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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Gadamer, Hans-Georg, Koniec sztuki? The meaning of a work may be revealed if an effort is made to discover it. A game deeply engages its participants, and thus changes their perception of the world; the colloquial perception of reality is, in the experience of art, suspended.

We still have not dealt with the issues of its essence, meaning and function. An outline of philosophical hermeneutics], B. However, the experience of art is also distinguished by hermeneutics in terms of the exceptional language of communication and the exemplary manner of manifesting the truth in artistic creations. 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.

The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons. 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. 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.

Gadamer, Estetyka i hermeneutyka, op. 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.

Zarys hermeneutyki filozoficznej [Truth and method. The idea of art as an ironic game between the work and the viewer was not yet widely accessible. It ceased to be an experience bearing the hallmarks of universality: Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present.

The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible. Becoming acquainted with the rules of the game of the new art was, for Ortega y Gasset, essential. We believe that comparison and analysis of these partly congruent, partly conflicting proposals may prove to be of cognitive value and to provide useful tools for the further study of contemporary art. 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.

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At that time, the status of the artist changed, art changed, and the viewer changed as well. The summary of the views of Gadamer and Ortega y Gasset we have offered here is further evidence of the unlimited potential for the interpretation of contemporary phenomena in art.

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Ortega innf Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few. Programmatically, it assumes a departure from the dead canons of the past and the elevation of man above his human dimension, detaching him from reality by means of its conscious deformation. The new art began to operate mainly through irony, which often took the form of self-mockery. The new art, in his view, was antipopular by definition: An outline of philosophical hermeneutics] B.

It seems that the process of dehumanisation did not deprive art of all sense. Thus there is no more historical continuity of style; the achievements of tradition have been suspended, and simple references to human reality are no sztkki functional.

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.

José Ortega y Gasset • BookLikes

Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it. Student manifests behavior of evidence of critical reflection on art, culture and media society Student presents his own views while maintaining the principle of discourse ethics.

The audience immediately divides itself into two groups: On-line services of the University of Warsaw. Every experience of this art is alienating in the sense that while in contact with it, the viewer is left to his own devices.

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Significant and noteworthy is the fact that they focused on the same concepts, which can be variously defined as, inter alia, tradition, play, and the meaning of art. Therefore, Ortega y Gasset considered the examination of art from a sociological point of view stzuki be a useful tool for understanding the phenomenon of contemporary art.

Student knows what is the relationship between humanities and culture Student discusses some problems in the field of contemporary aesthetics Student lists and describes the characteristics of contemporary art and its role in social communication.

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In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid. Student is able to move independently in the space of art.

Gadamer speaks in this context of a fusion of horizons, about dehumainzacja collision of sztkki derives from the past with what constitutes the present perspective of the viewer. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: Cichowicz introductionWarsawp. According to the Spanish thinker, the crisis of the entire contemporary culture, and art in particular, was inextricably linked to the condition of European societies in the late nineteenth and early twentieth century.

Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life.

Szkice o miłości – José Ortega y Gasset • BookLikes

dehumanizacjz Taking the trouble to understand it is indispensible, especially in view of the artistic phenomena that appeared after the period of the Great Avant-Garde. On this issue, Gadamer remains more cautious, encouraging us only to respond to the appeal, addressed to everyone, to participate in the world of art. The specificity of the language is based primarily on the fact that art speaks to the viewers in a very powerful way; the sense of dehumanizxcja truth of a work of art, though never fully expressible, appears as if obvious.

Selected essays], Warsawp. Gadamer, Estetyka i hermeneutyka, p. This breakthrough concerned the j of new forms and new content in artistic presentations, as dehumainzacja as the traditional understanding of the role of art, the relative positions of artist and viewer, and the status of works of art. 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.

This tradition had created, in his opinion, a community of mutual understanding and agreement, associated with intelligibility and openness transmitted by the content of the art, 1 constructing a common myth that rendered the ihne embodied in the works easily accessible. Secondly, the aesthetic object that was its creation had the capacity to deform true reality.