DEHUMANIZACJA SZTUKI I INNE ESEJE PDF

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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Gadamer, Estetyka i hermeneutyka, p. 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. Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few.

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.

Piotr Niklewicz ( of Burzliwy żywot Baska Zalacaina)

It is not ine intention to pass judgments on the merits of each position. 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 thus connected with the disappearance of the obviousness of communication and of methods for the manifestation of truth in works of art.

Dehumanizxcja 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. In rising above human reality, moving away denumanizacja the realism and naturalism of representations, 18 Ibid.

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The opening of the interpretative horizon of art took place along with innne autonomisation, implemented by Immanuel Kant, and today the horizon seems to be continuously expanding. You are not logged in log in. Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object.

Art as play, symbol, festival], K. 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. On this issue, Gadamer remains more cautious, encouraging us only to respond to the appeal, addressed to everyone, stuki participate in the world of art.

Gadamer, Hans-Georg, Prawda i metoda.

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. Enter the email address you signed up with and we’ll email you a reset link.

The new art, in his view, was antipopular by definition: The viewer, for his part, had changed his attitude to contemporary art because it had departed radically from the artistic canons of the past. 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.

The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons. The audience immediately divides itself into two groups: 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 ceased to be an experience bearing the hallmarks of universality: Even if it seems today that we are familiar with the shape of the new art, interpreting it evidently remains a challenge for us. The new art began to operate mainly through irony, which often took the form of self-mockery. Contemporary artists broke away from the art of the past because a new type of viewer had appeared. Contemporary aesthetic — selected issues The role of art in social communication Dilemmas of contemporary art: It seems that the process of dehumanisation did not deprive art of all sense.

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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.

Szkice o miłości – José Ortega y Gasset • BookLikes

Ortega y Gasset, “Dehumanizacja sztuki” w: 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. What ended irrevocably was the art of the past. Log In Sign Up. Selected essays], Warsaw Other styles in art should be considered in the context of dramatic social and political movements or deep religious and philosophical currents.

Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system:. Szkice wybrane [Reason, word, history.

The ethical turn in the early writings of Pär Lagerkvist

Works of art connect people with one another and bind them in a common dialogue. Uwagi o fotografii” Warszawa fragmenty S. Ortega y Gasset, Dehumanizacja sztuki, p.