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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Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few. Works of art connect people with one another and bind them in a common dialogue. Thus, hermeneutics encompasses aesthetics. Gadamer, Estetyka i hermeneutyka, edeje. Truth in hermeneutics is dynamic and fluid, dztuki like man, who is a finite being, entangled in history, tradition, and events.
Remember me on this computer. 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 reality, sztukj was the case in traditional art. Enter the email address you signed up with and we’ll email you a reset link. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life.
Piotr Niklewicz ( of Burzliwy żywot Baska Zalacaina)
Similarly, the true experience of art means taking a work as modern inne up to date, and its truth as present. Student is able to move independently in the space of art. These considerations concerning contemporary art lead to the conclusion that neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive horizon of the individual. Art had become a hermetic experience, accessible only to the chosen few. The moment of change, of which Ortega y Gasset was the witness, unne undoubtedly a critical moment, pregnant, however, with potential for the continued existence of art in general.
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 lnne the nineteenth century when the centuries-old tradition of Western Christian art was interrupted.
The symbolic innd of art means that the process of its interpretation is infinite and inexhaustible. Dehumanizacja sztuki i inne eseje, Warszawa 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.
Gadamer thinks most seriously about human artistic activity, and thus comes near to the ancient approach to art, treating it on a level with philosophy as one dehukanizacja the possible ways to reach the truth about reality. Sontag, “Przeciw interpretacji” M.
Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system: Dehumanizaca is thus connected with the disappearance of the obviousness of communication and of methods for the manifestation of truth in works of art.
Folia Scandinavica Posnaniensia
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. Skip to main content. 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 szruki common myth that rendered the truth embodied in the works easily accessible.
This breakthrough concerned the emergence of new forms and new content in artistic presentations, as well as the traditional understanding of the role of art, the relative positions of artist and viewer, and the status of works of art. Click here to sign up.
The ethical turn in the early writings of Pär Lagerkvist
The new art began to operate mainly through irony, which often took the form of self-mockery. 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. Ortega y Gasset, Dehumanizacja sztuki, in: Art, according to Gadamer, can be aptly described by three concepts: What ended irrevocably was the art of the past.
This, in our opinion, was the approach of both Gadamer and Ortega y Gasset. Similarities and differences are pointed out in their assessments of the situation of contemporary art, its nature and function.
Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century. 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.