Bunt mas i inne pisma socjologiczne. Front Cover. José Ortega y Gasset. Państwowe Wydawnictwo Naukowe, – pages. Title, Bunt mas. Author, José Ortega y Gasset. Translated by, Piotr Niklewicz. Publisher, Muza, ISBN, , Length, pages. Title, Bunt mas. Author, José Ortega y Gasset. Publisher, Muza, ISBN, , Length, pages. Export Citation, BiBTeX.

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Paradoxically, this art thus became doubly unreal.

Gadamer, Hans-Georg, Koniec sztuki? This led Ortega y Gasset to pronounce his famous maxim ” Yo soy yo y mi circunstancia ” “I am I and my circumstance” Meditaciones del Quijote[14] which he always put at the core of his philosophy.

Sam przygotowal fundamenty dla swojej wlasnej socjologii. The festival concept also emphasises, above all, the exceptional possibilities of the integration of art: To accomplish such tasks, the philosopher must—as Husserl proposed—leave behind prejudices and previously existing beliefs, and investigate the essential reality of the universe.

Stanford Encyclopedia of Philosophy. At that time, the status of the artist changed, art changed, and the viewer changed as well.

Bunt mas: : Jose Ortega y Gasset: Books

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.

Even if it seems today that we are familiar with the shape of the new art, interpreting it evidently remains a challenge for us. Traditional art, loaded with humanising elements, had been depleted, kas, pathetic and serious. Iberian Philosophy in European Philosophy. In Ortega’s words, humans have “no nature, but history” and reason should not focus on what is static but what becomes dynamic.

The cognitive value of the new art was based on meanings that were no longer simply a way to recognise a work based on the similarity of its content to reality, as was the case in traditional art.


Much of Ortega y Gasset’s work consists of course lectures published years after the fact, often posthumously. Leaving Spain at the outbreak of the Civil Warhe spent years of exile in Buenos AiresArgentina until moving back to Europe in For Ortega y Gasset, philosophy has a critical duty to lay siege to beliefs in order to promote new ideas and to explain reality. These considerations concerning contemporary art lead to the conclusion that neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive horizon of the individual.

Views Read Bknt View history. The new art began to operate mainly through irony, which often took the form of self-mockery. Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present.

Bunt mas i inne pisma socjologiczne

Please help improve this article by adding citations to reliable sources. For Ortega y Gasset, art was one of the most significant sociocreative factors: In this sense Ortega y Gasset wrote that life is at the same time fate and freedom, and that freedom “is orteag free inside of a given fate. Art as play, symbol, festival], K.

Thus there is no more historical continuity of style; the achievements of tradition have been suspended, and simple references to bynt reality are no longer functional.

The game concept reveals the processual and hypersubjective nature of the truth of art; it also points out that art is a communicative phenomenon that involves participation. Would you like to tell us about a lower price? Festival of Art or Crisis of Art?

File:Ortega y Gasset Jose Bunt – Monoskop

His philosophy has been characterized as a orgega philosophy of life ” that “comprised a long-hidden beginning in a pragmatist metaphysics inspired by William Jamesand with a general method from a realist phenomenology imitating Edmund Husserlwhich served both his proto- existentialism prior to Martin Heidegger’s [1] and his realist historicismwhich ortegga been compared to both Wilhelm Dilthey and Benedetto Croce.


Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: He worked during the first half of the 20th century, while Spain gassdt between monarchyrepublicanismand dictatorship. A game deeply 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 identified this aesthetic object of the new art with a metaphoric object.

Credit offered by NewDay Ltd, over 18s only, subject to status. This breakthrough concerned the emergence of new forms and new content in artistic mxs, as well as the traditional understanding of the role of art, the relative positions of artist and viewer, and the status of works of art.

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.

Contact with new art has become special time, but also time that the viewer spends on his own.