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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In this sense Ortega y Gasset wrote that life is at the same time fate and freedom, and that freedom “is being free inside of a given fate. Gasset – – W. The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art. 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.

The new art, in his view, was antipopular by definition: Ortega y Gasset, an Outline of His Philosophy. Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy.

Gasseet breakthrough concerned the emergence of new forms and new content in artistic presentations, as well as the traditional understanding gasdet the role of art, the relative positions of artist and viewer, and the status of works of art. Selected essays], Warsawp. This, in our opinion, was the approach of both Gadamer and Ortega y Gasset. The latter made him internationally famous. He worked during the first half of the 20th century, while Spain oscillated between monarchyrepublicanismand dictatorship.

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. Thus, the Spanish philosopher is close to the postmodern recognition of art as a free-and-easy intertextual game.

Haddox – – Southwestern Journal of Philosophy 2 3: Gadamer, Hans-Georg, Koniec sztuki? Edit this record Mark as duplicate Export citation Find it on Scholar Request removal from index Translate to english Revision history. An outline of philosophical hermeneutics] B. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: 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.


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Bunt MAS – Jose Ortega Y Gasset

De Mensch en de Techniek. This list attempts to list works in chronological order by when they were written, rather than when they were published.

Historyreasonpolitics. History of Western Philosophy.

José Ortega y Gasset

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.

This slogan was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset. Ortega y Gasset, Dehumanizacja sztuki, in: It seems that the process of dehumanisation did not deprive art of all sense. In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid. Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present.

It is thus connected with the disappearance of the obviousness of communication and of methods for the manifestation of truth in works of art. 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.

Selected essays], Warsaw For Ortega y Gasset, as for Husserl, the Cartesian ‘ cogito ergo sum ‘ is insufficient to explain reality. Jakub Szczepanski Jagiellonian University.

Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: From tohe continued his studies in Germany at LeipzigNurembergCologneBerlin and, above all Marburg.

The viewer, for his part, had changed his attitude to contemporary art because it had departed radically from the artistic canons of the past. Skip to main content.

Bunt mas i inne pisma socjologiczne by José Ortega y Gasset

We still have not dealt with the issues of its essence, meaning and function. Therefore, Ortega y Gasset wrote of two arts, radically different from each other, causing the rift between past and present to become enormous. Similarities and differences are pointed out in their assessments of the situation of contemporary art, its nature and function.


The family was definitively of Spain’s end-of-the-century liberal and educated bourgeoisie. May Learn how and when to remove this template message.

Ortega y Gasset had considerable influence on writers of the Generation of ’27a group of poets that arose in Spanish literature in the s. Gadamer, Hans-Georg, Prawda i metoda.

The radical opposition bbunt traditional popular art was a deliberate process, achieved through an intentional break with the rules of communication between ortrga artist and the viewer previously in force, the rejection of past canons of art and a departure from realist and naturalist presentation. 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.

Ortega y Gasset proposes that mmas must overcome the limitations of both idealism in which reality centers around the ego and ancient-medieval realism in which reality is outside the subject to focus on the only truthful reality: Paradoxically, this art thus became doubly unreal. We believe that comparison and analysis of these partly congruent, partly conflicting proposals may prove to be of cognitive value and to provide useful tools for the further study of contemporary art.

Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life. Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. In Ortega’s words, humans have “no jas, but history” and reason should not focus on what is static but what becomes dynamic. Thus, hermeneutics encompasses aesthetics.

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