| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 1.42 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
Neste capítulo pretende-se apresentar e problematizar a
emergência e consolidação da esfera pública cultural que,
a partir do séc. XVIII, configura um espaço comunicacional
incontornavelmente marcado pelas práticas jornalísticas.
“O espaço público moderno constituiu-se segundo o ideal liberal
de uma síntese Razão - Publicidade - a «publicidade» com o sentido de publicitação, o acto eminentemente comunicacional do
«tornar público», «dar a conhecer» (factos, opiniões e ideias) e
fomentar o debate e livre circulação de ideias. Fórum de debate
colectivo e de exercício da razão, o espaço público visa estabelecer e exprimir o interesse colectivo, a vontade geral, de uma
forma autónoma relativamente ao Estado e em oposição ao Poder” (Esteves, 1998: 183).
O papel da crítica de arte na autonomização da esfera pública
cultural foi crucial. À medida que cada vez mais pessoas entraram em contacto com as obras de arte, a função dos entendidos
(cuja competência estava antes ligada a privilégios sociais) tornou-se dispensável, tendo sido assumida pela crítica profissional. O crítico ou ‘árbitro das artes’ assumiu-se como mandatário
e pedagogo do público.
Foi em pleno século XVIII que os jornais se assumiram como instrumento da crítica de arte institucionalizada e os artigos dedicados à arte e à crítica cultural, objecto de discussão. O público
esclarecia-se mediante a apropriação crítica das artes proporcionada por esses artigos.
A acompanhar a genealogia da esfera pública cultural, nomeadamente no contexto português, questiona-se neste capítulo o em primeiro o papel da imprensa, mais tarde da rádio e televisão e, recentemente, dos media digitais enquanto modalidades de tornar comum.
ABSTRACT: This chapter intends to present and discuss the emergence and consolidation of the cultural public sphere that, from the 18th century, configures a communicational sphere undeniably marked by journalistic practices. “The modern public space was constituted according to the liberal ideal of a Reason-Publicity synthesis – publicity with the sense of the act eminently communicational of “making public”, “making known” (facts, opinions and ideas) and to encourage the debate and free circulation of ideas. As a forum for collective debate and the exercise of reason, the public space aims to establish and express the collective interest, the general will, in an autonomous way in relation to the State and in opposition to Power.” (Esteves, 1998: 183) The role of art criticism in the autonomy of the cultural public sphere was crucial. As more and more people came into contact with art works , the role of experts (whose competence was previously linked to social privileges) became unnecessary, having been assumed by professional critics. The critic or ‘judge of the arts’ came out as the public’s mandate and pedagogue. It was in the 18th century that newspapers became an instrument of institutionalized art criticism and articles devoted to art and cultural criticism, the subject of discussion. The public was enlighted by the critical appropriation of the arts provided by those articles. Accompanying the genealogy of the cultural public sphere, namely in the European context, this chapter questions the role first of the press, later of radio and television and, more recently, of digital media as ways of making it common.
ABSTRACT: This chapter intends to present and discuss the emergence and consolidation of the cultural public sphere that, from the 18th century, configures a communicational sphere undeniably marked by journalistic practices. “The modern public space was constituted according to the liberal ideal of a Reason-Publicity synthesis – publicity with the sense of the act eminently communicational of “making public”, “making known” (facts, opinions and ideas) and to encourage the debate and free circulation of ideas. As a forum for collective debate and the exercise of reason, the public space aims to establish and express the collective interest, the general will, in an autonomous way in relation to the State and in opposition to Power.” (Esteves, 1998: 183) The role of art criticism in the autonomy of the cultural public sphere was crucial. As more and more people came into contact with art works , the role of experts (whose competence was previously linked to social privileges) became unnecessary, having been assumed by professional critics. The critic or ‘judge of the arts’ came out as the public’s mandate and pedagogue. It was in the 18th century that newspapers became an instrument of institutionalized art criticism and articles devoted to art and cultural criticism, the subject of discussion. The public was enlighted by the critical appropriation of the arts provided by those articles. Accompanying the genealogy of the cultural public sphere, namely in the European context, this chapter questions the role first of the press, later of radio and television and, more recently, of digital media as ways of making it common.
Description
Keywords
Esfera pública cultural Jornalismo Imprensa Rádio Televisão Media digitais Cultural public sphere Journalism Press Radio Television Digital media
Citation
Centeno, M. J. (2021). A esfera pública cultural e as modalidades de tornar comum. In J- Lourenço & P. Lopes (eds.), Comunicação, Cultura e Jornalismo Cultural Lisboa: NIP-C@M & UAL, (pp. 138-162). https://doi.org/10.26619/978-989-9002-14-2.7
Publisher
NIP-C@M