Estudios de Filosofía

URI permanente para esta comunidadhttps://hdl.handle.net/20.500.14657/175808

e-ISSN: 2409-1596

Estudios de Filosofía es una revista de periodicidad anual, editada por el Seminario de Filosofía del Instituto Riva-Agüero, escuela de altos estudios humanísticos de la Pontificia Universidad Católica del Perú, y elaborada con el esfuerzo conjunto de profesores y estudiantes de Filosofía de esta universidad. Se publica por primera vez en 1975; a partir de 2009, la revista se publica de forma exclusivamente electrónica.

Su objetivo es difundir textos originales e inéditos, principalmente -aunque no de modo exclusivo- de quienes se inician en la investigación. Se incluyen artículos, traducciones, estudios críticos, reseñas, entrevistas, notas bibliográficas y noticias de actividades filosóficas diversas.

Todos los artículos presentados a la revista son sometidos a un proceso de arbitraje doble ciego realizado por pares nacionales.

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    ¿En qué momento se jodió el arte? Entre el espectáculo y la invención en el arte actual
    (Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2022-12-05) Ramírez, Juan
    “When did art get fucked? Between spectacle and invention in contemporary art”. The monograph offers a reading of Mario Vargas Llosa’s The Spectacle Civilization (2012), with the intention of bringing to light the aesthetic prejudices upon which his criticism of contemporary art is based. For this, we will rely on the thesis stated by the American philosopher and art theorist Larry Shiner, who holds in The Invention of the Art (2001), that the notion we have of art is born from a historical process that defines and determines it, especially from the historical conditions of the economy and society of Europe in the 18th and 19th centuries. With this, we pave the way for a serious debate about the current condition of art and culture. Although Vargas Llosa triggered reviews, columns, and round tables in universities and different virtual publications we pretend here an understanding of his view from which he opposes current artistic manifestations. To do this, we will first explain the novelistic and aesthetic theories of the Peruvian author, which will allow us to understand his cultural criticism and, in the second part, dismantle the aesthetic prejudices from which he operates. Our conclusion is that the vision of the Peruvian Nobel laureate of an autonomous and free art that defies time has the irony of having a historical beginning, so trying to explain these temporal boundaries that border it allows us to understand it better.