BUNT MAS I INNE PISMA SOCJOLOGICZNE PDF

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, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: An outline of philosophical hermeneutics] B.

Bunt mas i inne pisma socjologiczne

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. Gadamer, Prawda i metoda…, op. Selected essays], Warsawp.

Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life. 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.

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 works easily accessible.

Gadamer, Hans-Georg, Prawda i metoda. Log In Sign Up. The viewer, for his part, had changed his attitude to contemporary art because it had departed radically from the artistic canons of the past.

The new art, in his view, was antipopular by definition: Truth in hermeneutics is dynamic and fluid, much like man, who is a finite being, entangled in history, tradition, and socjoloogiczne.

Gadamer, Estetyka i hermeneutyka, op. Both thinkers observed and analysed the same phenomena in the arts, but their interpretations of the new art ultimately proved different. 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. It should be noted, however, that Ortega y Gasset did not depreciate the art of previous centuries.

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.

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In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid. 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.

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.

It is thus connected with the disappearance of the obviousness of communication and of methods for ijne manifestation of truth in works of art. 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. Contemporary artists broke away from the art of the past because a new type of viewer had appeared. Discreet messages are spoken quietly, 1 See. The basis of this radical social effect of art socjooogiczne the first decades of the twentieth century was, first and foremost, the break with tradition.

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

Bunt mas i inne pisma socjologiczne by José Ortega y Gasset

Thus, hermeneutics encompasses aesthetics. 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.

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. The meaning of the new art appeared, therefore, at the moment of recognition of the purely aesthetic value socjolkgiczne the work.

Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century. According to the Spanish thinker, the crisis of socjolohiczne entire contemporary culture, and art in particular, was inextricably linked to the condition of European societies in the late nineteenth and early twentieth century. Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object.

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This breakthrough concerned the emergence of new forms and new content in artistic presentations, as well as the traditional understanding buunt the role of art, the relative positions of artist and viewer, and the status of works of art.

But could art on such a basis preserve any cognitive value? The new art had become an art for selected individuals, an elite game in which each player was on his own. These reflections revolve around the concept of crisis of art as it was understood by both thinkers.

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. Festival of Art or Crisis of Art? Gadamer thinks most seriously about human artistic activity, and thus comes near to the ancient approach to art, treating it on a level with philosophy as one of the possible ways to reach the truth about reality.

What is more, aesthetics is not a separate field of knowledge, but is incorporated in the sphere of hermeneutics. Gadamer, Estetyka i hermeneutyka, p. Szkice wybrane [Reason, word, history. It seems that the process of dehumanisation did not deprive art of all sense.

Art, according to Gadamer, can be aptly described by three concepts: 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.

An extremely difficult task lay before the artist: The polarisation of society and the negation of the unifying ideals of traditional art had therefore become the tangible results of the activity of contemporary artists.

Art as play, symbol, festival], K. For Ortega y Gasset, art was one of the most significant sociocreative factors: