文件的(des)边缘。阿尔伯蒂娜·卡里的诗歌证明中的情感、伦理和历史表现

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2020-12-01 DOI:10.7764/68.7

L. Saporosi

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引用次数: 0

摘要

以Ann Cvetkovich(2003)和Sara Ahmed(2015)关于档案概念的讨论为立场，我们试图界定一种考虑伦理和情感维度的档案实践的特定形式，并有助于修订历史表征和档案文件法规的概念。为此，我们提议探索Albertina carrii - restos (2010)， Operacion Fracaso y el Sonido Recobrado(2015)和Cuatreros(2017)的一系列美学作品，目的是探究她建立档案和构思文件的方式，参与恢复阿根廷最近的经验，领土和记忆的作用。

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Los (des)bordes del archivo. Afectos, ética y representación histórica en las poéticas testimoniales de Albertina Carri

Taking as a standpoint the discussion between Ann Cvetkovich (2003) and Sara Ahmed (2015) regarding the idea of the archive, we pretend to delimit a specific form of the archival practice which considers ethical and affective dimensions and to contribute to revise the notion of historical representation and the statute of archival documents. To do so, we propose to explore a series of aesthetical productions of Albertina Carri—Restos (2010), Operacion Fracaso y el Sonido Recobrado (2015) and Cuatreros (2017)—with the objective of inquiring on the ways in which she builds the archive and conceives the documents, attending to recover the role of experience, territory and memory over Argentinian recent past.

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.