Rachel Costa

O fim da arte como um começo

Introduction

O fim da arte como um começo. Explore a teoria de Arthur Danto sobre o fim da arte, analisando suas críticas e a relevância para a compreensão da arte contemporânea. Uma nova perspectiva sobre pluralismo e história da arte.

Abstract

Resumo:O artigo interpreta a teoria acerca do fim da arte de Arthur Danto, apontando, ao final, críticas à proposta do filósofo, sem esquecer de mostrar em que medida a teoria se mostra frutífera para pensar a arte contemporânea.Palavras-chave: Pluralismo. Narrativa. História.Abstract:The paper interprets the theory about the end of art Arthur Danto, pointing at the end, criticism of the proposal of the philosopher, not forgetting to show to what extent the theory proves fruitful for thinking about contemporary art.Keywords: Pluralism. Narrative. History.

Review

The paper, intriguingly titled "O fim da arte como um começo" (The end of art as a beginning), clearly aims to delve into Arthur Danto's influential theory concerning the 'end of art.' The abstract sets out a well-defined scope: to meticulously interpret Danto's arguments, while simultaneously assessing their relevance and utility for understanding contemporary artistic practices. This engagement with Danto's seminal work is highly pertinent, given its continued impact on philosophical aesthetics and art theory, offering a timely re-evaluation of its enduring legacy. A significant strength of the proposed article lies in its dual approach. Not only does it promise a thorough exposition of Danto's theory, but it also commits to identifying its enduring fruitfulness for interpreting contemporary art, moving beyond a mere historical account. The explicit intention to offer criticisms of Danto's proposal, particularly in light of contemporary developments, signals a critical and engaged scholarship. The keywords – Pluralism, Narrative, History – further suggest a nuanced exploration of Danto's conceptual framework, indicating a deep dive into the very fabric of his philosophical project. This balanced perspective, combining interpretive clarity with critical engagement, holds considerable promise. By positioning Danto's 'end' not as a definitive conclusion but as a 'beginning,' the paper appears poised to offer a fresh and stimulating contribution to the ongoing dialogue surrounding his legacy. It promises to deepen our understanding of how Danto's ideas continue to shape, and are themselves shaped by, the evolving landscape of art. The article is likely to be a valuable resource for scholars seeking to grapple with the complex relationship between art history, philosophy, and contemporary artistic expression.

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