Name: DIANA CARLA DE SOUZA BARBOSA
Publication date: 28/06/2019
Advisor:
Name |
Role |
|---|---|
| SÉRGIO DA FONSECA AMARAL | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ARLENE BATISTA DA SILVA | Internal Examiner * |
| ELIZABETE GERLÂNIA CARON SANDRINI | External Alternate * |
| FABIANA CURTO FEITOSA | External Examiner * |
| SÉRGIO DA FONSECA AMARAL | Advisor * |
Summary: The present thesis aims to analyze three historical-aesthetic periods of bourgeois
civilization from a critical approach of the work singular modernity: essay on the ontology of
the present (2005), of the literary theorist Fredric Jameson. Are they: 1. Classic or heroic
modernism; 2. European Late Modernism or European Ideology of Classical
Modernism; 3. American modernity or American ideology of classical modernism.
The first period is called heroic or classic because it was constituted as a phase of
intense class struggle within Europe, with a global impact. No social segment was left
out of this struggle for the course of history: neither the aristocracy, nor the clergy, nor
the bourgeoisie nor the working class.
Given this scenario, this thesis is hypothesized the argument that the period of
bourgeois civilization of classical modernism would have been decisive for thought,
culture, praxis - for art, literature - because all these manifestations of the human spirit
also incorporated (in their specificities), at the time, the challenge of disputing history.
Classical modernism as a historical setting in which history itself was in dispute, as the
first period of bourgeois civilization, would have been the object of aesthetic and
historical reception of later historical periods, namely: the period of late European
modernity and the period of modernity American.
European late modernity, as a historical and aesthetic period of reception of heroic
modernism, was epicenter of the era of World War I and II. On the other hand,
American modernity was and is a historical and aesthetic phase of reception of heroic
modernism that emerged from World War II.
Using a multidisciplinary theoretical contribution this thesis investigates the two
historical and aesthetic periods of reception of heroic modernism quoted in order to
analyze the system of censorship of class struggles that disputed history within the first
phase of bourgeois civilization.
At the same time, the aim of this thesis to investigate, also, the appearance of the
reception aesthetics, especially considering the main theorists of the School of
Constance, Germany, in the 60's of the last century.
Although in different ways the hypothesis developed here is that theoreticians such as
Hans Robert Jauss, Wolfgang Iser, and Karlheinz Stierle would have been influenced
by the two quoted reception periods of heroic modernism, and this influence would
have been and has been striking in the ideological structuring of aesthetics reception.
From that point on, the objective was focused on the analysis of the ideological system
of censorship, present in the Aesthetics of Reception, from its relation with the late
European modernity (liberal ideology) and American modernity (neoliberal ideology).
Keywords: Heroic Modernism; European modernity; American modernity; aesthetics of
reception; liberalism; neoliberalism.
