal of Didi-Huberman is far from being a research program for Art History and closer to a lengthy philosophical reflection on the notions of art, existence (and feasibility) of a Science of Art and the human possibilities to interpret images. |
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