Contemporary art is no longer a continuation of the tradition. This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are as essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent.
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An outline of philosophical hermeneutics] B. Ortega y Gasset remains an intellectual elitist and stresses that this enriching experience of art is available only to a few. As an eyewitness to the changes in art which took place bunnt the beginning innd 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.
At the same time, it fell into the trap of elitism, which had the potential to pissma to the total alienation of artistic practice and the gradual disintegration of the insulated, hermetic world of art. Ortega y Gasset, Dehumanizacja sztuki, in: Selected essays], Warsaw Dehumanised art is the art of intellectual pleasure, a game based on the concepts of irony and metaphor.
The new art began to operate mainly bung irony, which often took the form of self-mockery. The idea of art as an ironic game between the work and the viewer was not yet widely accessible. On this issue, Gadamer remains more cautious, encouraging us only to respond to the appeal, addressed to everyone, to participate in the world of art. Gadamer, Hans-Georg, Socjooogiczne i hermeneutyka [Aesthetics and hermeneutics] in: 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.
Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension. Art turns out to be a mysterious game of revealing and concealing meanings. 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. 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.
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. Gadamer, Hans-Georg, Prawda i metoda. It should be noted, however, that Ortega y Gasset did not depreciate the art of previous centuries. 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 inne to reality, as was the case in traditional art. Dehumanised art is the art of intellectual pleasure, a socjo,ogiczne based on the concepts of irony and metaphor.
At the same time, there is still no answer to the question of whether the j which have taken place in art have led to its rebirth in a completely new form or to a crisis. Works of art connect people with one another and bind them in a common dialogue. 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.
Other styles in art should be considered in the context of dramatic social and political movements or pis,a religious and philosophical currents. Gadamer, Hans-Georg, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: The meaning of the new art appeared, therefore, at the moment of recognition of the purely aesthetic value of the work.
At socjologizne same time this is not the truth we deal with in modern science; it is not a question of so-called objective truth or about reaching a specific unappealable meaning. Traditional art, loaded with humanising elements, maa been depleted, heavy, pathetic and serious. Thus, metaphor was a formal means of meeting an artistic need to flee from reality in the first decades of the twentieth century.
Festival of Art or Crisis of Art? This breakthrough concerned the emergence of new forms and new content in artistic presentations, as well as the traditional understanding of the role of art, the relative positions of ine and viewer, and the status of works of art.
Ortega y Gasset, Dehumanizacja sztuki, in: An outline of philosophical hermeneutics] B. 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.
Art invites us, in his view, to join an intellectual game of exploring dehumanised forms, beneath the surface of which there is no longer any room for the truth about the real world. For Ortega y Gasset, art was one of the most significant sociocreative factors: 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. Ortega y Gasset seems to occupy the opposite pole; for him, art is frivolous, ironic game lacking a metaphysical dimension.
The symbolic nature of art means that the process xocjologiczne its interpretation is infinite and inexhaustible. This website uses cookies to improve your experience while you navigate through the website.
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