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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Every experience of this art is alienating in the sense that while in contact with it, the viewer is left to his own devices.
The idea of art as an ironic game between the work and the viewer was not yet widely accessible.
Bunt mas i inne pisma socjologiczne by José Ortega y Gasset
For Ortega y Gasset, art was one of the most significant sociocreative factors: 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.
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. Ortega y Gasset, Bunt mas [The revolt of the masses], in: Gadamer, Prawda i metoda…, op.
The viewer, for his part, had changed his attitude to pismw art because it had departed radically ppisma the artistic canons of the past.
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. It ceased to be an experience bearing the hallmarks of universality: Selected essays], Warsawp. 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, p.
The new art began to operate mainly through irony, which often took the form of self-mockery. Ortega y Gasset drew attention to the advancing process of elitarisation of the new art, which, in the moment of crisis of the traditional aesthetic values of democratic, egalitarian societies, was its only salvation.
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.
Bunt mas i inne pisma socjologiczne
At the same time this is not the truth we deal with in modern science; it is not a question aocjologiczne so-called objective truth or about reaching a specific unappealable meaning. Metaphor was, at the same time, another essential feature of dehumanised art.
Cichowicz introductionWarsawp. 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 truth embodied in the onne easily accessible.
It is 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. This, in our opinion, was the approach of both Gadamer and Ortega y Gasset.
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. The audience immediately divides itself into two groups: Contemporary art, by definition, divides society into those excluded from the world of art and its privileged participants. Without a doubt, the most important aspect ma hermeneutical reflections on art is that art has a relationship with the truth, that it is a cognitive experience, i.
The role of not only the modern audience, but also the entire socjologivzne of critics and aestheticians, is to socjologcizne creatively to the challenges art poses us.
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. j
Skip to main content. It is thus connected with the disappearance of the obviousness of communication and of methods for the manifestation of truth in works of art. Art, according to Gadamer, can be aptly described by three concepts: Programmatically, it assumes a departure from the socjologiczzne canons of the past and the elevation of man above his human dimension, detaching him from reality by means of its conscious deformation.
Ortega y Gasset sees in art a form of entertainment for the elite, operating, as it were, on the edge of everyday human activities. Contemporary art is no longer a continuation of the tradition. Therefore, Ortega y Gasset wrote of two socjoloficzne, radically different from each other, causing the rift between past and present to become enormous.
Click here to sign up. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: The symbolic nature of art means nunt the process of its interpretation is infinite and inexhaustible.
Through it, we can expand human consciousness and develop 22 Ibid. But could art on such a basis preserve any cognitive value?
Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it.
The game concept reveals the processual and hypersubjective nature of the truth of art; it also points out that art is a communicative phenomenon that involves participation. 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.
Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object.
Bunt mas i inne pisma socjologiczne – José Ortega y Gasset – Google Books
In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid. Thus, the Spanish philosopher is oscjologiczne to the postmodern recognition of art as a free-and-easy intertextual game.
The essence of the art of the first decades of the twentieth century became, according sociologiczne Ortega y Gasset, the phenomenon of dehumanisation he described. Ortega y Gasset, Dehumanizacja sztuki, in: It also indicates the specific temporality of the experience of art: Even if it seems today that we are familiar with the socjologizne of the new art, interpreting it evidently remains a challenge for us.
Gadamer, Prawda i metoda. The meaning of a work may be revealed if an effort is made to discover it. Selected essays], Warsaw