Full text
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| Author(s): |
Matteo Santi Cremasco
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Arquitetura e Urbanismo (FAU/SBI) |
| Defense date: | 2011-03-16 |
| Examining board members: |
Carlos Augusto Mattei Faggin;
Celina Borges Lemos
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| Advisor: | Carlos Augusto Mattei Faggin |
| Abstract | |
This essay comprises two distinct parts. In the first one, contrary to the postmodern and the contemporary theoreticians, it is set a general definition of postmodernism: we must name as postmodernist the work of art or architecture that reproduces very well-known images and gives them unexpected meanings. With this statement, which is presented in two books of Robert Venturi, it is proved the possibility of defining the postmodernism, despite its multiple expressions. Since there are no rules for choosing the type of images that artists and architects will duplicate nor for changing their original meanings to new ones, the postmodern pieces can assume any configurations. Therefore, to indicate what is (or is not) postmodern, we shall consider the features behind the form or the materials of each work. As it is impracticable to identify the postmodernism looking at the pieces, the concepts of art and architecture (which have to match all the existing styles of art or architecture, including the postmodernism) count some points that are not immediately accessible to the eyes. The arrival of the postmodernism invalidated all the theories that used to justify the status of art or architecture of a work on its appearance; in fact, there are exactly alike objects that differ from each other because only one of them has a real artistic or architectonic value. To talk about the nature of works of art and architecture, it is taken the Georg Wilhelm Friedrich Hegel\'s aesthetics into account; according to the Hegelian doctrine, postmodernism corresponds to a new step on the process of spiritual development, through which humanity has increased its consciousness of itself and the world, and art and architecture have left perception for reflection. Finally, it is contested the postmodern thesis concerning the end of narratives, with a defense of art history. In the second part, it is pointed the causes for the postmodern movement in Minas Gerais, Brazil, remarking its political and cultural environment in the 80\'s and the leadership of the Brazilian architect Éolo Maia. (AU) | |