Breve historia y antología de la estética by José María Valverde Pacheco

By José María Valverde Pacheco

Este libro, nacido de l. a. enseñanza, pero con esperanzas de interesar también a lectores libres de cursos y exámenes, sólo pretende ofrecer una mínima síntesis del desarrollo histórico de los angeles estética, sobre todo en su núcleo conceptual. En lo que se llama "ideas estéticas" se reúnen varias perspectivas, en cada momento: así, lo que dijeron los grandes filósofos sobre los angeles belleza y el arte -cuando no callaron sobre tal tema-, y lo que opinaron los propios hacedores o sus críticos inmediatos sin ambición filosófica; todo ello en el contexto de l. a. mentalidad de cada época y, claro está, teniendo como interés supremo l. a. realidad misma de lo estético, es decir, los hechos de las artes y de las letras. Sabemos que sobre estos hechos singulares se puede hablar interminablemente sin llegar a conclusiones fijas, pero se hacen aún más interesantes cuanto más los vemos sobre el trasfondo de las principles y los angeles sociedad en que se insertaron. Cada capítulo lleva, tras su sucinta exposición, una antología de textos típicos, cuyas traducciones -a veces más adaptadas que literales- son de nuestra propia responsabilidad si no se indica otra cosa. Acaso el designio principalmente informativo que ha movido esta obra no los angeles haya librado de sectarismos de diversa índole: querríamos que el más importante de ellos fuera los angeles oposición a los angeles tendencia contemporánea -ya señalada y fomentada por Hegel- a dar más valor a las principles generales que a los hechos y obras singulares.  

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We seek to enact the agency of multiple identities while simultaneously offering new identities through our teaching of accepted literacies that are best able to operate within the institutions of power in our society. material conditions of identity politics 25 COMPOSITION AND IDENTITY POLITICS: TRANSFORMATIVE AGENCY OR IDENTITY FORMATION? This seeming paradox of difference within sameness is one in which composition is deeply implicated. Composition has consistently attempted to take seriously the mandate of equality through a shared language while simultaneously respecting difference and diversity.

COMPOSITION, AS A FIELD, has taken seriously the challenges posed by recent theories of discourse and subjectivity. Depending on the pedagogy, we have employed varying theories of the subject to guide our understanding of how identity might explain the writer’s agency. What we still know less about, however, is how our students come to understand their own identities within postmodern culture. Our students, and all citizens for that matter, are offered multiple positions out of which to construct identity, positions created through the conflicts and convergences in public, media, experiential, and institutional discourses.

But other voices, other selves, are still available to me and I still perform (am) them. The languages available to me, the rhetoricity through which I am/be, are as much Rich’s, Bob’s, Eartha’s, Bridget’s, the MacDonald’s, Larry’s, my parents’, my brother’s, my Boston students’ as they are my colleagues’ and the Brady Bunch. To be American, even though we rarely see it in white folk (or even in “white trash,” a term from my youth that I’ve decided to embrace), is to be afforded the possibility of being multicultural, or if we happen to occupy a white body, to become Marcia Brady.

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