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.

Author: Votaur Zulukus
Country: Colombia
Language: English (Spanish)
Genre: Photos
Published (Last): 23 April 2010
Pages: 213
PDF File Size: 9.4 Mb
ePub File Size: 17.85 Mb
ISBN: 128-6-46703-531-2
Downloads: 5778
Price: Free* [*Free Regsitration Required]
Uploader: Kazrakasa

Click here to sign up.

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. Gadamer, Prawda i metoda…, op. Programmatically, it assumes a departure from the dead canons of the past and the elevation of man above his human dimension, detaching him inns reality by means of its conscious deformation.

It should be noted, however, that Ortega y Gasset did not depreciate the art of previous centuries. Remember me on this computer. The idea of art as an ironic game between the work and the viewer was not yet widely accessible.

It is not an elite phenomenon, designed for a narrow audience, but rather seizes the attention of viewers in the form of a sensation of authenticity, which is always current and modern.

Bunt mas i inne pisma socjologiczne by José Ortega y Gasset

Gadamer, Prawda i metoda. Significant piska noteworthy is the fact that they focused on the same concepts, which can be variously defined as, inter alia, tradition, play, and the meaning 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.

In rising above socjooogiczne reality, moving away pismq the realism and naturalism of representations, 18 Ibid. It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter. Metaphor and the concept of taboo are closely linked: This slogan was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset.

Metaphor was, at the same time, another essential feature of dehumanised art.

Through it, we can expand human consciousness and develop 22 Ibid. Other styles in art should be considered in the context of dramatic social and political movements or deep religious and philosophical currents. An outline of philosophical hermeneutics], B.

  DAQ 6212 PDF

Bunt mas i inne pisma socjologiczne

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

Discreet messages are spoken quietly, 1 See. The specificity of the language is based primarily on the fact that art 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.

At the same time, it fled from pathos, seriousness, missionary zeal and transcendence. An extremely difficult task lay before the artist: Szkice wybrane [Reason, word, history. The role of not only the modern audience, but also the entire set of critics and aestheticians, is to respond creatively to the challenges art poses us. A game deeply engages its socjoloficzne, and thus changes their perception of the world; the colloquial perception of reality is, in the experience of art, suspended.

Firstly, it was not real, in the sense that it was new and differed from what was real. At the same time this is not the truth we deal with in modern science; it is not a question of so-called objective truth or about reaching a specific unappealable meaning. At the same time, there is still no answer to the question of whether the changes which have taken place in art have led to its rebirth in a completely new form or to a crisis.

Cichowicz introductionWarsawp. Gadamer speaks in this context of a fusion of horizons, about the collision of what derives from the past with what constitutes the present perspective of the viewer. Thus, the Spanish philosopher is close to the postmodern recognition of art as a free-and-easy intertextual game.

Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object. His soccjologiczne is bynt 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.

For Ortega y Gasset, art was one of the most significant sociocreative factors: Socjologicznf, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: 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 Socjoloiczne.


We still have not dealt with the issues of its essence, meaning and function. 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. There is no place here for the acquisition of knowledge, only for a never-ending process of dialogue. The new art had become an art for selected individuals, an elite game in which each player was on his own. This, in our opinion, was the approach of both Gadamer and Ortega y Gasset.

Cichowicz introductionWarsaw 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.

Both thinkers observed socjologczne analysed the same phenomena in the maa, but their interpretations of the new piama ultimately proved different. Every experience of this art is alienating in the sense that while in contact with it, the viewer is left to his own devices. 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.

Without a doubt, the most important aspect in hermeneutical reflections on art is that art has a relationship with the truth, that it is a cognitive experience, i. It is not our intention to pass judgments on the merits of each position. Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. Gadamer, Estetyka i hermeneutyka, p.

Contemporary art, by definition, divides society into those excluded from the world of art and its privileged participants. Art, according to Gadamer, can be aptly described by three concepts: The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons.

However, it is necessary to make an effort to benefit from what art offers.