H.G.GADAMER ACTUALIDAD DE LO BELLO PDF

LA ACTUALIDAD DE LO BELLO HANS GEORG GADAMER BIOGRAFÍA Nació el 11 de febrero de en Marburg. Hijo de un catedrático de. Book Review H.G. Gadamer, The Enigma of Health. J. Gaiger and N. Walker, trans. La Actualidad de Lo Bello Por h.g. Gadamer Documents. of H.G. Gadamer’s aesthetic thought in light of the main theses of his her- meneutical . 5 Gadamer, H.-G., La actualidad de lo bello. El arte como juego, símbolo.

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UBC Theses and Dissertations. Art Means Something to Us: It also led some participants to change their perceptions of art and museum visits, making them less unusual and more meaningful for them.

The inclusion of parents in the interpretive process allowed for interpretation to be enriched through the multiplicity of horizons of understanding that came into play during group conversations, and allowed for the development of a small community of interpreters. Karla and The Little Mule…………………………………………………….

Samuel and The City of Mexico………………………………………………. I would also like to thank Stephen Petrina for his support and concern for the development of my studies, as well as for sharing his knowledge with me. I am grateful to Basia Belloo for her constant support throughout the program, as well as for her patience and willingness to listen and help, and to Tathali Urueta for her generous and valuable help while I was doing research abroad.

Book Review, H.G. Gadamer, The Enigma of Health. – [PDF Document]

I extend my gratitude to the members of the Education Services Department for their help and support throughout the study. I greatly appreciated Irma Estrada for assisting me, her valuable observations, and her support. Thank you to Juan Carlos Medrano for his loving support and interest in my study, his valuable comments, questions and suggestions, and his generous help.

I am very grateful to the families who participated in the study. I appreciate their interest in it and the effort they made to help me carry out this research, as well as their enthusiasm and trust. I also thank my sister, Cynthia Estrada, and her husband Ricardo Gil, as well actualidzd Cristina Barrena and Juan Carlos, for receiving me in their home while I read, wrote, or rested; thank you acyualidad my mother.

Finally, I am indebted to several individuals in Mexico who made my studies in Canada a reality: Philosophical hermeneutic reflection on the relationship between knowledge and subjectivity, as well as on the interpretive or hermeneutic being of humans, might provide a framework that allows viewers to approach art through interpretive activities that make use of their own intelligence, imagination, knowledge, life experience, and patience.

In this sense, hermeneutic-based programs could help se bridge both h.g.gaadamer and emotional distance between non- specialized visitors and art in museums. In order to inquire about how hermeneutics can be a helpful framework for a public with little or no knowledge about art, I have designed a Museum Education program based on the concepts of art and on the hermeneutic circle of the philosopher Hans Georg Gadamer.

This program was carried out at the Museum of Modern Art in Mexico City and attended by a group of seven and nine-year-old children and their parents. This study analyzes the interpretive processes of these participants, and how these helped or failed to help gain an understanding of one work of art. This study also analyzes whether these processes were successful in making art less usual and more meaningful for them. The activities of the program I used for this study were designed as part of my B.

This study is set in the context of the understanding of the museum as a space of learning and communication, as promoted by Eilean Hooper-Greenhill She also identifies the need to make museums and collections more accessible to actualidzd kinds of visitors.

What does accessibility h.g.gadammer in the context of Museum Education? Many u.g.gadamer educators today speak of intellectual access to art Lynch, ; Meszaros, ; Yenawine, In h.g.gaamer sense, we could also talk about emotional access and emotional distance. These considerations would then point to three aspects that need belpo be taken into consideration when approaching the problem of trying to bring art and non art-publics closer or close: These aspects raise questions.

Actualisad them, there is one that comes insistently to mind regarding intellectual access: What intellectual tools does an art museum require from a viewer? Intelligence, capacity to observe, capacity to make sense of what is seen in words? Would imagination or intuition be considered as intellectual tools as well?

Though these issues are being dealt with by museum educators today, they also seem to have shaped Museum Education in its early stages.

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Hans-Georg Gadamer – Wikipedia

In the 19th century Henrietta Barnett, one of the founders of the Whitechapel Gallery in the East End of London, was concerned with bringing art to less fortunate groups of the population, who otherwise would not have access to it. This problem can be identified as early as the beginning of the paradigmatic first modern museum: Andrew McClellan refers to it in the following manner: Founded in at the height of the Revolution, the Louvre was the df of liberty, equality and fraternity.

The museum was housed in a royal ds turned palace of the people; its collection of paintings, sculptures, and drawings was the confiscated and nationalized acgualidad of Church, Crown and exiled aristocrats. It could also be argued that the problem of intellectual access, which might at times be overlooked by the openness of physical access to museums, is just as old.

Emotional access can also be considered a drawback for people who do not visit museums regularly, in spite of these being public institutions open to all. Even though museums have undergone several transformations since the creation of the Louvre, these contradictions still seem to be present in these institutions, and might still influence the debate of Museum Education.

Education in museums today often finds itself on the crossroads of two demands: The validity of audience interpretation is often mistrusted, as it draws away from curatorial discourse and academic connoisseurship Hooper-Greenhill, ; Meszaros,a, b. This debate in Museum Education could be related to philosophical debates on knowledge, truth, objectivity and subjectivity. In this sense, actualudad could provide a theoretical framework to find ways to blelo and validate interpretation strategies for non-specialized publics within the site of the museum Burnham, Kai-Kee b; Hooper-Greenhill, ; Meszaros, This gains particular importance when the interest of this study is to find ways to engage visitors with little or no knowledge about art.

Furthermore, the program does not intend h.g.gavamer diminish or supplant the kind of understanding of art that is provided through curatorial or academic knowledge.

In acctualidad, it opens up the possibility for publics with little knowledge about art to develop an interest in finding out more about artwork and, therefore, of being eager to seek and receive this kind of information. By building a bridge I refer to visitors gaining an understanding of art as something meaningful for them using their previous knowledge, imagination and life experience, through different games of interpretation, imagination and creation.

The BA thesis was developed as a project, including a description of the necessary tools to implement it as a program in an art museum. There was a brief case analysis and some conclusions drawn from the processes of interpretation, as ,o as from other aspects of Museum Education brought forth when the program was carried out. The observations and interpretations of my assistant, also knowledgeable in the theoretical framework, also informed my conclusions.

Nevertheless, g.g.gadamer was little record of how participants experienced the different processes of interpretation throughout the workshop, and virtually none of their h.g.gxdamer perspectives on their interpretive processes were included.

It was approached only as part h.g.badamer the conclusions actualdad as appendices to the thesis project. As a follow-up to this previous study, my MA thesis inquires in-depth into the processes of interpretation fostered by the program, as experienced by participants.

I have also adapted the BA design of the workshop into an education program that includes 7 parents in the process, as I have mentioned above. This provided the opportunity of inquiring into the processes of interpretation of adults, as well as of adults and children together. Let me provide some background information to offer a fuller picture of this previous study. Four children participated h.y.gadamer it, between the zctualidad of 7 and 11; they belonged to urban middle class and lower middle class families, and had had different or no kinds of engagement with art.

Throughout this process, the children were able to develop certain themes around the works of art, such as fraternity, femininity, freedom and identity, among others.

There were other observations about the behaviour of the children in the museum. At the beginning, they walked with a certain insecurity, very close to me and my assistant, and were reluctant to walk around on their own.

During the last session, they walked confidently in the galleries, and sat or even lay down comfortably on the floor while observing the paintings. I think this shows that neither the museum nor the work of art were seen by her as something foreign, instead, they became something personal and significant. On one hand, that it could only work well with figurative painting, leaving out other forms of art. My BA advisor, Dr. In this sense, even though Gadamer speaks of the autonomous nature of the work of art, in the context of art education this perspective should be taken carefully into consideration when approaching artwork from radically different cultural or religious contexts.

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For this reason, I propose the use of the program I present and study here to help non-specialized visitors approach figurative painting that does not belong to a radically foreign context. Throughout this MA study, I was able to identify other limitations of the program: H.g.gavamer, participants who feel they actualidadd the ability to draw or paint, or who find it difficult to do so, may experience certain frustration while engaging in drawing or painting activities.

This study also showed that the activities of the program do not always lead to an actual interpretation of the painting, nor to an actualidd of it g.g.gadamer the terms Gadamer proposed.

Adapting this program in order to engage parents proved to provide both benefits belol challenges.

Truth and Method

Thus, the possibility for the family to go back to the museum or engage in other activities with art increased, while the possibility for the program to become an isolated experience for the child decreased.

Another parent explained that going through similar experiences as her 9 children enabled her to understand them better, and to try to be more understanding of their responses to certain situations, not only during the program but also in other circumstances outside of it. Thus, the program enabled a different kind of understanding, one that was not directed to the work of art, but to the experience of others in the group.

My interest in the interpretation of works of art by children and parents with little or no knowledge about art was influenced and eventually shaped by several experiences during my high-school and university education, when I encountered professors who promoted an understanding of art beyond the historical and aesthetic categories, taking its study towards the understanding of aspects of a particular culture or time, or to the reflection on human experience.

While studying my BA in Cultural Studies, I recognized that the knowledge I gained through my academic studies also helped me reflect on and better understand the culture of my country and my society, as well as of how the past and present political, ideological, social, cultural and economic context of the country and of other countries have shaped it.

I have found a theoretical ground for these experiences and concerns in the hermeneutics of Hans Georg Gadamer and Martin Heidegger, and particularly in their understanding of art.

This has led me to use the philosophy of these authors as a framework for my professional practice. In the Literature Review of this thesis Chapter 2 I review interpretive practices in Museum Education in recent years, in both English- and Spanish-speaking countries.

I also address issues related to interpretation that have been identified by museum educators, and review the work of museum educators who have used philosophical hermeneutics as a theoretical framework.

In Methodology Chapter 4I explain how I recruited participants, as well as the methods of data collection and data analysis I used.

In Chapter 6 I present the report of the findings of the research. In the last section of this chapter I discuss what I learned from this study. Finally, I will focus on how hermeneutics has been approached and used in Museum Education. The Museum Journal, published in the U. The editors of both magazines speak of the diversity of approaches to interpretation that exist today, as well as to the sometimes sharp differences among them.

Two articles are especially useful to trace the most recent concerns of museum educators: Lynch and Carter-Birken present the results of surveys conducted among museum professionals in Scotland and in the United States, respectively. The paradox at the heart of interpretation may come from the peculiar forms of double identity that visual art enjoys. One is to do with penetrability.

Works of art both invite and resist explanation; they are understandable and unfathomable. Another is the vexed relationship of art to what lies outside of it. Art illuminates its subjects, at the same time as it muddies the waters; art participates in the systems it indicts.

A third paradox is to do with the register in which art is made and experienced. Art is both intensely private, and inescapably social. Filtered through changes in theory and policy, this cluster of paradoxes might go some way toward accounting for periodic swings from one kind of interpretive strategy to another.

It may also account for the ambivalence of interpreters toward their own project.