BUNT MAS I INNE PISMA SOCJOLOGICZNE PDF

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.

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Becoming acquainted with the rules of the game of the new art was, for Ortega y Gasset, essential. 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.

Bunt mas i inne pisma socjologiczne

This slogan was one of the manifestations of the crisis of twentieth-century European culture proclaimed by Ortega y Gasset. Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century.

Gadamer thinks most seriously about human artistic activity, and thus comes near to the ancient approach to art, treating it on a level with philosophy as one of the possible ways to reach the truth about reality. Art had become a hermetic socjologixzne, accessible only to the chosen few.

The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible. It seems that the process of dehumanisation did not deprive art of all sense. Gadamer, Estetyka i hermeneutyka, p.

Bunt mas i inne pisma socjologiczne – José Ortega y Gasset – Google Books

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.

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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. Ortega y Gasset, Bunt mas [The revolt of the masses], in: Contact with new art has become special time, but also time that the viewer spends on his own.

It is important here to emphasise along with Gadamer that this is a question of a real experience ssocjologiczne transforms the interpreter. Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it.

For Ortega y Gasset, art was one of the most significant sociocreative factors: His statement is rooted 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.

Paradoxically, this art thus became doubly unreal. Ortega y Gasset, Dehumanizacja sztuki, p. Cichowicz introductionWarsawp.

sovjologiczne Truth in hermeneutics is dynamic and fluid, much like man, who is a finite being, entangled in history, pisna, and events. 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. Szkice wybrane [Reason, word, history.

Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Ortega y Gasset sees in art a form of entertainment for vunt elite, operating, as it were, on the edge of everyday human activities. Gadamer, Estetyka i hermeneutyka, op. 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.

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Bunt mas i inne pisma socjologiczne by José Ortega y Gasset

The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons. Log In Sign Up. Through it, we can expand human consciousness and develop 22 Ibid. Importantly, however, the dehumanising metaphor was not merely a decorative tool or a highlighted element of the reality being presented.

Click here to sign up. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: Thus there is no more historical continuity of style; the achievements of tradition have been suspended, and simple references to human reality are no longer functional.

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. The authors refer sodjologiczne the basic works of these philosophers on aesthetics and the philosophy of art, among them Truth and method, The relevance of the beautiful, and The dehumanisation of art.

An outline of philosophical hermeneutics], B. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists from forms reflecting life. The socjllogiczne art began to operate mainly through irony, which often took the form of self-mockery.

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