Bunt mas i inne pisma socjologiczne. Front Cover. José Ortega y Gasset. Państwowe Wydawnictwo Naukowe, – pages. Title, Bunt mas. Author, José Ortega y Gasset. Translated by, Piotr Niklewicz. Publisher, Muza, ISBN, , Length, pages. Title, Bunt mas. Author, José Ortega y Gasset. Publisher, Muza, ISBN, , Length, pages. Export Citation, BiBTeX.
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Gadamer, Estetyka i hermeneutyka, p.
Gadamer, Estetyka i hermeneutyka, op. Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. Even if it seems today that we are familiar with the shape of the new art, interpreting it evidently remains a challenge for us.
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. Continental philosophy Perspectivism  Pragmatism Vitalism Historism Existentialism  Existential phenomenology  Lebensphilosophie philosophy of life  Neo-Kantianism early  Liberalism Noucentisme.
The cognitive value of the new art was based on meanings that were no longer simply a way to recognise a work based gasser the similarity of its content to reality, as was the case in traditional art. These reflections revolve around the concept of crisis bint art as it was understood by both thinkers.
German grape breeder Hans Breider named the grape variety Ortega in his honor.
File:Ortega y Gasset Jose Bunt – Monoskop
The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: Art as play, symbol, festival], K. Art had become a hermetic experience, accessible only to the chosen few. He suggests that there is no ‘me’ without things, and things are nothing without me: Art, according to Gadamer, can be aptly described by three concepts: The audience immediately divides itself into two groups: For Ortega y Gasset, vital reason is also “historical reason”, for individuals and societies are not detached from their past.
Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present. The third element ortea the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art. Gasset – – W. Sign in Create an account. What ended irrevocably was the art of the past.
An extremely difficult task lay before the artist: His father was director of the newspaper El Imparcialwhich belonged ogtega the family of his mother, Dolores Gasset.
Ortwga and Returns see our delivery rates and policies thinking of returning an item? The History of a ConceptWilliam B. It should be noted, however, that Ortega y Gasset did not depreciate the art gassst previous centuries.
José Ortega y Gasset
Contact with new art has become special time, but also time that the viewer spends on his own. 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. Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few.
Firstly, it was not real, in the sense that it was new and differed from what was real. Therefore, Ortega y Gasset wrote of two arts, radically different from each other, causing the rift between past and present to become enormous. Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Ortega y Gasset in the s. Both thinkers treated statements about the alleged crisis of art as an exercise in thought and undertook attempts to provide creative responses.
This stood at the root of his Kantian -inspired perspectivism which he developed by adding a non-relativistic character in which absolute truth does exist and would be obtained gasseet the sum of all perspectives of all lives, since for each human being life takes a concrete form and life itself is a true radical reality from which any philosophical system must derive. From Wikipedia, the free encyclopedia. Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century.
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.
Be the first to review this item Would you like to tell us about a lower price? Click here to sign up. Contemporary art is no longer a continuation of the tradition. This slogan was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset.
Fate gives us an inexorable repertory of determinate possibilities, that is, it gives us different destinies. Peirce Edmund HusserlMiguel de Unamuno .
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.
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. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life.
At that time, the status of the artist changed, art changed, and the viewer changed as well. Leaving Spain at the outbreak of the Civil Warhe spent years of exile in Buenos AiresArgentina until moving back to Europe in Contemporary art was supposed to create new entities, aesthetic objects that lived in the objective space of the artistic world, which buht from physical mzs psychological reality.
Ortega y Gasset sees in art a form of entertainment for the elite, operating, as it were, on the edge of everyday human activities. 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: Views Read Edit View history.