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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Even if it seems today that we are familiar with the shape of the new art, interpreting it evidently remains a challenge for us.
Therefore, the Spanish philosopher proposes a system wherein the basic or “radical” reality is “my life” the first yowhich consists of “I” the second yo and “my circumstance” mi circunstancia. Both thinkers treated statements about the alleged crisis of art as an exercise in thought and undertook attempts to provide creative responses. Unsourced material may be challenged and removed.
Art, according to Gadamer, can be aptly described by three concepts: The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible. Retrieved 11 September Continental philosophy Perspectivism  Pragmatism Vitalism Historism Existentialism  Existential phenomenology  Lebensphilosophie philosophy of bubt  Neo-Kantianism early  Liberalism Noucentisme.
Bunt MAS – Jose Ortega Y Gasset
Would you like to tell us about a lower price? It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter. Importantly, however, the dehumanising metaphor was not merely a decorative tool or a highlighted element of the reality being presented.
Much of Ortega y Gasset’s work consists of course lectures published years after the fact, often posthumously. The summary of the views of Gadamer and Ortega y Gasset we have offered here is further evidence of the unlimited potential for the interpretation of contemporary phenomena in art.
José Ortega y Gasset
In he returned to Madrid, where he founded nas Institute of Humanities, at which he lectured. Remember me on this computer. To get the free app, enter your mobile phone number.
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. Wikiquote has quotations related to: If you are a seller for this product, would you like to suggest updates through seller support? Gadamer, Prawda i metoda. Significant and noteworthy is the fact that they focused ortegz the same concepts, which can be variously defined as, inter alia, tradition, play, and the meaning of art.
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Bunt mas i inne pisma socjologiczne by José Ortega y Gasset
Programmatically, it orteg a departure from the dead canons of the past and bun elevation of man above his human dimension, detaching him from reality by means of its conscious deformation. 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.
Leaving Spain at the outbreak of the Civil Warhe spent years of exile in Buenos AiresArgentina until moving back to Europe in Views Read Edit View history.
The role of not only the modern audience, but gaswet the entire set of critics and aestheticians, is to respond creatively to the challenges art poses us. The audience immediately divides itself into two groups: The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art.
Read more Read less. Ortega y Gasset, Dehumanizacja sztuki, p. Art had become a hermetic experience, accessible only to the chosen few.
For Ortega y Gasset, as for Husserl, the Cartesian ‘ cogito ergo sum ‘ is insufficient to explain reality. As an eyewitness to gssset 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 ggasset be no turning back.
What ended irrevocably was the art of the past. Get to Know Us. Festival of Art or Crisis of Art?