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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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 art is no longer a continuation of the tradition. Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system:. Programmatically, it assumes a departure from the dead canons of the past and the elevation of man above his human dimension, detaching him from reality by means of its conscious deformation.

At the same time this is 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. Skip to main content.

MHPP-Cultural education. Contemporary artistic culture – University of Warsaw

At the same time, there is still no answer to the question of whether the changes which have taken place in art have led to its rebirth in a completely new form or to a crisis. 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. 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.

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

The ethical turn in the early writings of Pär Lagerkvist

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.


It is not our intention to pass judgments on the merits of each position. 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. Gadamer, Hans-Georg, Dehumannizacja i hermeneutyka [Aesthetics and hermeneutics] in: 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.

It is thus connected with the disappearance of the obviousness of communication and of denumanizacja for the manifestation of truth in works of szfuki. Gadamer, Prawda i metoda…, op.

Firstly, it was not real, in the sense that it was new and differed from what was real. Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present. Zarys hermeneutyki filozoficznej [Truth and method. These reflections revolve around the concept of crisis of art as dehumnizacja was understood by both thinkers.

Szkice o miłości – José Ortega y Gasset • BookLikes

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.

Contact with new art has become special time, but also time that the viewer spends on his own. Discreet messages are spoken quietly, 1 See. It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter. Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system: Metaphor and the concept of taboo are closely linked: On-line services of the University of Warsaw.

Student knows what is the relationship between humanities and culture Student discusses some problems sztuoi the field of contemporary aesthetics Student lists and describes the characteristics of contemporary art and its role in social communication.

Ortega y Gasset, Dehumanizacja sztuki, p. However, it is necessary to eehumanizacja an effort to benefit from what art offers. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: Art, according to Gadamer, can be aptly described by three concepts: We still have not dealt with the issues of its essence, meaning and function.

Gadamer, Estetyka i hermeneutyka, op. Traditional art, loaded with humanising elements, had been depleted, heavy, pathetic and serious. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life. The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible.


The authors refer to the basic works of these philosophers on aesthetics and the philosophy of art, among them Truth and method, The relevance of the beautiful, and The dehumanisation of art. 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.

Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it. An outline of philosophical hermeneutics] Eeje. Gadamer, Prawda i metoda. Ortega y Gasset, who dehumanizacjx 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.

Student uses the terminology of the theory of art, film, theater and media to the extent that individual reading scientific texts.

Ortega y Gasset, Bunt mas [The revolt of the masses], in: Therefore, Ortega y Gasset wrote of two arts, radically different from each other, causing the rift between past and present to become enormous. 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 basis of this radical social effect of art in the first decades of the twentieth century was, first and foremost, the break with tradition. The summary of the views of Gadamer and Ortega y Gasset we have offered here is further evidence of the unlimited potential for the interpretation of contemporary phenomena in art.

Festival of Art or Crisis of Art? Contemporary aesthetic — selected issues The role of art in social communication Dilemmas of contemporary art: