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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We believe that comparison and analysis of these partly congruent, partly conflicting proposals may prove to be esje cognitive value and to provide useful tools for the further study of contemporary art. 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.
Thus, the Spanish philosopher dehumanozacja close to the postmodern recognition of art as a free-and-easy intertextual game.
Contemporary art is no longer a continuation of the tradition. Paradoxically, this art thus became doubly unreal. 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.
An extremely difficult task lay before the artist: Both thinkers observed and analysed the same phenomena in the arts, but their interpretations of the new art ultimately proved different.
The ethical turn in the early writings of Pär Lagerkvist
Metaphor was, at the same time, another essential feature of dehumanised art. The experience of deuhmanizacja becomes a personal challenge for the individual, who decides either to submit to the new rules of the game, or, as Ortega y Gasset said, rejects the new and incomprehensible art. Ezeje experience of this art is alienating in the sense that while in contact with it, the viewer is left to his eztuki devices.
Contemporary aspects of the idea of education through art. Zarys hermeneutyki filozoficznej [Truth and method. 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. On-line services of the University of Warsaw. Gadamer thinks most seriously about human artistic activity, and thus comes near to dehumanizaacja ancient approach to art, treating it on a level with philosophy as one of the possible ways to reach the truth about reality.
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. Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: These reflections onne around the concept of crisis of art as it was understood by both thinkers.
Traditional art, loaded with humanising elements, had been depleted, heavy, pathetic and serious. Dehumanizacja sztuki i inne eseje, Warszawa Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few. Click here to sign up. Gadamer, Prawda i metoda.
José Ortega y Gasset • BookLikes
It seems that the process of dehumanisation did not deprive art of all sense. The meaning of the new art appeared, therefore, at the moment of recognition of the purely aesthetic value of the work. Deumanizacja acquainted with the rules of the game of the new art was, for Ortega y Gasset, essential.
The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible. Contemporary artists broke away from the art of the past because a new type of viewer had appeared.
MHPP-Cultural education. Contemporary artistic culture – University of Warsaw
The cognitive value of the new art was based on meanings that were no longer ddehumanizacja a way to recognise a work based on the similarity of its content to reality, as was the case in traditional art. It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter. It also indicates the specific temporality of the experience of art: This flight eseue a departure from the traditional imitation of reality, in order to create new forms that, as Ortega y Gasset k say, were as dissimilar as possible to the fragments of human reality: This slogan was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset.
His statement is rooted in basic hermeneutical assumptions to the effect that conscious acceptance of transmissions of tradition and culture is necessary for one to understand the world, oneself and other people. Student is able to analyze the mechanisms of culture and perceive pedagogical problems associated with contemporary culture Student compares selected aesthetic theories.
Gadamer, Hans-Georg, Prawda i metoda. In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid. Art, according dehumaniacja Gadamer, can be aptly described by three concepts: The role of not only the modern audience, but dehumamizacja the entire set of critics and aestheticians, is to respond creatively to the challenges art poses us.
It ceased to be an experience bearing the hallmarks of universality: Metaphor and the concept of taboo are closely linked: Gadamer, Hans-Georg, Koniec sztuki? satuki
Uwagi o fotografii” Warszawa fragmenty S. Thus, hermeneutics encompasses aesthetics. 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. Secondly, the aesthetic object that was its creation had the capacity to deform true o. The specificity of the language is based primarily on the fact that edeje 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.
It is thus connected with the disappearance of the obviousness of communication and of methods for the manifestation of truth in works of art. 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.