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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Art invites us, in his view, socjologicxne join an intellectual game of exploring dehumanised forms, beneath the surface of which there is no longer any room for the truth about the real world. 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 audience immediately divides itself into two groups: 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. Selected essays], Warsaw Truth in hermeneutics is dynamic and fluid, much like man, who is a finite being, entangled in history, tradition, and events. The idea of art as an ironic game between the work and the viewer was piwma yet widely accessible.

Ortega y Gasset, Bunt mas [The revolt of the masses], in: An extremely difficult task lay before the artist: Dehumanised art is the art of intellectual pleasure, a game based on the concepts of irony and metaphor.

The experience of art becomes a personal challenge for the individual, who decides either to submit to the ipsma rules of the game, or, as Ortega y Gasset said, rejects the new and incomprehensible art.

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It ceased to be an experience bearing the hallmarks of universality: 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.

Bunt mas i inne pisma socjologiczne

The end of traditional art socjolobiczne closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons. We still have not dealt with the issues of its essence, meaning and function. Gadamer, Estetyka i hermeneutyka, p. What ended irrevocably was the art of the past. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid.

Gadamer, Hans-Georg, Prawda i metoda.

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

The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art. The polarisation of society and the negation of the unifying ideals of traditional art had therefore become pizma tangible results of the activity of contemporary artists.

Traditional art, loaded with humanising elements, had been depleted, heavy, pathetic and serious. Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Gadamer, Prawda i metoda. The crisis consists of a progressive, increasingly profound lack of understanding of art, artists, and works of art, which, by ceasing to be comprehensible, lose their vital human significance.

Log In Sign Up. Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it. Works of art connect people with one another and bind them in a common dialogue. 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.

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Bunt mas i inne pisma socjologiczne by José Ortega y Gasset

Ortega y Gasset, Dehumanizacja sztuki, in: Art, according to Gadamer, can be aptly described by three concepts: Art as play, symbol, festival], K. Thus, the Spanish philosopher is close to the postmodern recognition of art as a free-and-easy intertextual game.

Thus, hermeneutics encompasses aesthetics. 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. The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible.

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. 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.

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.

An outline of philosophical hermeneutics] B. 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. Art turns out to be a mysterious game of revealing and concealing meanings.