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A fotografia e a obra de Arte: Uma Análise de Câmara Clara em contraponto com a origem da Obra de Arte
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Este estudo consiste no desenvolvimento da caracterização da relação entre a Fotografia e a obra de arte, no enquadramento teórico do contraponto entre A Câmara Clara, de Roland Barthes e A Origem da Obra de Arte de Martin Heidegger. Nesta reflexão, é examinada a hipótese da existência de um ponto de encontro entre a Fotografia de Barthes e a obra de arte de Heidegger na produção artística do acontecimento da verdade como clareira e encobrimento ou aletheia. Para um aprofundamento da discussão filosófica sobre a originalidade da
Fotografia, estuda-se a sua posição existencial entre as artes. Esta é a análise e interpretação crítica do ensaio de Barthes, estudado à luz da filosofia da arte, a partir da teoria de Heidegger. Então, apesar de um contraste entre ambas, no cruzamento das duas teorias, a relação entre a Fotografia de Barthes e a obra de arte de Heidegger é caracterizada por uma ligação original. Na produção da Fotografia, como despertar da inacessível realidade, é encontrada a expressão artística da verdade, proposta por Heidegger na caracterização da obra de arte. Deste modo, no cruzamento entre a Fotografia de Barthes e a obra de arte de Heidegger encontramos como ponto de encontro o acontecimento da verdade.
This study consists in the development of the characterization of the relationship between Photography and the work of art, in the theoretical framework of the counterpoint between Roland Barthes’s Camera Lucida, and Martin Heidegger’s The Origin of the Work of Art. In this reflection, the hypothesis of the existence of an encounter between Barthes’s Photography and Heidegger’s work of art in the artistic production of the happening of truth as clearing and concealing or aletheia. In order to deepen the philosophical discussion on the originality of Photography, its existential position among the arts is thus studied. This is the analysis and critical interpretation of Barthes’s essay, studied in the light of a philosophy of art, through Heidegger’s theory. Hence, at the intersection of the two theories, the relationship between Barthes’ Photography and Heidegger's work of art is characterized by an original connection. In Photography, as the awakening of the inaccessible reality, we find the artistic expression of truth, proposed by Heidegger in his characterisation of the work of art. Thus, in the intersection between Barthes’s Photography and Heidegger’s work of art we find as a point of encounter the happening of truth.
This study consists in the development of the characterization of the relationship between Photography and the work of art, in the theoretical framework of the counterpoint between Roland Barthes’s Camera Lucida, and Martin Heidegger’s The Origin of the Work of Art. In this reflection, the hypothesis of the existence of an encounter between Barthes’s Photography and Heidegger’s work of art in the artistic production of the happening of truth as clearing and concealing or aletheia. In order to deepen the philosophical discussion on the originality of Photography, its existential position among the arts is thus studied. This is the analysis and critical interpretation of Barthes’s essay, studied in the light of a philosophy of art, through Heidegger’s theory. Hence, at the intersection of the two theories, the relationship between Barthes’ Photography and Heidegger's work of art is characterized by an original connection. In Photography, as the awakening of the inaccessible reality, we find the artistic expression of truth, proposed by Heidegger in his characterisation of the work of art. Thus, in the intersection between Barthes’s Photography and Heidegger’s work of art we find as a point of encounter the happening of truth.
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Fotografia Obra de arte Imagem Verdade Tempo Photography Work of art Image Truth Time