DEHUMANIZACJA SZTUKI I INNE ESEJE PDF

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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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Art turns out to dehumanizaca a mysterious game of revealing and concealing meanings. 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.

José Ortega y Gasset • BookLikes

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. The meaning dehymanizacja a work may be revealed if an effort is made to discover it. It is thus connected with the disappearance of the obviousness of communication and of methods for the manifestation of truth in works of art.

It also indicates the specific temporality of the experience of art: The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: Festival of Art or Crisis of Art?

Programmatically, it assumes a departure from sztukki dead canons of the past and the elevation of man above his human dimension, detaching him from reality by means of its conscious deformation.

Gadamer, Hans-Georg, Sztukii sztuki?

Piotr Niklewicz ( of Burzliwy żywot Baska Zalacaina)

Student lists and describes the characteristics of contemporary theater and film taking into account their educational role. 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.

Cichowicz introductionWarsaw It seems that the process of dehumanisation did not deprive art of all sense. 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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Contemporary art is no longer a continuation of the tradition. An outline of philosophical hermeneutics] B. The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons. Dehumanizacja sztuki i inne eseje, Warszawa Ortega y Gasset sees in art a form of entertainment for the elite, operating, as it were, on the edge of everyday human activities.

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Truth in hermeneutics is dynamic and fluid, much like man, who is a finite being, entangled in history, tradition, and events. At the same time, it fled from pathos, seriousness, missionary zeal and transcendence. Szkice wybrane [Reason, word, history.

Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: At that time, the status of the artist changed, art changed, and the viewer changed as well. 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.

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. Dehumanised art is the art of intellectual pleasure, a game based on the concepts of irony and metaphor.

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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. 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. 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.

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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. Contemporary art, by definition, divides society into those excluded from the world of art and its privileged participants.

The meaning of the new art appeared, therefore, at the moment of recognition of the purely aesthetic value of the work. Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object. It is not our intention to pass judgments on the merits of each position.

Ortega y Gasset, Dehumanizacja sztuki, p. 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. 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.

Metaphor and the concept of taboo are closely linked: Gadamer speaks in this context of a fusion of horizons, about the collision of what derives from the past with what constitutes the present perspective of the viewer.

Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century. 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.

Ortega y Gasset, “Dehumanizacja sztuki” w: 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, as was the case in traditional art.