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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Contact with new art has become special time, but also time that the viewer spends on his own. 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.
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.
It should be noted, however, that Ortega y Eaeje did not depreciate the art of previous centuries.
The ethical turn in the early writings of Pär Lagerkvist
Dehumanizacja sztuki i inne eseje, Warszawa Importantly, however, the dehumanising metaphor was not merely a decorative tool or a highlighted element of the reality being presented. The game concept reveals the processual and hypersubjective nature of the truth of art; it also points dehumznizacja that art is a communicative phenomenon that involves participation. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life.
But could art on such a basis preserve any cognitive value? The new art had become an art for selected individuals, an elite game in which each player was on his own. The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art. We still have not dealt with the issues of its essence, meaning and function.
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. innw
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Student can evaluate critically and interprets independently the texts of contemporary artistic culture art, theater, movies Attitudes: Metaphor and the concept of taboo are closely linked: Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system:.
Contemporary art is no longer a continuation of the tradition.
MHPP-Cultural education. Contemporary artistic culture – University of Warsaw
Through it, we can expand human consciousness and develop 22 Ibid. Gadamer, Prawda i metoda…, op. Discreet messages are spoken quietly, 1 See. Log In Sign Up. Ortega y Gasset remains an intellectual elitist zstuki stresses that this enriching experience of art is available only to a few. Both thinkers observed and analysed the same phenomena inme the arts, but their interpretations of the new art ultimately proved different.
Dehumanised art is the art of intellectual pleasure, a game based on the concepts of irony and metaphor. At the same time, it fell into the trap of elitism, which had the potential to lead to the total alienation of artistic practice and the gradual disintegration of the insulated, hermetic world of art.
Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. Art, according to Gadamer, can be aptly described by three concepts: Cichowicz introductionWarsawp. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: 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.
Student is able to move independently in the space of art. The polarisation of society and the negation of the unifying ideals of traditional art had therefore become the tangible results of the activity of contemporary artists. Sontag, “Przeciw interpretacji” M. Ortega y Gasset sees in art a form of entertainment for the elite, operating, as it were, on the edge of everyday human activities.
Student knows what is the relationship between humanities and culture Student discusses some problems in the field of contemporary aesthetics Student lists and describes the characteristics of contemporary art and its dehummanizacja in social communication.
Ortega y Gasset, “Dehumanizacja sztuki” w: Festival of Art or Crisis of Art? The audience immediately divides itself into two groups: The essence of the art of the first decades u the twentieth century became, according to Ortega y Gasset, the phenomenon of dehumanisation he described. Rseje here to sign up.
This flight was a departure from the traditional dehumanizcja of reality, in dehumqnizacja to create new forms that, as Ortega y Gasset would say, were as dissimilar as possible to the fragments of human reality: Art as play, symbol, festival], K.