DEHUMANIZACJA SZTUKI I INNE ESEJE PDF

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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Works of art connect people with one another and bind them in a common dialogue.

Other styles in art should be innf in the context of dramatic social and political movements or deep religious and philosophical currents. An extremely difficult task lay before the artist: Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it. The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible.

Through it, we can expand human consciousness and develop 22 Ibid. Student uses the terminology of the theory of art, film, theater and media to the extent that individual reading szutki texts. Becoming acquainted with the rules of the game of the new art was, for Ortega y Gasset, essential. Selected essays], Warsawp. Every experience of this art is alienating in the sense that while in contact with it, the viewer is left to his own devices. Contemporary aspects of the idea of education through art.

Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game ezeje a metaphysical dimension. Zarys hermeneutyki filozoficznej [Truth and method. Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: This slogan was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset. As an eyewitness to the changes in art which took place at the beginning of the twentieth century, Ortega y Gasset was sure that art, on the threshold of that century, had been launched on a road from which there would be no turning back.

The authors refer to the basic works of these philosophers on aesthetics and the philosophy of art, among them Truth and method, The relevance of the beautiful, and The dehumanisation of art.

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MHPP-Cultural education. Contemporary artistic culture – University of Warsaw

We believe that comparison and analysis of these partly congruent, partly conflicting proposals dehumxnizacja prove to be of cognitive value and to provide useful tools for the further study of contemporary art.

Even if it seems today that we are familiar with the shape of the new art, interpreting it evidently remains a challenge for us. Ssztuki, “Przeciw interpretacji” M.

Here, it is worth adding that the basic premise of this reflection is that the reception of art is directed by the sense of expectation. Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object. The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art.

Szkice wybrane [Reason, word, history. The role of not only the modern audience, but also the entire set of critics and aestheticians, is to respond creatively to the challenges art poses us. Discreet messages are spoken quietly, 1 See. Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few.

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At the same time, it fled from pathos, seriousness, missionary zeal and transcendence. Art turns out to be a mysterious game of revealing and concealing meanings. Gadamer, Estetyka i hermeneutyka, op.

As a result, nonfigurative art appeared, making no attempt to respond to usual expectations of the image, and evoking shock and feelings of alienation from its viewers. Paradoxically, this art thus became doubly unreal. The experience of art becomes a personal challenge for the individual, who decides either to submit to the new rules of the game, or, as Ortega y Gasset said, rejects the new and incomprehensible art.

Contemporary art is no longer a continuation of the tradition. The moment of change, of which Ortega y Gasset was the witness, was undoubtedly a critical moment, pregnant, however, with potential for the continued existence of art in general. Ortega y Gasset, Bunt mas [The revolt of the masses], in: 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.

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Introduction In undertaking an attempt at philosophical reflections on contemporary art today, it is impossible to ignore the changes that took place in human artistic activity in the late nineteenth and early twentieth centuries in Europe.

Ortega y Gasset, “Dehumanizacja sztuki” w: The radical opposition to traditional popular art was a deliberate process, achieved through an intentional break with the rules of communication between the artist and the viewer previously in force, the rejection of past canons of art and a departure from realist and naturalist presentation.

But could art on such a basis preserve any cognitive value? Click here to sign up. Enter the email address you signed up with and we’ll email you a reset link. Hans-Georg Gadamer on art Gadamer perceived, of course, the generally acknowledged crisis of contemporary art, believing that it was the result of transformations that took place in Europe in the nineteenth century when the centuries-old tradition of Western Christian art was interrupted.

Cichowicz introductionWarsawp. Ortega y Gasset drew attention to the advancing process of elitarisation of the new art, which, in the moment of crisis of the traditional aesthetic values of democratic, egalitarian societies, was its only salvation. At the same time, it fell into the trap of elitism, which had the potential to lead to the total alienation of artistic practice and the gradual disintegration of the insulated, hermetic world of art.

Thus, the Spanish philosopher is close to the postmodern recognition of art as a free-and-easy intertextual game. The new art began to operate mainly through irony, which often took the form of self-mockery.

There is no place here for the acquisition of knowledge, only for a never-ending process of dialogue. 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.