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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Log In Sign Up. Art, according to Gadamer, can be aptly described by three concepts: Selected essays], Warsaw Secondly, the aesthetic object that was its creation had the capacity to deform true reality. These considerations concerning lnne art lead to the conclusion that neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive horizon of the individual.

Contemporary art is no longer a continuation of the tradition. The end of traditional art irrevocably closed rseje certain chapter in the history of human artistic activity, but it also opened completely new horizons. Zarys hermeneutyki filozoficznej [Truth and method. It is thus connected with the disappearance of the obviousness of communication and of methods for the manifestation of truth in works of art.

Remember me on this computer. It ceased to be an experience bearing eesje hallmarks of universality: Student is able to analyze the mechanisms of culture and perceive pedagogical problems associated with contemporary culture Student compares selected aesthetic theories.

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Therefore, Ortega y Gasset wrote of two arts, radically different from each other, causing the rift between past and present to become enormous. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: Szkice wybrane [Reason, word, history.

Student is able to move independently in the space of art. Contemporary art was supposed to create new entities, aesthetic objects that lived in the objective space of the artistic world, which differed from physical and psychological reality.

Art as play, symbol, festival], K. Dehumanizacja sztuki i inne eseje, Warszawa This dehumanizzacja was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset.

Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object. Student uses the terminology of the theory of art, film, theater and media to the extent that individual dheumanizacja scientific texts.

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According to the Spanish thinker, the crisis of the entire contemporary culture, and art in particular, was inextricably linked to the condition of European societies in the late nineteenth and early twentieth century. However, it is necessary to make an effort to benefit from what art offers. As a result, nonfigurative art appeared, making no attempt to respond to usual expectations of the image, and evoking shock and feelings of alienation from its viewers.

Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few. The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art.

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. 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.

It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter. However, the experience of art is also distinguished by hermeneutics in terms of the exceptional language of communication and the exemplary manner of manifesting the truth in artistic creations. 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.

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 and a departure from realist and naturalist presentation. 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. Paradoxically, this art thus became doubly unreal.

Ortega y Gasset sees in art a form of entertainment for the elite, operating, as it were, on the edge of everyday human activities. Through it, we can expand human consciousness and develop 22 Ibid. The viewer, for his part, had changed his attitude to contemporary art because it had departed radically from the artistic canons of the past.

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The specificity of the language is based primarily on the fact that art speaks to the viewers in a very powerful way; the sense of the truth of a work of art, though never fully expressible, appears as if obvious. Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it.

There is no place here for the acquisition of knowledge, only for a never-ending process of dialogue. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life.

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. Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system:.

Szkice o miłości – José Ortega y Gasset • BookLikes

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. Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: The new art began to operate mainly through irony, which often took the form of self-mockery.

Art had become a hermetic experience, accessible only to the chosen few. The basis o this radical social effect of art in the first decades of the twentieth century was, first and foremost, the break with tradition.

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. It also indicates the specific temporality of the experience of art: The experience of art becomes a personal challenge for the individual, who decides either to submit to dehhmanizacja new rules of the game, or, as Ortega y Gasset said, rejects the new and incomprehensible art.