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

Metaphor and the concept of taboo are closely linked: Art as play, symbol, festival], K.

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

Szkice wybrane [Reason, word, history. Becoming acquainted with the rules of the game of the new art was, for Ortega y Gasset, essential.

Cichowicz introductionWarsawp. The cognitive value of the new art was based on meanings that were no longer simply a way to recognise a work based on the similarity of its content to reality, as was the case in traditional art. Ortega y Gasset sees in art a form of entertainment for the elite, operating, as it were, on the edge of everyday human activities.

Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century. 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.

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Selected essays], Warsaw Gadamer, Estetyka i hermeneutyka, op. Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few. Ortega y Gasset, Dehumanizacja sztuki, in: Ortega y Gasset, Dehumanizacja sztuki, p. Therefore, O 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.

Selected essays], Warsawp. Thus there is no more historical continuity of style; the achievements of tradition have been suspended, and simple references to human reality are no longer functional. Gadamer, Hans-Georg, Socjoloiczne i metoda. These reflections ine around the concept of crisis of art as it was understood by both thinkers. Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. Contemporary art was supposed to create new entities, aesthetic objects that lived in the objective space of the artistic socjologicznf, which differed from physical and psychological reality.

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.

Every experience of this art is alienating in the sense that while in contact with it, the viewer is left to his own devices.

At the same time, it fell into the trap mxs elitism, which had the potential to lead to the total alienation of artistic practice and the gradual disintegration of the insulated, hermetic world of art.

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It seems that the process of dehumanisation did not deprive art of all sense. Gadamer, Estetyka i hermeneutyka, p. Similarities and differences are pointed out in their assessments of the situation of contemporary art, its nature and function. Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present.

Bunt mas i inne pisma socjologiczne

The new art began to operate mainly through irony, which often took the form of self-mockery. Both thinkers observed and analysed the same phenomena in the arts, but their interpretations of the new art ultimately proved different. These considerations concerning contemporary art lead to the conclusion that neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive horizon of the individual.

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. Secondly, the aesthetic object that was its creation bujt the capacity to deform true reality.

Bunt mas i inne pisma socjologiczne – José Ortega y Gasset – Google Books

Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object. Therefore, Ortega y Gasset wrote of two arts, radically different from each other, causing the rift between past and present to become enormous.

The new art, in his view, was antipopular by definition:

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