{"id":94268,"date":"2018-03-11T10:13:56","date_gmt":"2018-03-11T10:13:56","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/michael-fried-y-el-debate-sobre-el-formalismo-norteamericano\/"},"modified":"2018-03-11T10:13:56","modified_gmt":"2018-03-11T10:13:56","slug":"michael-fried-y-el-debate-sobre-el-formalismo-norteamericano","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/michael-fried-y-el-debate-sobre-el-formalismo-norteamericano\/","title":{"rendered":"Michael fried y el debate sobre el formalismo norteamericano"},"content":{"rendered":"<h2>Tesis doctoral de <strong> David Diaz Soto <\/strong><\/h2>\n<p>Null estudiamos la relaci\u00f3n del historiador y cr\u00edtico de arte michael fried con la tradici\u00f3n de pensamiento llamada \u00c2\u00bfformalismo\u00c2\u00bf en teor\u00eda, cr\u00edtica e historiograf\u00eda art\u00edstica. En el \u00e1mbito anglosaj\u00f3n, se considera cierta etapa de la obra del cr\u00edtico de ar te clement greenberg el modelo de lo que se llam\u00f3 un \u00c2\u00bfformalismo de tipo americano\u00c2\u00bf, y que qued\u00f3 identificado con el formalismo como tal. En los medios acad\u00e9micos y de la cr\u00edtica de arte anglosajones se ha desarrollado desde la d\u00e9cada de 1970 un \u00c2\u00bfdeb ate sobre el formalismo\u00c2\u00bf, en torno a greenberg y su legado. La cuesti\u00f3n de la relaci\u00f3n de fried con el formalismo, pues, concierne a una discusi\u00f3n cr\u00edtica sobre el formalismo norteamericano, que lo es tambi\u00e9n sobre greenberg, y que, aparte de las pol \u00e9micas entre una pl\u00e9yade de autores, se desarrolla como \u00c2\u00bfdebate interno\u00c2\u00bf al propio discurso de fried, en una dial\u00e9ctica de cr\u00edtica y dependencia. en la \u00c2\u00bfintroducci\u00f3n\u00c2\u00bf, caracterizamos el \u00c2\u00bfformalismo\u00c2\u00bf como posici\u00f3n originada en la segunda mitad del sig lo xix y el \u00e1mbito germano, con autores como e. Hanslick, k. Fiedler, a. Von hildebrand, h. W\u00ed\u00b6lfflin o a. Riegl, y que suscita una orientaci\u00f3n metodol\u00f3gica de la disciplina cient\u00edfica de la historia del arte, y de la cr\u00edtica y teor\u00eda de las artes. En tiende que el arte reclama un estudio espec\u00edfico; que su especificidad consiste en la \u00c2\u00bfforma\u00c2\u00bf, rigi\u00e9ndose el arte por principios \u00c2\u00bfformales\u00c2\u00bf; pero siendo la \u00c2\u00bfforma\u00c2\u00bf art\u00edstica irreductiblemente sensorial y organizada seg\u00fan las estructuras y materiales sensibles de los diversos canales de la percepci\u00f3n: vista, o\u00eddo, etc. Sostiene tambi\u00e9n que no hay un arte, sino s\u00f3lo \u00c2\u00bfartes\u00c2\u00bf; el contenido formal de cada arte es irreductible al de las otras, y el de todas ellas, irreductible al lenguaje verbal, como  lo son entre s\u00ed los materiales y estructuras sensoriales de los diversos sentidos, y \u00e9stos al concepto. Y afirma la \u00c2\u00bfautonom\u00eda\u00c2\u00bf del arte: las artes ofrecen una experiencia con rasgos irreductibles y distintivos. El discurso formalista sobre las arte s pl\u00e1sticas es el \u00c2\u00bfpurovisualismo\u00c2\u00bf. Asumiendo de la psicofisiolog\u00eda de la \u00e9poca (m\u00ed\u00bcller, helmholtz) un principio de divisi\u00f3n de los canales nerviosos, los formalistas caracterizaron la especificidad de cada arte por su adscripci\u00f3n a una sola \u00c2\u00bfesfera\u00c2\u00bf  o canal sensorial. Consideraron que las artes pl\u00e1sticas (pintura y escultura) se reg\u00edan por las estructuras y materiales sensibles exclusivas de la esfera sensorial de la visi\u00f3n, y que deb\u00edan dirigirse s\u00f3lo o primordialmente a esa esfera sensible. P<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Michael fried y el debate sobre el formalismo norteamericano<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Michael fried y el debate sobre el formalismo norteamericano <\/li>\n<li><strong>Autor:<\/strong>\u00a0 David Diaz Soto <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 22\/06\/2009<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Guillermo Solana D\u00edez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: sim\u00f3n March\u00e1n fiz <\/li>\n<li>  (vocal)<\/li>\n<li>  (vocal)<\/li>\n<li>  (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de David Diaz Soto Null estudiamos la relaci\u00f3n del historiador y cr\u00edtico de arte michael fried con la [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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