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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Jnne 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.
The new art, in his view, was antipopular by definition: Contemporary art was supposed to create new entities, aesthetic objects that lived in the objective space of the artistic world, which differed from physical and psychological reality. Contemporary aspects of the idea of education through art.
The ethical turn in the early writings of Pär Lagerkvist : Folia Scandinavica Posnaniensia
The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art. Metaphor and the concept of taboo are closely linked: Contemporary artists broke away from the art of the past because a new type of viewer had appeared. What ended irrevocably was the art of the past. 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.
Student is able to analyze the mechanisms of culture and perceive pedagogical problems associated with contemporary culture Student compares selected aesthetic theories. 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.
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.
The meaning of a work may be revealed if an effort is made to discover it. Art as play, symbol, festival], K. According to the Spanish thinker, the crisis of the entire contemporary culture, and art in particular, was inextricably linked to the condition of European societies in the late nineteenth and early twentieth century.
The ethical turn in the early writings of Pär Lagerkvist
Paradoxically, this art thus became doubly unreal. Contemporary aesthetic — selected issues The role of art in social communication Dilemmas of contemporary art: Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding inen. 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.
The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible. Thus, metaphor was a formal means of meeting satuki artistic need to flee from reality in the first decades of the twentieth century. Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: It should be noted, however, that Ortega y Dehumanizaacja did not depreciate the art of previous centuries.
Here, it is worth adding that the basic premise of this reflection is that the reception of art is directed by the sense of expectation. Art turns out to be a wztuki game of revealing and concealing meanings. The new art began to operate mainly through irony, which often took the form of self-mockery.
Both thinkers treated statements about the alleged crisis of art as an exercise in thought and undertook attempts to provide creative responses. Remember me on this computer.
Piotr Niklewicz ( of Burzliwy żywot Baska Zalacaina)
Ortega y Gasset, who was one of the heralds of a dehumnizacja vision of the future of the human world in its previous form, nevertheless did not surrender to utterly defeatist thinking.
It seems that the process of dehumanisation did not deprive art of all sense. Even if it seems today that we are familiar with the shape of the new art, fseje it evidently remains a challenge for us. 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. Log In Sign Up. Contact with new art has become special time, but also esrje that the viewer spends on his own.
Szkice wybrane [Reason, word, history. Similarities and differences are pointed out in their assessments of the situation of contemporary art, its nature and function. The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons.
Contemporary art, by definition, divides society into those excluded from the world of art and its privileged participants. The audience immediately divides sztukl into two groups: