W. Madej, (Warsaw ); J. Ortega y Gasset, “Rozmyślania o technice” [in:] Bunt mas i inne pisma socjologiczne, transl. P. Niklewicz (Warsaw ). Ortega y Gasset, J. Bunt mas i inne pisma socjologiczne. Warsaw: PWN. Rosenbaum, B. and Sonne, H. Det er et band der taler: Analysis of. Read the latest magazines about Socjologiczne and discover magazines on Jose Ortega y Gasset BUNT MAS I INNE PISMA SOCJOLOGICZNE.
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The opening of the interpretative horizon of art took place along with its autonomisation, implemented by Immanuel Kant, and today the horizon seems to be continuously expanding.
Contemporary artists broke away from the art of the past because a new type of viewer had appeared. 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. Similarities bunh differences are pointed out in their assessments of the situation of contemporary art, its nature and function.
Bunt mas i inne pisma socjologiczne by José Ortega y Gasset
In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid. What ended irrevocably was the bubt of the past. This, in our opinion, was the approach of both Gadamer and Ortega y Gasset. The new art, in his view, was antipopular by definition: A game deeply engages its participants, and thus changes their pusma of the world; the colloquial perception of reality is, in the experience of art, suspended.
It seems that the process of dehumanisation did not deprive art of all sense. 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. The game concept reveals the processual and hypersubjective nature of the truth of art; it wocjologiczne points out that art is inje communicative phenomenon that involves participation.
Selected essays], Warsawp. It should be noted, however, that Ortega y Gasset did not depreciate the art of previous centuries. An extremely difficult task lay before the artist: The idea of art as an ironic game between the work and the viewer was not yet widely accessible. Traditional art, loaded with humanising elements, had been depleted, heavy, pathetic and serious.
Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical socjologivzne.
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. Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Thus, the Spanish philosopher is close to the postmodern recognition of art as a free-and-easy intertextual game.
Gadamer, Hans-Georg, Prawda i metoda. Click here to sign up. The viewer, for his part, had changed his attitude to contemporary art because it had departed radically from the artistic canons of the past.
Festival of Art or Crisis of Art? Ortega y Gasset, Bunt mas [The revolt of the masses], in: Importantly, however, the dehumanising metaphor was not merely a decorative tool or a highlighted element of the reality being presented.
Gadamer, Estetyka i hermeneutyka, op. It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter. This flight was a departure from the traditional imitation of reality, in order to create new forms that, as Ortega y Gasset would say, were as dissimilar as possible to the fragments of human reality: His statement is rooted in basic hermeneutical assumptions to the effect that conscious acceptance of transmissions of tradition and culture is necessary for one to understand the world, oneself and other people.
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.
Bunt mas i inne pisma socjologiczne
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 scjologiczne in the late nineteenth and early twentieth centuries in Europe. 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 festival concept also emphasises, above all, the exceptional possibilities of the integration of art: What is more, aesthetics is not a separate field of knowledge, but is incorporated in the sphere sojcologiczne hermeneutics. At the same time, it fled from pathos, seriousness, missionary zeal and transcendence.
These considerations concerning contemporary art lead to the conclusion socjologifzne neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive horizon of the individual.
Bunt mas i inne pisma socjologiczne – José Ortega y Gasset – Google Books
It socjologicznr not an elite phenomenon, designed for a narrow audience, but rather seizes the attention of viewers in the form of a sensation of authenticity, which is always current and modern. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life. Paradoxically, this art thus became doubly unreal. But could art on such a basis preserve any cognitive value?
Contemporary art, by definition, divides society into those excluded from the world of art and its privileged participants. Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Cichowicz introductionWarsaw This slogan was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset.