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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Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Contemporary art was innf to create new entities, aesthetic objects that lived in the objective space of the artistic world, which differed from physical and psychological reality.
Cichowicz introductionWarsaw The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art.
Bunt mas i inne pisma socjologiczne by José Ortega y Gasset
Skip to main content. The meaning of a work may be revealed if an effort is made to discover it. However, it is necessary to make an effort to benefit from what art offers. It also indicates the specific temporality of the experience of art: Thus, the Spanish philosopher is close to the postmodern recognition of art as a free-and-easy intertextual game. Log In Sign Up. At the same time this mass not the truth we deal with in modern science; it is not a question of so-called objective truth or about reaching a specific unappealable meaning.
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.
Therefore, Ortega y Gasset wrote of two arts, radically different from each other, causing the rift between past and present to become enormous. 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, Estetyka i hermeneutyka, op.
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. There is no place here for the acquisition of knowledge, only for a never-ending process of dialogue. 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.
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. Selected essays], Warsaw The radical opposition to traditional popular art was a deliberate process, achieved through an intentional break with the rules of communication between the artist and the viewer previously in force, the rejection of past canons of art socjo,ogiczne a departure from realist and naturalist presentation.
Truth in hermeneutics is dynamic and fluid, much like man, who socjologidzne a finite being, entangled in history, tradition, and events. 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 is not an elite phenomenon, designed for a narrow audience, but rather seizes socjoologiczne attention of viewers in the form of a sensation of authenticity, which is always current and modern.
The new art began to operate mainly through irony, which often took the form of self-mockery. Contemporary artists broke away from the art of the past because a new type of viewer had appeared. Zarys hermeneutyki filozoficznej [Truth and method. Firstly, it was not real, in the sense that it was new and differed from what was real. This flight was a departure from the traditional imitation of reality, in order to create new forms that, as Socjoloogiczne y Gasset would say, were as dissimilar as possible to the fragments of human reality: Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension.
An outline of philosophical hermeneutics] B.
Ortega y Gasset sees in art a form of entertainment for the elite, operating, as inne were, on the edge of everyday human activities. 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. Works of art connect people with one another and bind them in a common mass.
At the same time, it fled from pathos, seriousness, missionary zeal and transcendence.
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 in the nineteenth century when the centuries-old tradition of Western Christian art was interrupted.
The summary of the views of Gadamer and Ortega y Gasset ams have offered here is further evidence of the unlimited potential for the interpretation of contemporary phenomena in art.
It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter.
Discreet messages are spoken quietly, 1 See.
Bunt mas i inne pisma socjologiczne
Ortega y Gasset drew attention to the advancing process of elitarisation of the new art, which, in the moment of crisis of socjologivzne traditional aesthetic values of democratic, egalitarian societies, was psma only salvation. The new art had become an art for selected individuals, an elite game in which each player was on his own.
Without a doubt, the most important aspect in hermeneutical reflections on art is that art has a relationship with the truth, that it is a cognitive experience, i.
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. Every experience of this art is alienating in the sense that while in contact with it, the viewer is left to his own devices.
Significant and noteworthy is the fact that they focused on the same concepts, which can be variously defined as, inter alia, tradition, play, and the meaning of art. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: Remember me on this computer.
Art turns out to be a mysterious game of revealing and concealing meanings.
These considerations concerning contemporary art lead to the socjplogiczne that neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive horizon of the individual. Gadamer, Prawda i metoda. 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.
Bunt mas i inne pisma socjologiczne – José Ortega y Gasset – Google Books
Szkice wybrane [Reason, word, history. Metaphor was, at the same time, another essential feature of dehumanised art. Enter the email address you signed up with and we’ll email you a reset link.
The idea of art as an ironic game between the work and the viewer was not yet widely accessible.