Dehumanizacja sztuki i inne Dehumanizacja sztuki i inne eseje by. José Ortega y Gasset,. Piotr Niklewicz (translator).,. Stanisław Cichowicz (introduction). Ortega y Gasset, “Dehumanizacja sztuki” w: Dehumanizacja sztuki i inne eseje, Warszawa D. Kuspit “Koniec sztuki”, Gdańsk (fragmenty) A. Danto. Spisek sztuki. Iluzje i deziluzje estetyczne z dodatkiem wywiadów o Spisku sztuki, Ortega y Gasset J.,. Dehumanizacja sztuki i inne eseje, przeł.
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It should be noted, however, that Ortega y Gasset did not depreciate the art of previous centuries.
Art, according to Gadamer, can be aptly described by three concepts: Art invites us, in his view, to join an intellectual game of exploring dehumanised forms, beneath the surface of which there is no longer any room for the truth about the real world. Ortega y Gasset, who was one of the heralds of a catastrophic vision of the future of the human world in its previous form, nevertheless did not surrender to utterly defeatist thinking.
Both thinkers treated statements about the alleged crisis of art as an exercise in thought and undertook attempts to provide creative responses.
The essence of the art of the first decades of the twentieth century became, according to Ortega y Gasset, the phenomenon of dehumanisation he described.
The summary of the views esrje Gadamer and Ortega y Gasset we have offered here is further evidence of the unlimited potential for the interpretation of contemporary phenomena in art. Ortega y Gasset, Dehumanizacja sztuki, in: Dehumanizacja sztuki i inne eseje, Warszawa Therefore, Ortega y Gasset considered the examination of art from a sociological point of view to be a useful tool for understanding the phenomenon of contemporary art.
The ethical turn in the early writings of Pär Lagerkvist
For Ortega y Gasset, art was one of the most significant sociocreative factors: These considerations concerning contemporary art lead to the conclusion that neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive dehumanizwcja of the individual. Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension.
Other styles in art should be considered in the context of dramatic social and political movements or deep religious and philosophical currents. We still have not dealt with the issues of its essence, meaning and function.
The cognitive value of the new art was based on meanings that were no longer simply a way to recognise a work based on the similarity of its content to dehuanizacja, as was the case in traditional art. Gadamer, Hans-Georg, Prawda i metoda. Student is able to analyze the mechanisms of culture and perceive pedagogical problems associated with contemporary culture Student compares selected aesthetic theories.
The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons.
Folia Scandinavica Posnaniensia
It ceased to be an experience bearing the hallmarks of universality: Metaphor and the concept of taboo are closely linked: Student lists and describes the characteristics of contemporary theater and film taking into account their educational role. Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system: Selected essays], Warsaw Art had become a hermetic experience, accessible only to the chosen few.
Thus there is no more historical continuity of style; the achievements of tradition have been suspended, and simple references to human reality are no longer functional.
Ortega y Gasset, “Dehumanizacja sztuki” w: Without a doubt, the most important aspect in hermeneutical reflections on art is that art has a relationship with the truth, that it is a cognitive experience, i. The basis of this radical social effect of art in the first decades of the twentieth century was, first and foremost, the break with tradition.
Piotr Niklewicz ( of Burzliwy żywot Baska Zalacaina)
Works of art connect people with one another and bind them in a common dialogue. These reflections revolve around the concept of crisis of art as it was understood by both thinkers. Gadamer, Estetyka i cehumanizacja, p. The meaning of the new art appeared, therefore, at the moment of recognition of the purely aesthetic value of the work. At that time, the status of the artist changed, art changed, and the viewer changed as well.
Contemporary art was supposed to create new entities, aesthetic objects that lived in the objective space of the artistic world, which differed from physical and psychological reality. Firstly, it was not real, in the sense that it was new and differed from what was real.
José Ortega y Gasset • BookLikes
Ortega y Gasset, Dehumanizacja sztuki, p. Paradoxically, this art thus became doubly unreal. The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible. Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it.