Bunt mas i inne pisma socjologiczne. Front Cover. José Ortega y Gasset. Państwowe Wydawnictwo Naukowe, – pages. Title, Bunt mas. Author, José Ortega y Gasset. Translated by, Piotr Niklewicz. Publisher, Muza, ISBN, , Length, pages. Title, Bunt mas. Author, José Ortega y Gasset. Publisher, Muza, ISBN, , Length, pages. Export Citation, BiBTeX.
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These reflections revolve around the concept of crisis of art as it was understood by both thinkers.
File:Ortega y Gasset Jose Bunt – Monoskop
This, in our opinion, was the approach of both Gadamer and Ortega y Gasset. University of Deusto Complutense University of Madrid. This section needs additional citations for verification. Shopbop Designer Fashion Brands.
The role of gasaet only the modern audience, but also the entire set of critics and aestheticians, is to respond creatively to the challenges art poses us.
There’s a problem loading this menu at the moment. The Ortega hypothesisbased on a quote in The Revolt of the Massesstates that average or mediocre scientists contribute substantially to the advancement of science. Firstly, it was not real, in the sense that it was new and differed mae what was real.
José Ortega y Gasset – Wikipedia
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. Schools History of liberalism Contributions to liberal theory. The essence of the art of the first decades of the buunt century became, according to Ortega y Gasset, the phenomenon of dehumanisation he described.
The meaning of the new art appeared, therefore, at the moment of recognition of the purely aesthetic value of the work. 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. De Mensch en de Techniek.
The liberal tradition and journalistic engagement of his family had a profound influence in Ortega y Gasset’s activism in politics.
An extremely difficult task lay before the artist: Read more Read less. Ortega y Gasset’s influence was considerable, mqs only because many sympathized with his philosophical writings, but also because those writings did not require that the reader be well-versed in technical philosophy.
Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Stanford Encyclopedia of Philosophy. From tohe continued his studies in Germany at LeipzigNurembergCologneBerlin and, above all Marburg. Festival of Art or Crisis of Art? Cichowicz introductionWarsaw At the same time, it fled from pathos, seriousness, missionary zeal and transcendence.
Bunt MAS – Jose Ortega Y Gasset
Retrieved 11 September Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid.
The latter made him internationally famous. Thus, hermeneutics encompasses aesthetics. Retrieved from ” https: 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.
Dehumanised art is the art of intellectual pleasure, a game based on the concepts of irony and metaphor. Ortega y Gasset, Dehumanizacja sztuki, p. Ortega y Gasset, who was 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. It is not our intention to pass judgments on the merits of each position. Contemporary art is no longer a continuation of the tradition.
Write a customer review. Raley – – University of Alabama Press. Then you can start reading Kindle books on your smartphone, tablet, or computer – no Kindle device required. It also indicates the specific temporality of the experience of art: At the same time, it fell into the trap of 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.