COMPARATIVE STUDY OF HEGEL’S MODEL OF HISTORICAL PROGRESS WITH THE NECESSARY EMERGENCE OF THE “NEW ART HISTORY” IN CONTEMPORARY ERA

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ESFANDIARI APENA; AYAT ELAHI HABIB ELAH; DIBADJ SEYYED MOUSA

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Journal: Motaleate-e Tatbiqi-e Honar Year:2012 | Volume:2 | Issue:3 Page(s): 35-45

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Title

COMPARATIVE STUDY OF HEGEL’S MODEL OF HISTORICAL PROGRESS WITH THE NECESSARY EMERGENCE OF THE “NEW ART HISTORY” IN CONTEMPORARY ERA

Author(s)

ESFANDIARI APENA | AYAT ELAHI HABIB ELAH | DIBADJ SEYYED MOUSA | Issue Writer Certificate

Keywords

HISTORICAL SELF-CONSCIOUSNESSQ2

HISTORICAL FATE OF ARTSQ2

HISTORICAL DIALECTICSQ2

HISTORICAL DEVELOPMENT OF THE ARTSQ2

Abstract

The “new art history” is a radical, critical and social interdisciplinary academic field which refers to historical, social, political and institutional “context-based” approaches formed in contrast with the idea of “art for art’s sake” and 20th century formalism (1875-1968). Formalism itself was born in opposition to Romanticism, and rejected the emphasis on content and context. It led at last to another aesthetic revolution which was a result of liberation from aesthetic despotism. The “new art history “ arose in 1968 within those notions of “art for society” developed, however in an unfinished and therefore unnoticed form, in the early 20th century by thinkers such as Arnold Hauser. The “new art history” followed their path because a tendency for replacing art in political and social contexts, in post-cultural studies such as post-Marxist, post-feminist, post-colonialist and analytical psychological theories, was indeed motivated by the idea of “Zeitgeist”. The methodology of the present study is based upon analysis, interpretation and evaluation of certain ideas, approaches and theories under the same titleas well as a new comparative/ analytical point-of-view based on Hegel’s dialectic interpretation. Also adifferent comparison will be made between two important historical periods, in case of contrasting with thesis or Formalism of 20th century and antithesis or considering content or context-based approaches in the 21st century, making a new synthesis of content and form in the contemporary world. The present study aims to prove manifestation of historical self-awareness of artists (philosophers, historians and critics) and entering into history domain (from comparative points of view which here is paying attention to social aspects of art) resulted from awareness; in position of knowledge and wisely determination appearing through a historical process with passing from deliberately experience way (based upon thought and not merely sense and form). In this way, a historical fate leads to a historical change in arts.

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ژیل دلوز و فلسفه دگرگونی و تباین

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APA: Copy

ESFANDIARI, APENA, AYAT ELAHI, HABIB ELAH, & DIBADJ, SEYYED MOUSA. (2012). COMPARATIVE STUDY OF HEGEL’S MODEL OF HISTORICAL PROGRESS WITH THE NECESSARY EMERGENCE OF THE “NEW ART HISTORY” IN CONTEMPORARY ERA. MOTALEATE TATBIGHI HONAR, 2(3), 35-45. SID. https://sid.ir/paper/205414/en

Vancouver: Copy

ESFANDIARI APENA, AYAT ELAHI HABIB ELAH, DIBADJ SEYYED MOUSA. COMPARATIVE STUDY OF HEGEL’S MODEL OF HISTORICAL PROGRESS WITH THE NECESSARY EMERGENCE OF THE “NEW ART HISTORY” IN CONTEMPORARY ERA. MOTALEATE TATBIGHI HONAR[Internet]. 2012;2(3):35-45. Available from: https://sid.ir/paper/205414/en

IEEE: Copy

APENA ESFANDIARI, HABIB ELAH AYAT ELAHI, and SEYYED MOUSA DIBADJ, “COMPARATIVE STUDY OF HEGEL’S MODEL OF HISTORICAL PROGRESS WITH THE NECESSARY EMERGENCE OF THE “NEW ART HISTORY” IN CONTEMPORARY ERA,” MOTALEATE TATBIGHI HONAR, vol. 2, no. 3, pp. 35–45, 2012, [Online]. Available: https://sid.ir/paper/205414/en

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