{"id":7395,"date":"2020-02-07T15:58:17","date_gmt":"2020-02-07T14:58:17","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=7395"},"modified":"2020-02-07T15:58:17","modified_gmt":"2020-02-07T14:58:17","slug":"critique-of-authenticity","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/critique-of-authenticity\/","title":{"rendered":"Critique of Authenticity"},"content":{"rendered":"
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Analyse critique du concept d\u2019authenticit\u00e9 dans les arts.<\/strong><\/p>\n

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L\u2019authenticit\u00e9 est une notion complexe, charg\u00e9e politiquement, moralement, philosophiquement et \u00e9conomiquement.<\/p>\n

Cet ouvrage codirig\u00e9 par Kornelia Imesch (Section d’histoire de l’art<\/a>,\u00a0Centre des sciences historiques de la culture<\/a>) r\u00e9unit des contributions interdisciplinaires qui \u00e9valuent de mani\u00e8re critique le concept d\u2019authenticit\u00e9, son r\u00f4le et sa signification dans divers contextes: art contemporain, musique, architecture,\u00a0philosophie, th\u00e9orie litt\u00e9raire, sociologie.<\/p>\n

Il montre que le pr\u00e9tendu besoin ou d\u00e9sir d’authenticit\u00e9 demeure pr\u00e9sent de nos jours, mais qu\u2019il a souvent un prix \u00e9lev\u00e9, li\u00e9 \u00e0 une culture d\u2019experts, \u00e0 des figures d\u2019autorit\u00e9 ou \u00e0 des strat\u00e9gies d\u2019exclusion.<\/p>\n

Thomas Claviez, Kornelia Imesch, Britta Sweers\u00a0(eds.), Critique of Authenticity<\/em><\/a>,\u00a0Wilmington, Vernon Press, coll. \u00ab\u00a0Series in Philosophy\u00a0\u00bb, 2020.<\/p>\n<\/div><\/div>\n

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TOUTES LES NOTICES DE<\/strong><\/h6>\n

Kornelia Imesch<\/strong><\/a><\/p>\n\n\n

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Critique of Authenticity<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
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Transdisziplinarit\u00e4t in Kunst, Design, Architektur und Kunstgeschichte<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
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Analyse critique du concept d\u2019authenticit\u00e9 dans les arts.<\/p>\n","protected":false},"author":1001615,"featured_media":7400,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[2],"tags":[211,2167,2172,1373,2171,2170,123,2169,2173,864,1960,272,2133,724,2168,1214],"class_list":{"0":"post-7395","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-art-contemporain","9":"tag-authenticite","10":"tag-autorite","11":"tag-centre-des-sciences-historiques-de-la-culture-shc","12":"tag-communaute","13":"tag-deconstruction","14":"tag-ethique","15":"tag-experts","16":"tag-folklore","17":"tag-kornelia-imesch","18":"tag-musees","19":"tag-musique","20":"tag-newsletter-16","21":"tag-performance","22":"tag-reconnaissance","23":"tag-section-dhistoire-de-lart"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7395","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/users\/1001615"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=7395"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7395\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/7400"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=7395"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=7395"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=7395"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}