What Art did to Modernity (notice n° 567757)
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|---|---|
| fixed length control field | 01319cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250121130626.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Heinich, Nathalie |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | What Art did to Modernity |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2017.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 88 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | The term “modernity” oscillates between a temporal and a more categorical, generic or axiological meaning. From a perspective not of general sociology but of configurational sociology, attentive to contexts, this article proposes a characterization of “modernity” in art, not only departing from works of art but taking into account the world of art as a whole and its representations. In other words it addresses what might be called the modern “paradigm”. To this modern paradigm opposes frontally the contemporary paradigm, of which certain characteristics are similar to those ascribed to “modernity” as described by sociology. This opposition between modern and contemporary makes art a domain where, paradoxically, modernity is no longer present but is, more and more, relegated to the past. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Revue internationale de philosophie | o 281 | 3 | 2017-08-21 | p. 299-309 | 0048-8143 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-revue-internationale-de-philosophie-2017-3-page-299?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-revue-internationale-de-philosophie-2017-3-page-299?lang=en&redirect-ssocas=7080</a> |
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