Una filosofía del arte de masas

by Noël Carroll

En Una filosofía del arte de masas, Carroll elabora un modelo conceptual, descriptivo y no valorativo del arte de masas, a partir del análisis de las posturas de resistencia filosófica representadas por Greenberg, MacDonald o Adorno, y de las minoritarias celebraciones de Benjamin o MacLuhan. La reproducción técnica y la accesibilidad son las condiciones suficientes y necesarias de su definición, y aunque en el panorama artístico actual el arte de masas se sitúe en el extremo opuesto del arte de vanguardia, las acusaciones de inmoralidad e ideología que se le lanzan no están siempre justificadas.

Genres: Philosophy, Art, Nonfiction

349 pages, Paperback

First published February 19, 1998

About the author

Noël Carroll (born 1947) is an American philosopher considered to be one of the leading figures in contemporary philosophy of art. Although Carroll is best known for his work in the philosophy of film, he has also published journalism, works on philosophy of art generally, theory of media, and also philosophy of history.

As of 2012, he is a distinguished professor of philosophy at the CUNY Graduate Center. He holds PhDs in both cinema studies and philosophy. As a journalist, earlier in his career he published a number of articles in the Chicago Reader, Artforum, In These Times, Dance Magazine, Soho Weekly News and The Village Voice. He is also the author of five documentaries.

Perhaps his most popular and influential book is The Philosophy of Horror, or Paradoxes of the Heart (1990), an examination of the aesthetics of horror fiction (in novels, stories, radio and film). As noted in the book's introduction, Carroll wrote Paradoxes of the Heart in part to convince his parents that his lifelong fascination with horror fiction was not a waste of time. Another important book by Carroll is Mystifying Movies (1988), a critique of the ideas of psychoanalyst Jacques Lacan, Marxist philosopher Louis Althusser and the semiotics of Roland Barthes, which has been credited with inspiring a shift away from what Carroll describes as the "Psycho-Semiotic Marxism" that had dominated film studies and film theory in American universities since the 1970s.

Reviews

[Maupa · Rating 3 out of 5]

Nice idea for research, but the book itself is in places outdated and, what's worse, bloated. The author and his editor sure like the word "putatively". Reminded me why I stay away from academia, so I guess that's a plus.

[Louise · Rating 3 out of 5]

Good but very repetitive.

[Noora · Rating 4 out of 5]

Vieläkin mielenkiintoisempi tenttikirja, jota en myöskään ihan ehtinyt lukea loppuun asti.