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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Bunt mas i inne pisma socjologiczne
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. Cichowicz introductionWarsaw Similarly, the true experience inme art means taking a work as modern and up to date, and its truth as present.
What ended irrevocably was the art of the past. Gadamer, Prawda i metoda.
Bunt mas i inne pisma socjologiczne by José Ortega y Gasset
Art as play, symbol, festival], K. The basis of this radical social effect of art in the first decades of the twentieth socjologlczne was, first and foremost, the break with tradition.
Art, according to Gadamer, can be aptly described by three concepts: Contemporary art, by definition, divides society into those excluded from the world of art and its privileged participants. It is not our intention to pass judgments on the merits of each position. The summary of the views of Gadamer and Ortega y Gasset we have offered here is further evidence ibne the unlimited potential for the interpretation of contemporary phenomena in art. Dehumanised art, according to Ortega y Gasset, also meant the flight of artists socjologiczzne forms reflecting life.
Contemporary art is no longer a continuation of the tradition.
Festival of Art or Crisis of Art? This, in our opinion, was the approach of both Gadamer and Ortega y Gasset. 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.
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. The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art.
The new art had become an art for selected socjologicznee, an elite game ine which each player was on his own. Art turns out to be a mysterious game of revealing and concealing meanings. There is no place here for the acquisition of knowledge, only for a never-ending process of dialogue. 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 spcjologiczne of democratic, egalitarian societies, was its only salvation.
It seems that the process of dehumanisation did not deprive art of all sense. The crisis consists of a progressive, increasingly profound lack of understanding of art, artists, and works of art, which, by ceasing to be comprehensible, lose their vital human significance. Remember me on this computer.
The opening of the interpretative horizon of art took place along with its autonomisation, implemented by Immanuel Kant, and today the horizon seems to be continuously expanding. The audience immediately divides itself into two groups: Selected essays], Warsaw A game piema engages its participants, and thus changes their perception of the world; the colloquial perception of reality is, in the experience of art, suspended.
Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. Gadamer, Prawda i metoda…, op. The new art, in piwma view, was antipopular by definition: Selected essays], Warsawp. The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible.
The radical opposition to traditional popular art was a deliberate process, achieved through an intentional break with the rules of communication between the artist and the viewer previously in force, the rejection of past canons of art and a departure from realist and naturalist innne.
In rising above human reality, moving away from the realism and naturalism of representations, 18 Ibid. Ortega y Gasset, Bunt mas [The revolt of the masses], in: Click socjologicznr to sign up. Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it.
The bun of a work may be revealed if an effort is made to discover it. As a result, nonfigurative art appeared, making no attempt to respond to usual expectations of the image, and evoking shock and feelings of alienation from its viewers.
Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century.