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They appreciate the use and appropriation of its formal and aesthetic strategies in some artists of contemporary art, from which we can think about the current historical processes of the region.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3733b0a5933309b6248bc27a55ab2383" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":111009328,"asset_id":114265867,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/111009328/download_file?st=MTczMjQ1OTkyNyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114265867"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114265867"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114265867; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=114265867]").text(description); $(".js-view-count[data-work-id=114265867]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 114265867; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='114265867']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 114265867, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3733b0a5933309b6248bc27a55ab2383" } } $('.js-work-strip[data-work-id=114265867]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":114265867,"title":"Aproximación al uso de estrategias del Barroco en el arte contemporáneo latinoamericano","translated_title":"","metadata":{"doi":"10.13137/2035-6633/35584","abstract":"Approach to the use of Baroque strategies in Latin American contemporary art The authors reflect on the conceptual slippage of the Baroque from the philosophy and history of Latin American art. 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In this sense, this arti cle leverages how A bar at the Folies—Bergère questions the social representation of not only the public but the legitimizing institutions that support an artistic truth, to point to an x—ray that presents the structure and the gap between the public and artists, between artistic expression and cultural significance, and thus presents the cultural crisis warned by artists.","publication_date":{"day":null,"month":null,"year":2014,"errors":{}}},"translated_abstract":"The main discourses on art during the nineteenth century defined the artist as a spirit that should express their unbridled creativity, and overall that had the strength to express its total personal autonomy from institutional processes of culture. 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In this sense, this arti cle leverages how A bar at the Folies—Bergère questions the social representation of not only the public but the legitimizing institutions that support an artistic truth, to point to an x—ray that presents the structure and the gap between the public and artists, between artistic expression and cultural significance, and thus presents the cultural crisis warned by artists.","internal_url":"https://www.academia.edu/76040861/La_esfera_p%C3%BAblica_y_El_bar_de_las_Folies_Berg%C3%A8re_de_Edouard_Manet","translated_internal_url":"","created_at":"2022-04-10T16:21:03.152-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":643364,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"La_esfera_pública_y_El_bar_de_las_Folies_Bergère_de_Edouard_Manet","translated_slug":"","page_count":null,"language":"en","content_type":"Work","owner":{"id":643364,"first_name":"Carlos","middle_initials":"","last_name":"Vanegas","page_name":"CarlosVanegas","domain_name":"udea","created_at":"2011-08-04T00:58:26.111-07:00","display_name":"Carlos Vanegas","url":"https://udea.academia.edu/CarlosVanegas"},"attachments":[],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76040860"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/76040860/Del_ser_nacional_y_otras_ficciones_A_prop%C3%B3sito_de_Efr%C3%A9n_Giraldo_Negroides_simuladores_melanc%C3%B3licos_El_ser_nacional_en_el_ensayo_literario_colombiano_del_siglo_XX"><img alt="Research paper thumbnail of Del ser nacional y otras ficciones. A propósito de Efrén Giraldo, Negroides, simuladores, melancólicos. El ser nacional en el ensayo literario colombiano del siglo XX" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/76040860/Del_ser_nacional_y_otras_ficciones_A_prop%C3%B3sito_de_Efr%C3%A9n_Giraldo_Negroides_simuladores_melanc%C3%B3licos_El_ser_nacional_en_el_ensayo_literario_colombiano_del_siglo_XX">Del ser nacional y otras ficciones. A propósito de Efrén Giraldo, Negroides, simuladores, melancólicos. El ser nacional en el ensayo literario colombiano del siglo XX</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Autores como Lukács o Adorno, por solo mencionar algunos nombres del siglo XX, han visto en el en...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Autores como Lukács o Adorno, por solo mencionar algunos nombres del siglo XX, han visto en el ensayo uno de los géneros literarios fundamentales para la expresión y exposición de ideas, con el bemol de que el ensayo siempre está en conflicto con otras plataformas de conocimiento, como las del orden establecido por la institución y la academia. Desde una postura compartida, el ensayista y crítico Efrén Giraldo se ha preocupado por la reinvindicación del ensayo literario, como una fuente de figuración de la realidad, en el ámbito intelectual colombiano</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76040860"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76040860"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76040860; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76040860]").text(description); $(".js-view-count[data-work-id=76040860]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76040860; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76040860']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76040860, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76040860]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76040860,"title":"Del ser nacional y otras ficciones. 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Desde una postura compartida, el ensayista y crítico Efrén Giraldo se ha preocupado por la reinvindicación del ensayo literario, como una fuente de figuración de la realidad, en el ámbito intelectual colombiano","publication_date":{"day":null,"month":null,"year":2013,"errors":{}}},"translated_abstract":"Autores como Lukács o Adorno, por solo mencionar algunos nombres del siglo XX, han visto en el ensayo uno de los géneros literarios fundamentales para la expresión y exposición de ideas, con el bemol de que el ensayo siempre está en conflicto con otras plataformas de conocimiento, como las del orden establecido por la institución y la academia. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76040853"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76040853/Aproximaci%C3%B3n_a_la_secularizaci%C3%B3n_y_la_experiencia_como_condiciones_para_la_filosof%C3%ADa_de_la_historia_en_el_siglo_XIX"><img alt="Research paper thumbnail of Aproximación a la secularización y la experiencia como condiciones para la filosofía de la historia en el siglo XIX" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76040853/Aproximaci%C3%B3n_a_la_secularizaci%C3%B3n_y_la_experiencia_como_condiciones_para_la_filosof%C3%ADa_de_la_historia_en_el_siglo_XIX">Aproximación a la secularización y la experiencia como condiciones para la filosofía de la historia en el siglo XIX</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En el siguiente articulo pretendemos indagar por uno de los problemas filosoficos centrales de la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En el siguiente articulo pretendemos indagar por uno de los problemas filosoficos centrales de la filosofia de la historia: la reflexion sobre la nueva conciencia del tiempo historico a la luz de dos conceptos–guia conformadores de la Modernidad: la secularizacion y la experiencia. De manera regular utilizamos el termino “filosofia de la historia” sin percibir que en el se plantea una ambiguedad fundamental en el concepto de historia. Por una parte, indica la historia como tal, como el desarrollo de los procesos, los acontecimientos y los eventos a lo largo de la historia; por otra, el mismo termino es utilizado para referirse a la ciencia que indaga por aquellas pretensiones y condiciones de posibilidad que permiten el por que acontecen historias, como pueden cumplimentarse, como deben estudiarse o narrarse y por que. Asi, es necesario tener presente la secularizacion y la experiencia en la actividad de los procesos historicos y en la manera como consideramos, relatamos e interpretamos filosoficamente esa actividad, particularmente en el siglo XIX. En otras palabras, ademas del estudio de los problemas historicos, la filosofia de la historia se presenta tambien como una disciplina, que cuenta con su propia historia y con un desarrollo epistemologico particular.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76040853"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76040853"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76040853; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76040853]").text(description); $(".js-view-count[data-work-id=76040853]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76040853; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76040853']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76040853, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76040853]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76040853,"title":"Aproximación a la secularización y la experiencia como condiciones para la filosofía de la historia en el siglo XIX","translated_title":"","metadata":{"abstract":"En el siguiente articulo pretendemos indagar por uno de los problemas filosoficos centrales de la filosofia de la historia: la reflexion sobre la nueva conciencia del tiempo historico a la luz de dos conceptos–guia conformadores de la Modernidad: la secularizacion y la experiencia. 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En otras palabras, ademas del estudio de los problemas historicos, la filosofia de la historia se presenta tambien como una disciplina, que cuenta con su propia historia y con un desarrollo epistemologico particular."},"translated_abstract":"En el siguiente articulo pretendemos indagar por uno de los problemas filosoficos centrales de la filosofia de la historia: la reflexion sobre la nueva conciencia del tiempo historico a la luz de dos conceptos–guia conformadores de la Modernidad: la secularizacion y la experiencia. De manera regular utilizamos el termino “filosofia de la historia” sin percibir que en el se plantea una ambiguedad fundamental en el concepto de historia. Por una parte, indica la historia como tal, como el desarrollo de los procesos, los acontecimientos y los eventos a lo largo de la historia; por otra, el mismo termino es utilizado para referirse a la ciencia que indaga por aquellas pretensiones y condiciones de posibilidad que permiten el por que acontecen historias, como pueden cumplimentarse, como deben estudiarse o narrarse y por que. Asi, es necesario tener presente la secularizacion y la experiencia en la actividad de los procesos historicos y en la manera como consideramos, relatamos e interpretamos filosoficamente esa actividad, particularmente en el siglo XIX. 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Sin embargo, en las propuestas de Schlosser y Argan aparecen aspectos metodológicos válidos para comprender y visualizar la función del historiador como mediador en la cultura de la sensibilidad, las modulaciones del arte que han surgido en los embates del devenir histórico y que le han permitido tanto al arte como a la historia del arte llegar a ser lo que son o pueden ser para nosotros en la actualidad.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2483533b6211ea652e8ab9e5aa3de249" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":83725297,"asset_id":76040778,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/83725297/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76040778"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76040778"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76040778; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76040778]").text(description); $(".js-view-count[data-work-id=76040778]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76040778; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76040778']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76040778, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2483533b6211ea652e8ab9e5aa3de249" } } $('.js-work-strip[data-work-id=76040778]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76040778,"title":"De la historia del arte como posibilidad actual del humanismo en Julius von Schlosser y Giulio Carlo Argan","translated_title":"","metadata":{"abstract":"El complejo del contexto contemporáneo en la esfera del arte ha llevado a la revisión y exclusión de disciplinas que ofrecieron modelos de explicación y conceptualización de la realidad, como la Historia del arte, cuestionada epistemológicamente por Gombrich, por los discursos posmodernos de la muerte del autor y de la tradición como un fenómeno textual, hasta la declaración de su muerte en función de la hibridación de disciplinas humanistas. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35541900"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35541900/Gombrich_la_Historia_del_arte_y_las_humanidades"><img alt="Research paper thumbnail of Gombrich: la Historia del arte y las humanidades" class="work-thumbnail" src="https://attachments.academia-assets.com/55407597/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35541900/Gombrich_la_Historia_del_arte_y_las_humanidades">Gombrich: la Historia del arte y las humanidades</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Er...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. De esta manera, planteo el interés por pensar la Historia del arte para el presente, en el cual Gombrich se enfrena al problema del método de la Historia como una humanidad en el ámbito académico, tanto en el mundo del pensamiento como en el mundo burocrático de las instituciones universitarias.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f460de79e302bb1f24dd13608ad8c524" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55407597,"asset_id":35541900,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55407597/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35541900"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35541900"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35541900; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35541900]").text(description); $(".js-view-count[data-work-id=35541900]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35541900; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35541900']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 35541900, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f460de79e302bb1f24dd13608ad8c524" } } $('.js-work-strip[data-work-id=35541900]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35541900,"title":"Gombrich: la Historia del arte y las humanidades","translated_title":"","metadata":{"abstract":"Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. 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La situación, que a veces se caracteriza por la impotencia de la teoría, la historia y la crítica del arte al ocuparse del arte más reciente, proviene, entre otras razones, de un hecho evidente: nunca estas disciplinas habían tenido que entenderse con tal abundancia de prácticas, fenómenos artísticos, y declaraciones artísticas. Asimismo, las complejas formas vividas por el sistema internacional del arte ha planteado a la comprensión de estos fenómenos una serie de retos de fuerte impacto en la misma actividad de los artistas. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34785424"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34785424/Convocatoria_Est%C3%A9tica_y_las_acciones_pol%C3%ADticas_del_arte"><img alt="Research paper thumbnail of Convocatoria Estética y las acciones políticas del arte" class="work-thumbnail" src="https://attachments.academia-assets.com/54670442/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34785424/Convocatoria_Est%C3%A9tica_y_las_acciones_pol%C3%ADticas_del_arte">Convocatoria Estética y las acciones políticas del arte</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://antioquia.academia.edu/EstudiosdeFilosof%C3%ADaUniversidaddeAntioquia">Estudios de Filosofía Universidad de Antioquia</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://udea.academia.edu/CarlosVanegas">Carlos Vanegas</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://antioquia.academia.edu/CarmenElenaMu%C3%B1ozPreciado">Carmen Elena Muñoz Preciado</a></span></div><div class="wp-workCard_item"><span>Estudios de Filosofía</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Convocatoria Estética y las acciones políticas del arte Estudios de Filosofía No 58, junio-di...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Convocatoria <br />Estética y las acciones políticas del arte <br />Estudios de Filosofía <br />No 58, junio-diciembre 2018 <br /> <br />Este número temático se propone reunir artículos de investigación sobre la situación actual de las relaciones entre arte y política a través varias preguntas: ¿Cómo se puede describir la relación actual entre el arte, las políticas públicas y el capital cultural? ¿Cómo podemos conceptualizar hoy el potencial del arte y sus prácticas como herramientas críticas y transformadoras de lo social? ¿El vínculo entre arte y política responde meramente en la actualidad a la estrategia retórica de las obras de arte? La oposición, la subversión, la problematicidad de las relaciones entre la diversidad de artistas, los actores sociales y las convenciones y sistemas político-sociales, ¿enriquecen su capacidad crítica y funcional o la empobrecen? La política no se encuentra sólo fuera del arte, sino también en su interior. En los últimos años se ha evidenciado la creatividad de los artistas para reinventar sus relaciones con la institucionalidad, constituir nuevas formas de circulación de las obras, de resistencia, de colaboración y de lucha; como puede apreciarse en los casos de artistas que convierten sus vidas en laboratorios de experimentación para la reinvención de la vida en común. <br /> <br />Estudios de Filosofía es el nombre de la revista editada por el Instituto de Filosofía de la Universidad de Antioquia. Es una publicación electrónica internacional de acceso abierto regida por el sistema de doble arbitraje anónimo. Circula semestralmente de manera ordinaria, sin perjuicio de que, a juicio del Comité Editorial, se realicen publicaciones extraordinarias. Desde su fundación en 1990 Estudios de Filosofía se ha concebido como medio especializado para el fomento y la difusión de trabajos de investigación en todos los campos de la filosofía, tanto de investigadores colombianos como de miembros de la comunidad filosófica internacional. La institucionalidad de la revista garantiza su orientación hacia el desarrollo de las investigaciones filosóficas en el país y el fortalecimiento de una cultura de comunicación, bajo el principio del respeto a la libertad de expresión e investigación. Se trata de una publicación dirigida a un público de especialistas en filosofía, pero también a todas aquellas personas interesadas en el debate intelectual contemporáneo. <br /> <br />Fecha límite: 1 de diciembre <br />Correo: <a href="mailto:revistafilosofia@udea.edu.co" rel="nofollow">revistafilosofia@udea.edu.co</a> <br /><a href="https://aprendeenlinea.udea.edu.co/revistas/index.php/estudios_de_filosofia" rel="nofollow">https://aprendeenlinea.udea.edu.co/revistas/index.php/estudios_de_filosofia</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b86adfab7e449349a4b19be64b0c23c3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54670442,"asset_id":34785424,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54670442/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34785424"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34785424"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34785424; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34785424]").text(description); $(".js-view-count[data-work-id=34785424]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34785424; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34785424']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 34785424, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b86adfab7e449349a4b19be64b0c23c3" } } $('.js-work-strip[data-work-id=34785424]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34785424,"title":"Convocatoria Estética y las acciones políticas del arte","translated_title":"","metadata":{"abstract":"Convocatoria \r\nEstética y las acciones políticas del arte\r\nEstudios de Filosofía\r\nNo 58, junio-diciembre 2018\r\n\r\nEste número temático se propone reunir artículos de investigación sobre la situación actual de las relaciones entre arte y política a través varias preguntas: ¿Cómo se puede describir la relación actual entre el arte, las políticas públicas y el capital cultural? ¿Cómo podemos conceptualizar hoy el potencial del arte y sus prácticas como herramientas críticas y transformadoras de lo social? ¿El vínculo entre arte y política responde meramente en la actualidad a la estrategia retórica de las obras de arte? 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paper thumbnail of Yosman Botero y Postcolombino" class="work-thumbnail" src="https://attachments.academia-assets.com/47399155/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/27149806/Yosman_Botero_y_Postcolombino">Yosman Botero y Postcolombino</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementa...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La obra de Yosman Botero siempre ha orbitado entre paradojas.<br />Desde los mismos lugares suplementarios de su obra, como los títulos<br />de sus series Full of Emptiness (2013), Immaterial matter (2014) y<br />Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia<br />de las imágenes” del arte como de su capacidad comunicativa<br />de la realidad: ya sea esta la experiencia del arte o la realidad social<br />colombiana, o lo que sea que entendemos por “lo real”, tan cara<br />a las propuestas simulacionistas y posapropiacionistas de las décadas<br />del setenta y ochenta. Y digo paradojas porque aquí se juega en los<br />terrenos de una intención inexpresiva ante los procesos de creación<br />de la imagen: Opie, Haring, Negret, Davies, Los Simpsons, Velásquez,<br />o el conflicto colombiano, no son más que el mundo al que<br />Yosman Botero se refiere; pero es un mundo sometido a los procesos<br />de reproducción y mediación cultural, y reflejado en las imágenes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="68120e3f10521786cb004909688fddc0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":47399155,"asset_id":27149806,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/47399155/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="27149806"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="27149806"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 27149806; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=27149806]").text(description); $(".js-view-count[data-work-id=27149806]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 27149806; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='27149806']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 27149806, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "68120e3f10521786cb004909688fddc0" } } $('.js-work-strip[data-work-id=27149806]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":27149806,"title":"Yosman Botero y Postcolombino","translated_title":"","metadata":{"abstract":"La obra de Yosman Botero siempre ha orbitado entre paradojas.\nDesde los mismos lugares suplementarios de su obra, como los títulos\nde sus series Full of Emptiness (2013), Immaterial matter (2014) y\nPostcolombino (2016) se plantea una encrucijada tanto de la “supervivencia\nde las imágenes” del arte como de su capacidad comunicativa\nde la realidad: ya sea esta la experiencia del arte o la realidad social\ncolombiana, o lo que sea que entendemos por “lo real”, tan cara\na las propuestas simulacionistas y posapropiacionistas de las décadas\ndel setenta y ochenta. Y digo paradojas porque aquí se juega en los\nterrenos de una intención inexpresiva ante los procesos de creación\nde la imagen: Opie, Haring, Negret, Davies, Los Simpsons, Velásquez,\no el conflicto colombiano, no son más que el mundo al que\nYosman Botero se refiere; pero es un mundo sometido a los procesos\nde reproducción y mediación cultural, y reflejado en las imágenes. "},"translated_abstract":"La obra de Yosman Botero siempre ha orbitado entre paradojas.\nDesde los mismos lugares suplementarios de su obra, como los títulos\nde sus series Full of Emptiness (2013), Immaterial matter (2014) y\nPostcolombino (2016) se plantea una encrucijada tanto de la “supervivencia\nde las imágenes” del arte como de su capacidad comunicativa\nde la realidad: ya sea esta la experiencia del arte o la realidad social\ncolombiana, o lo que sea que entendemos por “lo real”, tan cara\na las propuestas simulacionistas y posapropiacionistas de las décadas\ndel setenta y ochenta. Y digo paradojas porque aquí se juega en los\nterrenos de una intención inexpresiva ante los procesos de creación\nde la imagen: Opie, Haring, Negret, Davies, Los Simpsons, Velásquez,\no el conflicto colombiano, no son más que el mundo al que\nYosman Botero se refiere; pero es un mundo sometido a los procesos\nde reproducción y mediación cultural, y reflejado en las imágenes. 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W. F. Hegel" class="work-thumbnail" src="https://attachments.academia-assets.com/45930429/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25600123/La_apariencia_Schein_en_las_Lecciones_sobre_la_est%C3%A9tica_de_G_W_F_Hegel">La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel</a></div><div class="wp-workCard_item"><span>Estudios de Filosofia nº 53, Junio de 2016. Universidad de Antioquia, pp. 35-55. </span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la ap...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, vinculada al no-ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. <br />It may be noted that since Plato art has been philosophically undermined because its element and its means (media) is appearance. In such a way that, being and truth according to ancient theory, are found in ideas rather than in sensible appearances. Hegel is far from Platonism in his Lectures on aesthetics and on the contrary, he makes a claim of the appearance in art. The interest of this paper is to investigate the distinction between deceiving appearance linked to non-being, and the necessary appearance of works of art, that for Hegel, is the appearance of the essence. The article uses both the opposition raised by Hegel between natural beauty and spiritual beauty, as the way of being of art as an ideal, to indicate that the appearance of art is one of the ways in which the spirit reaches concretion, where it reveals its active consciousness, its reasoning, and can manifest determinations and significantly higher interests for its culture.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8228b1bf54142b3222b1b3fef65c1587" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45930429,"asset_id":25600123,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45930429/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25600123"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25600123"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25600123; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25600123]").text(description); $(".js-view-count[data-work-id=25600123]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25600123; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25600123']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25600123, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8228b1bf54142b3222b1b3fef65c1587" } } $('.js-work-strip[data-work-id=25600123]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25600123,"title":"La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel","translated_title":"","metadata":{"abstract":"Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, vinculada al no-ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. \nIt may be noted that since Plato art has been philosophically undermined because its element and its means (media) is appearance. In such a way that, being and truth according to ancient theory, are found in ideas rather than in sensible appearances. Hegel is far from Platonism in his Lectures on aesthetics and on the contrary, he makes a claim of the appearance in art. The interest of this paper is to investigate the distinction between deceiving appearance linked to non-being, and the necessary appearance of works of art, that for Hegel, is the appearance of the essence. The article uses both the opposition raised by Hegel between natural beauty and spiritual beauty, as the way of being of art as an ideal, to indicate that the appearance of art is one of the ways in which the spirit reaches concretion, where it reveals its active consciousness, its reasoning, and can manifest determinations and significantly higher interests for its culture.","publication_name":"Estudios de Filosofia nº 53, Junio de 2016. Universidad de Antioquia, pp. 35-55. "},"translated_abstract":"Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, vinculada al no-ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. \nIt may be noted that since Plato art has been philosophically undermined because its element and its means (media) is appearance. In such a way that, being and truth according to ancient theory, are found in ideas rather than in sensible appearances. Hegel is far from Platonism in his Lectures on aesthetics and on the contrary, he makes a claim of the appearance in art. The interest of this paper is to investigate the distinction between deceiving appearance linked to non-being, and the necessary appearance of works of art, that for Hegel, is the appearance of the essence. The article uses both the opposition raised by Hegel between natural beauty and spiritual beauty, as the way of being of art as an ideal, to indicate that the appearance of art is one of the ways in which the spirit reaches concretion, where it reveals its active consciousness, its reasoning, and can manifest determinations and significantly higher interests for its culture.","internal_url":"https://www.academia.edu/25600123/La_apariencia_Schein_en_las_Lecciones_sobre_la_est%C3%A9tica_de_G_W_F_Hegel","translated_internal_url":"","created_at":"2016-05-24T22:07:48.125-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":643364,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":45930429,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45930429/thumbnails/1.jpg","file_name":"26692-105418-1-SM.pdf","download_url":"https://www.academia.edu/attachments/45930429/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_apariencia_Schein_en_las_Lecciones_so.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45930429/26692-105418-1-SM-libre.pdf?1464152919=\u0026response-content-disposition=attachment%3B+filename%3DLa_apariencia_Schein_en_las_Lecciones_so.pdf\u0026Expires=1732275025\u0026Signature=S81RqVbNUkcIyEhB9EFmoQhl983Zxdqnd5B2Pteu6h1HVbSI9FFgMsei-bKk0kcwiW8frQuk-fGRAp~9H-lk~eX6eyx7jnTXLgz3LCep0902RLANIDDLGJuj8UAm2C9oSP~pwNkHCrXJLcogx9xVZsm0SGJG3nT4ylyT-XnoH8mlX3WomOqvir~K8h6iE5UblHuW-FgLxeaxAlTftkSkd1jlqVOPAR2GabeF2v5jeE2JtvqdF7dGsEIriJrxOHSLxyLOYHCjgiLJ6RGs7YHzkx3B5Po9Tynm27Cv4zqMrZsXHWTDXqoAU~0x7K4CUU0rkoGQ7Y3yOd4pJ4aqQR5c6A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"La_apariencia_Schein_en_las_Lecciones_sobre_la_estética_de_G_W_F_Hegel","translated_slug":"","page_count":21,"language":"es","content_type":"Work","owner":{"id":643364,"first_name":"Carlos","middle_initials":"","last_name":"Vanegas","page_name":"CarlosVanegas","domain_name":"udea","created_at":"2011-08-04T00:58:26.111-07:00","display_name":"Carlos Vanegas","url":"https://udea.academia.edu/CarlosVanegas"},"attachments":[{"id":45930429,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45930429/thumbnails/1.jpg","file_name":"26692-105418-1-SM.pdf","download_url":"https://www.academia.edu/attachments/45930429/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_apariencia_Schein_en_las_Lecciones_so.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45930429/26692-105418-1-SM-libre.pdf?1464152919=\u0026response-content-disposition=attachment%3B+filename%3DLa_apariencia_Schein_en_las_Lecciones_so.pdf\u0026Expires=1732275026\u0026Signature=ALOzwk7kB1Ic-bcPMUy7gPTXwZxWZvxEO9FsF8yMUX5ppvRNEwN18C3XYTVZr0XVUkEC9ke5ixuek1U1qEz44ukoeDXfq4-yz7y086jEPBn-2j0fibvhIXiA0S1iwwJsm2gJmjIq-rXDOagCQmgqG31okg5zW1R-zbbt9hM9LmnVhImiaGU-NYeH7lY6TsUI2V8NzrbN8lXRhzKChtsEEzkJ-2EF6pUgCgLhsXnyNLIcHy9UjWsoZdNG5UYhKZUONHMH~cuE39UxhtVFfEa9nfWJGKtv2MtLiUjG8XeXfV6k8JPmibza7AmZJnPnZ7lgf5rIhitbER2JDKLgITFoOA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy"},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art"},{"id":7942,"name":"Hegel","url":"https://www.academia.edu/Documents/in/Hegel"},{"id":18108,"name":"G.W.F. Hegel","url":"https://www.academia.edu/Documents/in/G.W.F._Hegel"}],"urls":[{"id":7138841,"url":"https://aprendeenlinea.udea.edu.co/revistas/index.php/estudios_de_filosofia/issue/view/2219"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25280285"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25280285/Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_esp%C3%ADritu_del_muerto_la_recuerda_1892"><img alt="Research paper thumbnail of Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892" class="work-thumbnail" src="https://attachments.academia-assets.com/45582424/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25280285/Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_esp%C3%ADritu_del_muerto_la_recuerda_1892">Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y maniﬁestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la ﬁgura del pintor post impresionista Paul Gauguin  y el escritor Mario Vargas Llosa. Para ello, reﬂexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d5c5140d8115f3a255552cdc61261881" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45582424,"asset_id":25280285,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45582424/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25280285"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25280285"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25280285; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25280285]").text(description); $(".js-view-count[data-work-id=25280285]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25280285; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25280285']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25280285, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d5c5140d8115f3a255552cdc61261881" } } $('.js-work-strip[data-work-id=25280285]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25280285,"title":"Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892","translated_title":"","metadata":{"abstract":"Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y maniﬁestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la ﬁgura del pintor post impresionista Paul Gauguin y el escritor Mario Vargas Llosa. Para ello, reﬂexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias."},"translated_abstract":"Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y maniﬁestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la ﬁgura del pintor post impresionista Paul Gauguin y el escritor Mario Vargas Llosa. Para ello, reﬂexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias.","internal_url":"https://www.academia.edu/25280285/Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_esp%C3%ADritu_del_muerto_la_recuerda_1892","translated_internal_url":"","created_at":"2016-05-12T14:53:17.434-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":643364,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":45582424,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45582424/thumbnails/1.jpg","file_name":"Paul_Gauguin.pdf","download_url":"https://www.academia.edu/attachments/45582424/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Paul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45582424/Paul_Gauguin-libre.pdf?1463090072=\u0026response-content-disposition=attachment%3B+filename%3DPaul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf\u0026Expires=1732463528\u0026Signature=g0kmKOvN~tDpnhEWK1vTP4Zwb9a2moBTkGM0K9Vq5T7RrR7avg44-xKXXfoOfKS8lbtPTgIVdMwrLUWgQxjbZ11MlOU55J1tZnpvsW6IRhTrTrkXGpAKdfuyDS31QWW61eUWcxIvOSmHzyWoNI5GUklCGXmUHIvYwH5OPJ3LSiMYSjM9z0UmPX2Wkv~CQKkfyK2YIVf~yzkTUQAVK4Hnh5fPWXlKneUC4lkmh2uB1mNzfCowWWK52SLSkwTKGCoZ3ClFj3vE4zxqI4CbIvy9veP8u~L9R0T1VQ3lXXfna27ne6oDCGfD6NbeiMdX~UPgvEHB1njapNTn2TzC5O0Q~A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_espíritu_del_muerto_la_recuerda_1892","translated_slug":"","page_count":25,"language":"es","content_type":"Work","owner":{"id":643364,"first_name":"Carlos","middle_initials":"","last_name":"Vanegas","page_name":"CarlosVanegas","domain_name":"udea","created_at":"2011-08-04T00:58:26.111-07:00","display_name":"Carlos Vanegas","url":"https://udea.academia.edu/CarlosVanegas"},"attachments":[{"id":45582424,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45582424/thumbnails/1.jpg","file_name":"Paul_Gauguin.pdf","download_url":"https://www.academia.edu/attachments/45582424/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Paul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45582424/Paul_Gauguin-libre.pdf?1463090072=\u0026response-content-disposition=attachment%3B+filename%3DPaul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf\u0026Expires=1732463528\u0026Signature=g0kmKOvN~tDpnhEWK1vTP4Zwb9a2moBTkGM0K9Vq5T7RrR7avg44-xKXXfoOfKS8lbtPTgIVdMwrLUWgQxjbZ11MlOU55J1tZnpvsW6IRhTrTrkXGpAKdfuyDS31QWW61eUWcxIvOSmHzyWoNI5GUklCGXmUHIvYwH5OPJ3LSiMYSjM9z0UmPX2Wkv~CQKkfyK2YIVf~yzkTUQAVK4Hnh5fPWXlKneUC4lkmh2uB1mNzfCowWWK52SLSkwTKGCoZ3ClFj3vE4zxqI4CbIvy9veP8u~L9R0T1VQ3lXXfna27ne6oDCGfD6NbeiMdX~UPgvEHB1njapNTn2TzC5O0Q~A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory"},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="3453173" id="papers"><div class="js-work-strip profile--work_container" data-work-id="114265867"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/114265867/Aproximaci%C3%B3n_al_uso_de_estrategias_del_Barroco_en_el_arte_contempor%C3%A1neo_latinoamericano"><img alt="Research paper thumbnail of Aproximación al uso de estrategias del Barroco en el arte contemporáneo latinoamericano" class="work-thumbnail" src="https://attachments.academia-assets.com/111009328/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/114265867/Aproximaci%C3%B3n_al_uso_de_estrategias_del_Barroco_en_el_arte_contempor%C3%A1neo_latinoamericano">Aproximación al uso de estrategias del Barroco en el arte contemporáneo latinoamericano</a></div><div class="wp-workCard_item"><span>Visioni LatinoAmericane</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Approach to the use of Baroque strategies in Latin American contemporary art The authors reflect ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Approach to the use of Baroque strategies in Latin American contemporary art The authors reflect on the conceptual slippage of the Baroque from the philosophy and history of Latin American art. 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De esta manera, planteo el interés por pensar la Historia del arte para el presente, en el cual Gombrich se enfrena al problema del método de la Historia como una humanidad en el ámbito académico, tanto en el mundo del pensamiento como en el mundo burocrático de las instituciones universitarias.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76040862"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76040862"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76040862; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76040862]").text(description); $(".js-view-count[data-work-id=76040862]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76040862; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76040862']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76040862, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76040862]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76040862,"title":"Gombrich: la Historia del arte y las humanidades","translated_title":"","metadata":{"abstract":"Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. 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Thus, Manet’s work A bar at the Folies—Bergère contains substantial elements that express and help us to understand both the role of the artist, as the crisis of meaning in the work of modern art and problematic public sphere, treated by Habermas as the fi eld of social life in which we can develop our public opinion, and that is determined by common sense and rati onal consensus. 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Imagen fotográfica y arte contemporáneo en Colombia de Efrén Giraldo</a></div><div class="wp-workCard_item"><span>Cuadernos De Musica Artes Visuales Y Artes Escenicas</span><span>, Apr 12, 2013</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="adca5ce0b91d7d660cf595905934c629" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":83725399,"asset_id":76040854,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/83725399/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyNyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76040854"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76040854"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76040854; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76040854]").text(description); $(".js-view-count[data-work-id=76040854]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76040854; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76040854']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76040854, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "adca5ce0b91d7d660cf595905934c629" } } $('.js-work-strip[data-work-id=76040854]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76040854,"title":"La fotografía y los desplazamientos en el arte contemporáneo colombiano. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76040853"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76040853/Aproximaci%C3%B3n_a_la_secularizaci%C3%B3n_y_la_experiencia_como_condiciones_para_la_filosof%C3%ADa_de_la_historia_en_el_siglo_XIX"><img alt="Research paper thumbnail of Aproximación a la secularización y la experiencia como condiciones para la filosofía de la historia en el siglo XIX" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76040853/Aproximaci%C3%B3n_a_la_secularizaci%C3%B3n_y_la_experiencia_como_condiciones_para_la_filosof%C3%ADa_de_la_historia_en_el_siglo_XIX">Aproximación a la secularización y la experiencia como condiciones para la filosofía de la historia en el siglo XIX</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En el siguiente articulo pretendemos indagar por uno de los problemas filosoficos centrales de la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En el siguiente articulo pretendemos indagar por uno de los problemas filosoficos centrales de la filosofia de la historia: la reflexion sobre la nueva conciencia del tiempo historico a la luz de dos conceptos–guia conformadores de la Modernidad: la secularizacion y la experiencia. De manera regular utilizamos el termino “filosofia de la historia” sin percibir que en el se plantea una ambiguedad fundamental en el concepto de historia. Por una parte, indica la historia como tal, como el desarrollo de los procesos, los acontecimientos y los eventos a lo largo de la historia; por otra, el mismo termino es utilizado para referirse a la ciencia que indaga por aquellas pretensiones y condiciones de posibilidad que permiten el por que acontecen historias, como pueden cumplimentarse, como deben estudiarse o narrarse y por que. Asi, es necesario tener presente la secularizacion y la experiencia en la actividad de los procesos historicos y en la manera como consideramos, relatamos e interpretamos filosoficamente esa actividad, particularmente en el siglo XIX. En otras palabras, ademas del estudio de los problemas historicos, la filosofia de la historia se presenta tambien como una disciplina, que cuenta con su propia historia y con un desarrollo epistemologico particular.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76040853"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76040853"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76040853; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76040853]").text(description); $(".js-view-count[data-work-id=76040853]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76040853; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76040853']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76040853, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76040853]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76040853,"title":"Aproximación a la secularización y la experiencia como condiciones para la filosofía de la historia en el siglo XIX","translated_title":"","metadata":{"abstract":"En el siguiente articulo pretendemos indagar por uno de los problemas filosoficos centrales de la filosofia de la historia: la reflexion sobre la nueva conciencia del tiempo historico a la luz de dos conceptos–guia conformadores de la Modernidad: la secularizacion y la experiencia. 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Por una parte, indica la historia como tal, como el desarrollo de los procesos, los acontecimientos y los eventos a lo largo de la historia; por otra, el mismo termino es utilizado para referirse a la ciencia que indaga por aquellas pretensiones y condiciones de posibilidad que permiten el por que acontecen historias, como pueden cumplimentarse, como deben estudiarse o narrarse y por que. Asi, es necesario tener presente la secularizacion y la experiencia en la actividad de los procesos historicos y en la manera como consideramos, relatamos e interpretamos filosoficamente esa actividad, particularmente en el siglo XIX. 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Sin embargo, en las propuestas de Schlosser y Argan aparecen aspectos metodológicos válidos para comprender y visualizar la función del historiador como mediador en la cultura de la sensibilidad, las modulaciones del arte que han surgido en los embates del devenir histórico y que le han permitido tanto al arte como a la historia del arte llegar a ser lo que son o pueden ser para nosotros en la actualidad.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2483533b6211ea652e8ab9e5aa3de249" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":83725297,"asset_id":76040778,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/83725297/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76040778"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76040778"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76040778; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76040778]").text(description); $(".js-view-count[data-work-id=76040778]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76040778; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76040778']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76040778, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2483533b6211ea652e8ab9e5aa3de249" } } $('.js-work-strip[data-work-id=76040778]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76040778,"title":"De la historia del arte como posibilidad actual del humanismo en Julius von Schlosser y Giulio Carlo Argan","translated_title":"","metadata":{"abstract":"El complejo del contexto contemporáneo en la esfera del arte ha llevado a la revisión y exclusión de disciplinas que ofrecieron modelos de explicación y conceptualización de la realidad, como la Historia del arte, cuestionada epistemológicamente por Gombrich, por los discursos posmodernos de la muerte del autor y de la tradición como un fenómeno textual, hasta la declaración de su muerte en función de la hibridación de disciplinas humanistas. 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$a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35541900"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35541900/Gombrich_la_Historia_del_arte_y_las_humanidades"><img alt="Research paper thumbnail of Gombrich: la Historia del arte y las humanidades" class="work-thumbnail" src="https://attachments.academia-assets.com/55407597/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35541900/Gombrich_la_Historia_del_arte_y_las_humanidades">Gombrich: la Historia del arte y las humanidades</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Er...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. De esta manera, planteo el interés por pensar la Historia del arte para el presente, en el cual Gombrich se enfrena al problema del método de la Historia como una humanidad en el ámbito académico, tanto en el mundo del pensamiento como en el mundo burocrático de las instituciones universitarias.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f460de79e302bb1f24dd13608ad8c524" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55407597,"asset_id":35541900,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55407597/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35541900"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35541900"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35541900; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35541900]").text(description); $(".js-view-count[data-work-id=35541900]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35541900; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35541900']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 35541900, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f460de79e302bb1f24dd13608ad8c524" } } $('.js-work-strip[data-work-id=35541900]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35541900,"title":"Gombrich: la Historia del arte y las humanidades","translated_title":"","metadata":{"abstract":"Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. 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Gombrich","url":"https://www.academia.edu/Documents/in/E._H._Gombrich"},{"id":409715,"name":"Hegel's aesthetics","url":"https://www.academia.edu/Documents/in/Hegels_aesthetics"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35541864"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35541864/Del_pathos_la_extensi%C3%B3n_y_la_circunstancia_del_mundo_para_la_experiencia_del_arte_actual"><img alt="Research paper thumbnail of Del pathos, la extensión y la circunstancia del mundo para la experiencia del arte actual" class="work-thumbnail" src="https://attachments.academia-assets.com/55407558/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35541864/Del_pathos_la_extensi%C3%B3n_y_la_circunstancia_del_mundo_para_la_experiencia_del_arte_actual">Del pathos, la extensión y la circunstancia del mundo para la experiencia del arte actual</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Frente al interés por construir un discurso que dé cuenta del momento particular del arte contemp...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Frente al interés por construir un discurso que dé cuenta del momento particular del arte contemporáneo, y que, además, pueda esclarecer y proponer diversas respuestas frente a los productos artísticos que se realizan en la difícil circunstancia actual, se han dirigido diferentes propuestas disciplinares que presentan análisis de la obra de arte y la experiencia que surge en su comprensión. La situación, que a veces se caracteriza por la impotencia de la teoría, la historia y la crítica del arte al ocuparse del arte más reciente, proviene, entre otras razones, de un hecho evidente: nunca estas disciplinas habían tenido que entenderse con tal abundancia de prácticas, fenómenos artísticos, y declaraciones artísticas. Asimismo, las complejas formas vividas por el sistema internacional del arte ha planteado a la comprensión de estos fenómenos una serie de retos de fuerte impacto en la misma actividad de los artistas. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34785424"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34785424/Convocatoria_Est%C3%A9tica_y_las_acciones_pol%C3%ADticas_del_arte"><img alt="Research paper thumbnail of Convocatoria Estética y las acciones políticas del arte" class="work-thumbnail" src="https://attachments.academia-assets.com/54670442/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34785424/Convocatoria_Est%C3%A9tica_y_las_acciones_pol%C3%ADticas_del_arte">Convocatoria Estética y las acciones políticas del arte</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://antioquia.academia.edu/EstudiosdeFilosof%C3%ADaUniversidaddeAntioquia">Estudios de Filosofía Universidad de Antioquia</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://udea.academia.edu/CarlosVanegas">Carlos Vanegas</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://antioquia.academia.edu/CarmenElenaMu%C3%B1ozPreciado">Carmen Elena Muñoz Preciado</a></span></div><div class="wp-workCard_item"><span>Estudios de Filosofía</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Convocatoria Estética y las acciones políticas del arte Estudios de Filosofía No 58, junio-di...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Convocatoria <br />Estética y las acciones políticas del arte <br />Estudios de Filosofía <br />No 58, junio-diciembre 2018 <br /> <br />Este número temático se propone reunir artículos de investigación sobre la situación actual de las relaciones entre arte y política a través varias preguntas: ¿Cómo se puede describir la relación actual entre el arte, las políticas públicas y el capital cultural? ¿Cómo podemos conceptualizar hoy el potencial del arte y sus prácticas como herramientas críticas y transformadoras de lo social? ¿El vínculo entre arte y política responde meramente en la actualidad a la estrategia retórica de las obras de arte? La oposición, la subversión, la problematicidad de las relaciones entre la diversidad de artistas, los actores sociales y las convenciones y sistemas político-sociales, ¿enriquecen su capacidad crítica y funcional o la empobrecen? La política no se encuentra sólo fuera del arte, sino también en su interior. En los últimos años se ha evidenciado la creatividad de los artistas para reinventar sus relaciones con la institucionalidad, constituir nuevas formas de circulación de las obras, de resistencia, de colaboración y de lucha; como puede apreciarse en los casos de artistas que convierten sus vidas en laboratorios de experimentación para la reinvención de la vida en común. <br /> <br />Estudios de Filosofía es el nombre de la revista editada por el Instituto de Filosofía de la Universidad de Antioquia. Es una publicación electrónica internacional de acceso abierto regida por el sistema de doble arbitraje anónimo. Circula semestralmente de manera ordinaria, sin perjuicio de que, a juicio del Comité Editorial, se realicen publicaciones extraordinarias. Desde su fundación en 1990 Estudios de Filosofía se ha concebido como medio especializado para el fomento y la difusión de trabajos de investigación en todos los campos de la filosofía, tanto de investigadores colombianos como de miembros de la comunidad filosófica internacional. La institucionalidad de la revista garantiza su orientación hacia el desarrollo de las investigaciones filosóficas en el país y el fortalecimiento de una cultura de comunicación, bajo el principio del respeto a la libertad de expresión e investigación. Se trata de una publicación dirigida a un público de especialistas en filosofía, pero también a todas aquellas personas interesadas en el debate intelectual contemporáneo. <br /> <br />Fecha límite: 1 de diciembre <br />Correo: <a href="mailto:revistafilosofia@udea.edu.co" rel="nofollow">revistafilosofia@udea.edu.co</a> <br /><a href="https://aprendeenlinea.udea.edu.co/revistas/index.php/estudios_de_filosofia" rel="nofollow">https://aprendeenlinea.udea.edu.co/revistas/index.php/estudios_de_filosofia</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b86adfab7e449349a4b19be64b0c23c3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54670442,"asset_id":34785424,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54670442/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34785424"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34785424"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34785424; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34785424]").text(description); $(".js-view-count[data-work-id=34785424]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34785424; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34785424']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 34785424, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b86adfab7e449349a4b19be64b0c23c3" } } $('.js-work-strip[data-work-id=34785424]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34785424,"title":"Convocatoria Estética y las acciones políticas del arte","translated_title":"","metadata":{"abstract":"Convocatoria \r\nEstética y las acciones políticas del arte\r\nEstudios de Filosofía\r\nNo 58, junio-diciembre 2018\r\n\r\nEste número temático se propone reunir artículos de investigación sobre la situación actual de las relaciones entre arte y política a través varias preguntas: ¿Cómo se puede describir la relación actual entre el arte, las políticas públicas y el capital cultural? ¿Cómo podemos conceptualizar hoy el potencial del arte y sus prácticas como herramientas críticas y transformadoras de lo social? ¿El vínculo entre arte y política responde meramente en la actualidad a la estrategia retórica de las obras de arte? 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paper thumbnail of Yosman Botero y Postcolombino" class="work-thumbnail" src="https://attachments.academia-assets.com/47399155/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/27149806/Yosman_Botero_y_Postcolombino">Yosman Botero y Postcolombino</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementa...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La obra de Yosman Botero siempre ha orbitado entre paradojas.<br />Desde los mismos lugares suplementarios de su obra, como los títulos<br />de sus series Full of Emptiness (2013), Immaterial matter (2014) y<br />Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia<br />de las imágenes” del arte como de su capacidad comunicativa<br />de la realidad: ya sea esta la experiencia del arte o la realidad social<br />colombiana, o lo que sea que entendemos por “lo real”, tan cara<br />a las propuestas simulacionistas y posapropiacionistas de las décadas<br />del setenta y ochenta. Y digo paradojas porque aquí se juega en los<br />terrenos de una intención inexpresiva ante los procesos de creación<br />de la imagen: Opie, Haring, Negret, Davies, Los Simpsons, Velásquez,<br />o el conflicto colombiano, no son más que el mundo al que<br />Yosman Botero se refiere; pero es un mundo sometido a los procesos<br />de reproducción y mediación cultural, y reflejado en las imágenes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="68120e3f10521786cb004909688fddc0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":47399155,"asset_id":27149806,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/47399155/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="27149806"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="27149806"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 27149806; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=27149806]").text(description); $(".js-view-count[data-work-id=27149806]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 27149806; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='27149806']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 27149806, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "68120e3f10521786cb004909688fddc0" } } $('.js-work-strip[data-work-id=27149806]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":27149806,"title":"Yosman Botero y Postcolombino","translated_title":"","metadata":{"abstract":"La obra de Yosman Botero siempre ha orbitado entre paradojas.\nDesde los mismos lugares suplementarios de su obra, como los títulos\nde sus series Full of Emptiness (2013), Immaterial matter (2014) y\nPostcolombino (2016) se plantea una encrucijada tanto de la “supervivencia\nde las imágenes” del arte como de su capacidad comunicativa\nde la realidad: ya sea esta la experiencia del arte o la realidad social\ncolombiana, o lo que sea que entendemos por “lo real”, tan cara\na las propuestas simulacionistas y posapropiacionistas de las décadas\ndel setenta y ochenta. Y digo paradojas porque aquí se juega en los\nterrenos de una intención inexpresiva ante los procesos de creación\nde la imagen: Opie, Haring, Negret, Davies, Los Simpsons, Velásquez,\no el conflicto colombiano, no son más que el mundo al que\nYosman Botero se refiere; pero es un mundo sometido a los procesos\nde reproducción y mediación cultural, y reflejado en las imágenes. "},"translated_abstract":"La obra de Yosman Botero siempre ha orbitado entre paradojas.\nDesde los mismos lugares suplementarios de su obra, como los títulos\nde sus series Full of Emptiness (2013), Immaterial matter (2014) y\nPostcolombino (2016) se plantea una encrucijada tanto de la “supervivencia\nde las imágenes” del arte como de su capacidad comunicativa\nde la realidad: ya sea esta la experiencia del arte o la realidad social\ncolombiana, o lo que sea que entendemos por “lo real”, tan cara\na las propuestas simulacionistas y posapropiacionistas de las décadas\ndel setenta y ochenta. Y digo paradojas porque aquí se juega en los\nterrenos de una intención inexpresiva ante los procesos de creación\nde la imagen: Opie, Haring, Negret, Davies, Los Simpsons, Velásquez,\no el conflicto colombiano, no son más que el mundo al que\nYosman Botero se refiere; pero es un mundo sometido a los procesos\nde reproducción y mediación cultural, y reflejado en las imágenes. ","internal_url":"https://www.academia.edu/27149806/Yosman_Botero_y_Postcolombino","translated_internal_url":"","created_at":"2016-07-21T03:25:33.968-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":643364,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":22608427,"work_id":27149806,"tagging_user_id":643364,"tagged_user_id":34323716,"co_author_invite_id":null,"email":"c***i@gmail.com","display_order":1,"name":"Carlos Vanegas","title":"Yosman Botero y Postcolombino"}],"downloadable_attachments":[{"id":47399155,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/47399155/thumbnails/1.jpg","file_name":"Yosman_Botero_y_Postcolombino.pdf","download_url":"https://www.academia.edu/attachments/47399155/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Yosman_Botero_y_Postcolombino.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/47399155/Yosman_Botero_y_Postcolombino-libre.pdf?1469097128=\u0026response-content-disposition=attachment%3B+filename%3DYosman_Botero_y_Postcolombino.pdf\u0026Expires=1732463528\u0026Signature=QBhbDqIXr43O1ATYclfFaYQCjQilqj94WPvVpFpqEss2lbWR-iA0VDy6-ITjVVti5S5osBOYGNIGhWUb1c1MNaAFMKc85AXAMYXkQdzgeYSlWLVoCwCtvA3-IEOd2n73GQBqWLpyB3DkZ5JJYuCCO3-~yrL12x8zHt6MEMOac1bqzR5qEQb3fD2cboKwoI1XKePydqvORtLiixcVF7qlp14oTFpgatZwjIcRhkbCqzomhDE2BHK0P60bXos9~syRr5qFKSBKEV92qVI~N2dJSkWlq05PMxFHFe7gQFamxfbcGIjXR1hs1EkiX96HVeYsQOBUZATwsaibRgaSHbk1Rw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Yosman_Botero_y_Postcolombino","translated_slug":"","page_count":4,"language":"es","content_type":"Work","owner":{"id":643364,"first_name":"Carlos","middle_initials":"","last_name":"Vanegas","page_name":"CarlosVanegas","domain_name":"udea","created_at":"2011-08-04T00:58:26.111-07:00","display_name":"Carlos Vanegas","url":"https://udea.academia.edu/CarlosVanegas"},"attachments":[{"id":47399155,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/47399155/thumbnails/1.jpg","file_name":"Yosman_Botero_y_Postcolombino.pdf","download_url":"https://www.academia.edu/attachments/47399155/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Yosman_Botero_y_Postcolombino.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/47399155/Yosman_Botero_y_Postcolombino-libre.pdf?1469097128=\u0026response-content-disposition=attachment%3B+filename%3DYosman_Botero_y_Postcolombino.pdf\u0026Expires=1732463528\u0026Signature=QBhbDqIXr43O1ATYclfFaYQCjQilqj94WPvVpFpqEss2lbWR-iA0VDy6-ITjVVti5S5osBOYGNIGhWUb1c1MNaAFMKc85AXAMYXkQdzgeYSlWLVoCwCtvA3-IEOd2n73GQBqWLpyB3DkZ5JJYuCCO3-~yrL12x8zHt6MEMOac1bqzR5qEQb3fD2cboKwoI1XKePydqvORtLiixcVF7qlp14oTFpgatZwjIcRhkbCqzomhDE2BHK0P60bXos9~syRr5qFKSBKEV92qVI~N2dJSkWlq05PMxFHFe7gQFamxfbcGIjXR1hs1EkiX96HVeYsQOBUZATwsaibRgaSHbk1Rw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":3261,"name":"Colombia","url":"https://www.academia.edu/Documents/in/Colombia"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25600123"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25600123/La_apariencia_Schein_en_las_Lecciones_sobre_la_est%C3%A9tica_de_G_W_F_Hegel"><img alt="Research paper thumbnail of La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel" class="work-thumbnail" src="https://attachments.academia-assets.com/45930429/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25600123/La_apariencia_Schein_en_las_Lecciones_sobre_la_est%C3%A9tica_de_G_W_F_Hegel">La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel</a></div><div class="wp-workCard_item"><span>Estudios de Filosofia nº 53, Junio de 2016. Universidad de Antioquia, pp. 35-55. </span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la ap...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, vinculada al no-ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. <br />It may be noted that since Plato art has been philosophically undermined because its element and its means (media) is appearance. In such a way that, being and truth according to ancient theory, are found in ideas rather than in sensible appearances. Hegel is far from Platonism in his Lectures on aesthetics and on the contrary, he makes a claim of the appearance in art. The interest of this paper is to investigate the distinction between deceiving appearance linked to non-being, and the necessary appearance of works of art, that for Hegel, is the appearance of the essence. The article uses both the opposition raised by Hegel between natural beauty and spiritual beauty, as the way of being of art as an ideal, to indicate that the appearance of art is one of the ways in which the spirit reaches concretion, where it reveals its active consciousness, its reasoning, and can manifest determinations and significantly higher interests for its culture.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8228b1bf54142b3222b1b3fef65c1587" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45930429,"asset_id":25600123,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45930429/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25600123"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25600123"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25600123; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25600123]").text(description); $(".js-view-count[data-work-id=25600123]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25600123; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25600123']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25600123, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8228b1bf54142b3222b1b3fef65c1587" } } $('.js-work-strip[data-work-id=25600123]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25600123,"title":"La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel","translated_title":"","metadata":{"abstract":"Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, vinculada al no-ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. \nIt may be noted that since Plato art has been philosophically undermined because its element and its means (media) is appearance. In such a way that, being and truth according to ancient theory, are found in ideas rather than in sensible appearances. Hegel is far from Platonism in his Lectures on aesthetics and on the contrary, he makes a claim of the appearance in art. The interest of this paper is to investigate the distinction between deceiving appearance linked to non-being, and the necessary appearance of works of art, that for Hegel, is the appearance of the essence. The article uses both the opposition raised by Hegel between natural beauty and spiritual beauty, as the way of being of art as an ideal, to indicate that the appearance of art is one of the ways in which the spirit reaches concretion, where it reveals its active consciousness, its reasoning, and can manifest determinations and significantly higher interests for its culture.","publication_name":"Estudios de Filosofia nº 53, Junio de 2016. Universidad de Antioquia, pp. 35-55. "},"translated_abstract":"Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, vinculada al no-ser, y la apariencia necesaria de las obras de arte que, para Hegel, es la apariencia de la esencia. El artículo aprovecha tanto la oposición planteada por Hegel entre belleza natural–belleza espiritual, como el modo de ser del arte como ideal, para indicar que es la apariencia del arte una de las formas donde el espíritu se hace concreción, donde revela su conciencia activa, pensante, y puede manifestar sensiblemente las determinaciones e intereses más altos para su cultura. \nIt may be noted that since Plato art has been philosophically undermined because its element and its means (media) is appearance. In such a way that, being and truth according to ancient theory, are found in ideas rather than in sensible appearances. Hegel is far from Platonism in his Lectures on aesthetics and on the contrary, he makes a claim of the appearance in art. The interest of this paper is to investigate the distinction between deceiving appearance linked to non-being, and the necessary appearance of works of art, that for Hegel, is the appearance of the essence. The article uses both the opposition raised by Hegel between natural beauty and spiritual beauty, as the way of being of art as an ideal, to indicate that the appearance of art is one of the ways in which the spirit reaches concretion, where it reveals its active consciousness, its reasoning, and can manifest determinations and significantly higher interests for its culture.","internal_url":"https://www.academia.edu/25600123/La_apariencia_Schein_en_las_Lecciones_sobre_la_est%C3%A9tica_de_G_W_F_Hegel","translated_internal_url":"","created_at":"2016-05-24T22:07:48.125-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":643364,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":45930429,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45930429/thumbnails/1.jpg","file_name":"26692-105418-1-SM.pdf","download_url":"https://www.academia.edu/attachments/45930429/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_apariencia_Schein_en_las_Lecciones_so.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45930429/26692-105418-1-SM-libre.pdf?1464152919=\u0026response-content-disposition=attachment%3B+filename%3DLa_apariencia_Schein_en_las_Lecciones_so.pdf\u0026Expires=1732275025\u0026Signature=S81RqVbNUkcIyEhB9EFmoQhl983Zxdqnd5B2Pteu6h1HVbSI9FFgMsei-bKk0kcwiW8frQuk-fGRAp~9H-lk~eX6eyx7jnTXLgz3LCep0902RLANIDDLGJuj8UAm2C9oSP~pwNkHCrXJLcogx9xVZsm0SGJG3nT4ylyT-XnoH8mlX3WomOqvir~K8h6iE5UblHuW-FgLxeaxAlTftkSkd1jlqVOPAR2GabeF2v5jeE2JtvqdF7dGsEIriJrxOHSLxyLOYHCjgiLJ6RGs7YHzkx3B5Po9Tynm27Cv4zqMrZsXHWTDXqoAU~0x7K4CUU0rkoGQ7Y3yOd4pJ4aqQR5c6A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"La_apariencia_Schein_en_las_Lecciones_sobre_la_estética_de_G_W_F_Hegel","translated_slug":"","page_count":21,"language":"es","content_type":"Work","owner":{"id":643364,"first_name":"Carlos","middle_initials":"","last_name":"Vanegas","page_name":"CarlosVanegas","domain_name":"udea","created_at":"2011-08-04T00:58:26.111-07:00","display_name":"Carlos Vanegas","url":"https://udea.academia.edu/CarlosVanegas"},"attachments":[{"id":45930429,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45930429/thumbnails/1.jpg","file_name":"26692-105418-1-SM.pdf","download_url":"https://www.academia.edu/attachments/45930429/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_apariencia_Schein_en_las_Lecciones_so.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45930429/26692-105418-1-SM-libre.pdf?1464152919=\u0026response-content-disposition=attachment%3B+filename%3DLa_apariencia_Schein_en_las_Lecciones_so.pdf\u0026Expires=1732275026\u0026Signature=ALOzwk7kB1Ic-bcPMUy7gPTXwZxWZvxEO9FsF8yMUX5ppvRNEwN18C3XYTVZr0XVUkEC9ke5ixuek1U1qEz44ukoeDXfq4-yz7y086jEPBn-2j0fibvhIXiA0S1iwwJsm2gJmjIq-rXDOagCQmgqG31okg5zW1R-zbbt9hM9LmnVhImiaGU-NYeH7lY6TsUI2V8NzrbN8lXRhzKChtsEEzkJ-2EF6pUgCgLhsXnyNLIcHy9UjWsoZdNG5UYhKZUONHMH~cuE39UxhtVFfEa9nfWJGKtv2MtLiUjG8XeXfV6k8JPmibza7AmZJnPnZ7lgf5rIhitbER2JDKLgITFoOA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy"},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art"},{"id":7942,"name":"Hegel","url":"https://www.academia.edu/Documents/in/Hegel"},{"id":18108,"name":"G.W.F. Hegel","url":"https://www.academia.edu/Documents/in/G.W.F._Hegel"}],"urls":[{"id":7138841,"url":"https://aprendeenlinea.udea.edu.co/revistas/index.php/estudios_de_filosofia/issue/view/2219"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25280285"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25280285/Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_esp%C3%ADritu_del_muerto_la_recuerda_1892"><img alt="Research paper thumbnail of Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892" class="work-thumbnail" src="https://attachments.academia-assets.com/45582424/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25280285/Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_esp%C3%ADritu_del_muerto_la_recuerda_1892">Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y maniﬁestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la ﬁgura del pintor post impresionista Paul Gauguin  y el escritor Mario Vargas Llosa. Para ello, reﬂexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d5c5140d8115f3a255552cdc61261881" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45582424,"asset_id":25280285,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45582424/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25280285"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25280285"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25280285; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25280285]").text(description); $(".js-view-count[data-work-id=25280285]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25280285; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25280285']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25280285, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d5c5140d8115f3a255552cdc61261881" } } $('.js-work-strip[data-work-id=25280285]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25280285,"title":"Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892","translated_title":"","metadata":{"abstract":"Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y maniﬁestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la ﬁgura del pintor post impresionista Paul Gauguin y el escritor Mario Vargas Llosa. Para ello, reﬂexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias."},"translated_abstract":"Entre el arte y la literatura se han generado múltiples reﬂexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y maniﬁestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la ﬁgura del pintor post impresionista Paul Gauguin y el escritor Mario Vargas Llosa. Para ello, reﬂexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias.","internal_url":"https://www.academia.edu/25280285/Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_esp%C3%ADritu_del_muerto_la_recuerda_1892","translated_internal_url":"","created_at":"2016-05-12T14:53:17.434-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":643364,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":45582424,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45582424/thumbnails/1.jpg","file_name":"Paul_Gauguin.pdf","download_url":"https://www.academia.edu/attachments/45582424/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Paul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45582424/Paul_Gauguin-libre.pdf?1463090072=\u0026response-content-disposition=attachment%3B+filename%3DPaul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf\u0026Expires=1732463528\u0026Signature=g0kmKOvN~tDpnhEWK1vTP4Zwb9a2moBTkGM0K9Vq5T7RrR7avg44-xKXXfoOfKS8lbtPTgIVdMwrLUWgQxjbZ11MlOU55J1tZnpvsW6IRhTrTrkXGpAKdfuyDS31QWW61eUWcxIvOSmHzyWoNI5GUklCGXmUHIvYwH5OPJ3LSiMYSjM9z0UmPX2Wkv~CQKkfyK2YIVf~yzkTUQAVK4Hnh5fPWXlKneUC4lkmh2uB1mNzfCowWWK52SLSkwTKGCoZ3ClFj3vE4zxqI4CbIvy9veP8u~L9R0T1VQ3lXXfna27ne6oDCGfD6NbeiMdX~UPgvEHB1njapNTn2TzC5O0Q~A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Paul_Gauguin_y_Mario_Vargas_Llosa_entre_el_arte_y_la_literatura_Manao_Tupapau_El_espíritu_del_muerto_la_recuerda_1892","translated_slug":"","page_count":25,"language":"es","content_type":"Work","owner":{"id":643364,"first_name":"Carlos","middle_initials":"","last_name":"Vanegas","page_name":"CarlosVanegas","domain_name":"udea","created_at":"2011-08-04T00:58:26.111-07:00","display_name":"Carlos Vanegas","url":"https://udea.academia.edu/CarlosVanegas"},"attachments":[{"id":45582424,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45582424/thumbnails/1.jpg","file_name":"Paul_Gauguin.pdf","download_url":"https://www.academia.edu/attachments/45582424/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Paul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45582424/Paul_Gauguin-libre.pdf?1463090072=\u0026response-content-disposition=attachment%3B+filename%3DPaul_Gauguin_y_Mario_Vargas_Llosa_entre.pdf\u0026Expires=1732463528\u0026Signature=g0kmKOvN~tDpnhEWK1vTP4Zwb9a2moBTkGM0K9Vq5T7RrR7avg44-xKXXfoOfKS8lbtPTgIVdMwrLUWgQxjbZ11MlOU55J1tZnpvsW6IRhTrTrkXGpAKdfuyDS31QWW61eUWcxIvOSmHzyWoNI5GUklCGXmUHIvYwH5OPJ3LSiMYSjM9z0UmPX2Wkv~CQKkfyK2YIVf~yzkTUQAVK4Hnh5fPWXlKneUC4lkmh2uB1mNzfCowWWK52SLSkwTKGCoZ3ClFj3vE4zxqI4CbIvy9veP8u~L9R0T1VQ3lXXfna27ne6oDCGfD6NbeiMdX~UPgvEHB1njapNTn2TzC5O0Q~A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory"},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="5208962" id="drafts"><div class="js-work-strip profile--work_container" data-work-id="25280377"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25280377/De_la_industria_cultural"><img alt="Research paper thumbnail of De la industria cultural" class="work-thumbnail" src="https://attachments.academia-assets.com/45582445/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25280377/De_la_industria_cultural">De la industria cultural</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En medio de tanta charla irresponsable que inunda los diversos medios de comunicación y las tribu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En medio de tanta charla irresponsable que inunda los diversos medios de comunicación y las tribunas gubernamentales sobre la educación, en el que se figura la viabilidad del país desde lo económico y no desde lo civilizado, recordé las “uvas verdes”, esa referencia que Gombrich utilizó en una de sus tantas conferencias sobre las humanidades. La fábula de Esopo da qué pensar sobre la valoración de las humanidades en la malla de las instituciones de educación superior. Los juicios despreciables que aparecen bajo la forma de la innovación, a partir de indicadores y criterios de examinabilidad que promueve el gobierno, los ministerios y Colciencias, son solo una muestra de cómo esa charla fácil pretende circunscribir a las humanidades en el nuevo paraíso medible del ámbito académico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ac3d254d31df5994acfd0caae492f55e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45582445,"asset_id":25280377,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45582445/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25280377"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25280377"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25280377; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25280377]").text(description); $(".js-view-count[data-work-id=25280377]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25280377; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25280377']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25280377, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ac3d254d31df5994acfd0caae492f55e" } } $('.js-work-strip[data-work-id=25280377]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25280377,"title":"De la industria cultural","translated_title":"","metadata":{"abstract":"En medio de tanta charla irresponsable que inunda los diversos medios de comunicación y las tribunas gubernamentales sobre la educación, en el que se figura la viabilidad del país desde lo económico y no desde lo civilizado, recordé las “uvas verdes”, esa referencia que Gombrich utilizó en una de sus tantas conferencias sobre las humanidades. La fábula de Esopo da qué pensar sobre la valoración de las humanidades en la malla de las instituciones de educación superior. Los juicios despreciables que aparecen bajo la forma de la innovación, a partir de indicadores y criterios de examinabilidad que promueve el gobierno, los ministerios y Colciencias, son solo una muestra de cómo esa charla fácil pretende circunscribir a las humanidades en el nuevo paraíso medible del ámbito académico."},"translated_abstract":"En medio de tanta charla irresponsable que inunda los diversos medios de comunicación y las tribunas gubernamentales sobre la educación, en el que se figura la viabilidad del país desde lo económico y no desde lo civilizado, recordé las “uvas verdes”, esa referencia que Gombrich utilizó en una de sus tantas conferencias sobre las humanidades. La fábula de Esopo da qué pensar sobre la valoración de las humanidades en la malla de las instituciones de educación superior. Los juicios despreciables que aparecen bajo la forma de la innovación, a partir de indicadores y criterios de examinabilidad que promueve el gobierno, los ministerios y Colciencias, son solo una muestra de cómo esa charla fácil pretende circunscribir a las humanidades en el nuevo paraíso medible del ámbito académico.","internal_url":"https://www.academia.edu/25280377/De_la_industria_cultural","translated_internal_url":"","created_at":"2016-05-12T14:57:12.177-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":643364,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[{"id":20191757,"work_id":25280377,"tagging_user_id":643364,"tagged_user_id":34323716,"co_author_invite_id":null,"email":"c***i@gmail.com","display_order":0,"name":"Carlos Vanegas","title":"De la industria cultural"}],"downloadable_attachments":[{"id":45582445,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45582445/thumbnails/1.jpg","file_name":"Delaindustriacultural.docx.pdf","download_url":"https://www.academia.edu/attachments/45582445/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"De_la_industria_cultural.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45582445/Delaindustriacultural.docx-libre.pdf?1463090325=\u0026response-content-disposition=attachment%3B+filename%3DDe_la_industria_cultural.pdf\u0026Expires=1732463528\u0026Signature=azw1C2N0Od82jVoR489tIOILfFIkmEP~jBpo2H5fPGQD6WmThwS5FmwP8DdRezJ5QFH0weL925hlaUFyCP7KwuImJiRRcpkpck~OucjseNEJ5Q6Gi1vmJfEigQUOyPEL5IZYIu-4s3EQrPTpDu3a8k7QUBHsQzaAn6Sz7xcM9XAeE2f2CQz4aimdoaYqhEVpr-UCWcuH1tNp1LYZzXo-bqQWkbsnPyIc1D0z2Zlaojn-Yx48-4THSN2mOM7UywqlJ23bRgq2lhfaNYeIH0~C~4tt0dD-Uak8CK28Di0l-fjeLh1-wg0bdmLDHuzenAl3-x54cWZzNcub9HBaKR4GKg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"De_la_industria_cultural","translated_slug":"","page_count":3,"language":"es","content_type":"Work","owner":{"id":643364,"first_name":"Carlos","middle_initials":"","last_name":"Vanegas","page_name":"CarlosVanegas","domain_name":"udea","created_at":"2011-08-04T00:58:26.111-07:00","display_name":"Carlos Vanegas","url":"https://udea.academia.edu/CarlosVanegas"},"attachments":[{"id":45582445,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45582445/thumbnails/1.jpg","file_name":"Delaindustriacultural.docx.pdf","download_url":"https://www.academia.edu/attachments/45582445/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"De_la_industria_cultural.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45582445/Delaindustriacultural.docx-libre.pdf?1463090325=\u0026response-content-disposition=attachment%3B+filename%3DDe_la_industria_cultural.pdf\u0026Expires=1732463528\u0026Signature=azw1C2N0Od82jVoR489tIOILfFIkmEP~jBpo2H5fPGQD6WmThwS5FmwP8DdRezJ5QFH0weL925hlaUFyCP7KwuImJiRRcpkpck~OucjseNEJ5Q6Gi1vmJfEigQUOyPEL5IZYIu-4s3EQrPTpDu3a8k7QUBHsQzaAn6Sz7xcM9XAeE2f2CQz4aimdoaYqhEVpr-UCWcuH1tNp1LYZzXo-bqQWkbsnPyIc1D0z2Zlaojn-Yx48-4THSN2mOM7UywqlJ23bRgq2lhfaNYeIH0~C~4tt0dD-Uak8CK28Di0l-fjeLh1-wg0bdmLDHuzenAl3-x54cWZzNcub9HBaKR4GKg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities"},{"id":336577,"name":"ENSAYOS LITERARIOS","url":"https://www.academia.edu/Documents/in/ENSAYOS_LITERARIOS"},{"id":379297,"name":"Ensayo","url":"https://www.academia.edu/Documents/in/Ensayo"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10904462" id="hart8dossierentiempodemigrantes"><div class="js-work-strip profile--work_container" data-work-id="45035309"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/45035309/Aproximaciones_a_la_historia_del_arte_y_el_museo_Belting_Danto_y_Hegel"><img alt="Research paper thumbnail of Aproximaciones a la historia del arte y el museo: Belting, Danto y Hegel" class="work-thumbnail" src="https://attachments.academia-assets.com/65586418/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45035309/Aproximaciones_a_la_historia_del_arte_y_el_museo_Belting_Danto_y_Hegel">Aproximaciones a la historia del arte y el museo: Belting, Danto y Hegel</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uniandes.academia.edu/RevistaHART">H-ART. Revista de historia, teoría y crítica de arte</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://udea.academia.edu/CarlosVanegas">Carlos Vanegas</a></span></div><div class="wp-workCard_item"><span>H-ART. Revista de historia, teoría y crítica del arte</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este texto indago la tesis del fin de la historia del arte que, en la lectura de Hans Belting,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este texto indago la tesis del fin de la historia del arte que, en la lectura de Hans Belting, enmarca al museo como correlato de la historia, entendida como una historia que sitúa el arte y las funciones del museo dentro del desarrollo de una filosofía de la historia cerrada y pasada: la filosofía de Hegel. Al contrario, creemos que Hegel y posteriormente Arthur Danto no solo explican los cambios en la función del arte y el museo, sino que explican en el caso del arte en la cultura moderna la necesidad de<br />la reflexión. Nuestra reconstrucción del debate a la luz de estos autores nos permite representar para el pensamiento actual un análisis productivo de la historia del arte y su relación con la filosofía, y nos ofrece perspectivas teóricas importantes todavía para el horizonte de la teoría, la historia del arte y los diversos ámbitos de la institucionalidad.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a57eb1eddc275dd338322ec35165f3c4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65586418,"asset_id":45035309,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65586418/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45035309"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45035309"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45035309; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45035309]").text(description); $(".js-view-count[data-work-id=45035309]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45035309; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45035309']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 45035309, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a57eb1eddc275dd338322ec35165f3c4" } } $('.js-work-strip[data-work-id=45035309]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45035309,"title":"Aproximaciones a la historia del arte y el museo: Belting, Danto y Hegel","translated_title":"","metadata":{"doi":"10.25025/hart08.2021.14","abstract":"En este texto indago la tesis del fin de la historia del arte que, en la lectura de Hans Belting, enmarca al museo como correlato de la historia, entendida como una historia que sitúa el arte y las funciones del museo dentro del desarrollo de una filosofía de la historia cerrada y pasada: la filosofía de Hegel. 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Abierta hasta el 1 de agosto." class="work-thumbnail" src="https://attachments.academia-assets.com/88833996/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81987448/XIV_Seminario_Nacional_de_Teor%C3%ADa_e_Historia_del_Arte_Clic_al_archivo_Convocatoria_para_presentaci%C3%B3n_de_propuestas_de_estudiantes_de_posgrado_Abierta_hasta_el_1_de_agosto">XIV Seminario Nacional de Teoría e Historia del Arte: “Clic al archivo” Convocatoria para presentación de propuestas de estudiantes de posgrado. Abierta hasta el 1 de agosto.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://antioquia.academia.edu/DanielJer%C3%B3nimoTob%C3%B3nGiraldo">Daniel Jerónimo Tobón Giraldo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://udea.academia.edu/CarlosVanegas">Carlos Vanegas</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El grupo de investigación Teoría e Historia del Arte del Instituto de Filosofía y la Facultad de ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El grupo de investigación Teoría e Historia del Arte del Instituto de Filosofía y la Facultad de Artes de la Universidad de Antioquia convoca a los estudiantes de posgrado en el nivel de maestría y doctorado a presentar propuestas para las mesas de discusión que tendrán lugar en el XIV Seminario Nacional de Teoría e Historia del Arte “Clic al archivo” (7, 8 y 9 de septiembre de 2022). Se busca que las propuestas enfrenten de forma crítica las preguntas sobre los usos artísticos del archivo, los sistemas de exclusión que se constituyen a partir de los archivos, las funciones que deben cumplir las instituciones en el resguardo y la activación de los archivos artísticos y el archivo como un campo de disputa política y cultural.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4b12b5ddfb0c12a96f454e438e996bc5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88833996,"asset_id":81987448,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88833996/download_file?st=MTczMjQ1OTkyOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81987448"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81987448"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81987448; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=81987448]").text(description); $(".js-view-count[data-work-id=81987448]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 81987448; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='81987448']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 81987448, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4b12b5ddfb0c12a96f454e438e996bc5" } } $('.js-work-strip[data-work-id=81987448]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":81987448,"title":"XIV Seminario Nacional de Teoría e Historia del Arte: “Clic al archivo” Convocatoria para presentación de propuestas de estudiantes de posgrado. 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