Depuis leur origine, la critique et l’histoire de l’art argentines suivent les modèles européens. Les outils d’analyse et d’interprétation, les critères pour évaluer les œuvres, la périodisation et les façons d’organiser le récit historique respectent les normes établies pour l’historiographie française de l’art moderne en particulier. Les auteurs considèrent que l’art local intègre l’espace mondial de l’art de l’Occident, mais ils comprennent qu’il se place dans une région marginale et qu'il suit une temporalité décalée par rapport à la cadence du développement de l’art moderne des régions centrales. L’art argentin est souvent jugé comme provincial et en retard, comme un art qui ne s’adapte pas aux normes du canon français. Cette perception se nourrit dans le contact des Argentins avec la culture française à travers les voyages, les visites des auteurs étrangers et la litérature francophone. Sauf quelques exceptions, c’est la perception dominant la litérature argentine sur l’art jusqu’aux années soixante.À partir de ce moment, les références françaises sont progressivement contestées, associées à d’autres perspectives et puis abandonnées. Ces transformations ont lieu dans le cadre général des révisions disciplinaires propres du passage entre l’ère moderne et la contemporanéité. Celles-ci ne sont pas uniformes ni monolithiques mais le résultat des révisions graduelles de la fonction, la méthodologie et le style de la littérature sur l’art. La crise touche les modèles d’autorité traditionnels et conduit les spécialistes à chercher de nouveaux fondements dans diverses aires de la connaissance comme la psychologie, la sociologie ou les systèmes théoriques proposés par le structuralisme et la sémiotique. La pensée latino-américaine, ravivée à l’époque, contribue à cette remise en question et donne des éléments conceptuels pour le développement de nouvelles perspectives dans la critique et l’histoire de l’art. / From their beginnings, Argentinian art history and critic have followed European models. Interpretation tools, evaluation criteria upon works of art and the standards to organize and cut into periods the historic account, respect the established norms, especially those given by the French modern art historiography. Argentinian authors believe their local art makes part of the western art world space, yet they understand that it is located at a marginal area and that it belongs to a temporariness sufering from lag in relation to the development of the central modern art’s regions. Terefore, Argentinian art is habitually judged as country-like and out-dated since it fails to tackle the imposed standards of the French canon. Such perception is nourished by the interaction of the Argentinians with the French ulture throughout their travels, the foreign authors’ visits and from their specialized French literature available in Argentina. With few exceptions, this perspective has dominated arts writing since the sixties.From that moment on, Argentine authors increasingly question the French references. Te model is re-visited, criticized, mixed with other perspectives and eventually forsaken. Tese transformations occur within the general frame of the disciplinary revisions of the passing from modern to contemporary era. Tey are not uniformly produced, but the outcome of gradual function, methodology and style of art writing revisions. Te crisis afecting the traditional models leads the specialists to look for new foundations in several areas of knowledge such as psychology, sociology, or in the theoretical systems proposed by structuralism and semiotics. Te « Latin-Americanist » discourses, reactivated during the sixties contribute and give such revision conceptual elements for the development of new perspectives on the art criticism and art history.

[pt] Este trabalho procura refletir sobre a crise do jornalismo contemporâneo à luz de uma possível fonte de renovação da prática, os blogs jornalísticos. Tal crise é vista como desdobramento de uma problemática mais ampla, a crise da modernidade, que coloca em xeque valores fundantes do jornalismo - como o próprio conceito de verdade. A popularização da Internet, já perto da virada do século XX para o XXI, intensifica a crise em curso, mas ao mesmo tempo cria, por meio da tecnologia, outras formas de interação com o leitor e dissemina possibilidades narrativas antes excluídas do gênero jornalístico. As transformações da prática e da narrativa jornalística são investigadas a partir de textos de três publicações eletrônicas: o Blog do Noblat, de Ricardo Noblat; o Blog do Moreno, de Jorge Bastos Moreno; e o blog Nos bastidores do poder, de Josias de Souza - respectivamente veiculados pelos portais Estadão.com, Globo Online e Folha Online. A escolha se deve à hipótese de que o jornalismo é capaz de se reinventar criativamente no seio dos mesmos veículos que tornaram suas práticas hegemônicas. As análises de texto incluem não apenas o conteúdo produzido pelos jornalistas, mas também os comentários dos leitores - aqui encarados como pólo ativo no processo de comunicação. / [en] This paper attempts to reflect on the crisis of contemporary journalism in light of a possible new source of renovation in its practice - journalistic blogs. The crisis is seen as an unfolding of a broader set of problems, the modernity crisis, which places journalism`s core values at check - such as, the concept of truth itself. The popularization of the World Wide Web in the turn of the century intensifies the crisis underway, but at the same time creates other forms of interaction with the reader through new technologies and disseminates possible narratives formerly excluded from journalism. The changes in journalistic practice and narrative are researched in texts from three electronic publications in electronic media: Noblat`s Blog, by Ricardo Noblat, Moreno`s Blog, by Jorge Bastos Moreno, and the blog Nos Bastidores do Poder [Power - Behind the Scenes], by Josias de Souza - respectively published in the following portals: Estadão.com, Globo Online and Folha Online. The choice is due to the hypothesis that journalism is able to reinvent itself creatively in the very same publications which made it a hegemonic practice. The analyses of the texts include not only content produced by journalists but also comments by readers - considered here as an active area in the communication process.