Introduction to PartIII: The Intersection of Contemporary Latin American Art and Religion
This introduction examines the usefulness of Habermas’s “post-secularity” for discussions of religion in contemporary Latin American art, as well as the Náhuatl concept of “nepantla,” or in-betweeness, and Néstor García Canclini’s “multi-temporal heterogeneity.” These terms are examined in relation...
Auteur principal: | |
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Type de support: | Électronique Article |
Langue: | Anglais |
Vérifier la disponibilité: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Publié: |
Brill
2014
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Dans: |
Religion and the arts
Année: 2014, Volume: 18, Numéro: 1/2, Pages: 239-244 |
Sujets non-standardisés: | B
Post-secular
multi-temporal heterogeneity
Nepantla
Delilah Montoya
Francis Alÿs
contemporary Latin American art
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Accès en ligne: |
Volltext (Verlag) |
Résumé: | This introduction examines the usefulness of Habermas’s “post-secularity” for discussions of religion in contemporary Latin American art, as well as the Náhuatl concept of “nepantla,” or in-betweeness, and Néstor García Canclini’s “multi-temporal heterogeneity.” These terms are examined in relation to the work of artists Delilah Montoya and Francis Alÿs. |
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ISSN: | 1568-5292 |
Contient: | In: Religion and the arts
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Persistent identifiers: | DOI: 10.1163/15685292-01801012 |