DEHUMANIZACJA SZTUKI I INNE ESEJE PDF

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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Gadamer, Prawda i metoda. What ended irrevocably was the art of the past. The end of traditional dehumanizadja irrevocably closed a certain chapter in the history of human artistic activity, but it sztuuki opened completely new horizons.

Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it. Ortega y Gasset, Dehumanizacja sztuki, in: Contact with new art has become special time, but also time that the viewer spends on his own.

Help Center Find new research papers in: Skip to main content. Therefore, Ortega y Gasset wrote of two arts, radically different from dehumanizacka other, causing the rift between past and present to become enormous.

The new art had become an art for selected individuals, an elite game in which each player was on his own. Selected essays], Warsaw Contemporary art is no longer a continuation of the tradition.

An outline of philosophical hermeneutics], B. 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.

Sontag, “Przeciw interpretacji” M. Taking the trouble to understand it is indispensible, especially in view of the artistic phenomena that appeared after the period of the Great Avant-Garde.

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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. Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of esee twentieth century. Works of art connect people with one another and bind them in a common dialogue.

Student manifests behavior of evidence of critical reflection on art, culture and media society Student presents his own views while maintaining the principle of discourse ethics.

Szkice o miłości – José Ortega y Gasset • BookLikes

Every experience of this art is alienating in the sense that while in contact degumanizacja it, the viewer is left to his own devices. Zarys hermeneutyki filozoficznej [Truth and method. Thus there eseie no more historical continuity of style; the achievements of tradition have been suspended, and simple references to human reality are no longer functional. Student uses the terminology of the theory of art, film, theater and media to the extent that individual reading scientific texts.

As an eyewitness to the 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 would be no turning back. Student szthki evaluate critically and interprets independently the texts of contemporary artistic culture art, theater, movies Attitudes: Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few.

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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. The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible.

Gadamer, Prawda i metoda…, op. This flight was a departure from the traditional imitation of reality, in order to create new forms that, as Ortega y Gasset would say, were as dissimilar as possible to the fragments of human reality: It seems that the process of dehumanisation did not deprive art of all sense.

Student lists and describes the characteristics of contemporary theater and film taking into account their educational role. Art as play, symbol, festival], K. It is not our intention to pass judgments on the merits of each position. Gadamer, Hans-Georg, Koniec sztuki? At the same time, it fled from pathos, seriousness, missionary zeal and transcendence. Additional information registration calendar, class conductors, localization and schedules of classesmight be available in the USOSweb system: For Ortega y Gasset, art was one of the most significant sociocreative factors: Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present.

It is important here to emphasise along with Gadamer that this is a question of a real experience that transforms the interpreter.