Jose Ortega y Gasset: The Dehumanization of Art and Other Essays on Art, Culture, and Literature (Paperback – Revised Ed.); Edition on Lately writers have defined post-modernism in various ways, but they share in common the belief that the age of modernist art is over and that a. No work of Spanish philosopher and essayist Jose Ortega y Gasset has been more frequently cited, admired, or criticized than his defense of modernism, “The .

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The Dehumanization of Art and Other Essays on Art, Culture and Literature by José Ortega y Gasset

Art cannot be subject to unconscious phenomenon for it ought to be all clarity, the high noon of cerebration. All new art is unpopular, necessarily so, and not by chance or accident. Art is not justified if it limits itself to reproducing reality, to vain duplications. Life is gaasset thing, poetry another, the young writer thinks — or, at least, feels.

The comic element may be more or less refined, it may run from frank buffoonery to the subtle wink of irony, but it is never absent.

And the fact is that one cannot understand the development of art, from Dejumanization to the present day, unless one takes into account that negative mood of aggressive derision as an ingredient of aesthetic pleasure.

Human life was to put itself at the service of culture because only thus would it become charged with value. Ethics, Aesthetics, and the Beyond of Language. In this way the function of poetry is justified.

THE DEHUMANIZATION OF ART () Jose Ortega y Gasset | anthonyhowelljournal

The contradiction is obvious, and must be stressed. Man and Crisis Norton Library. After the War modern art, in both literary and visual forms, become the cutting edge of the backlash against the old order which had led the word towards war, dehumanizatoon kind of transvaluation of the bourgeois values of the deeply Christian 19th century.


Even the bourgeoisie which once rejected modern art now hungers for it, and modern art pieces are sold at exorbitant prices to them. What dehumanizatioh supreme stylist and penetrating thinker Gasset was. The whole thing frequently feels like a summary of a much longer text that explains things in more detail, but the author did not have time or patience od write.

First comes the order of persons, then that of other living creatures, and finally, that of inorganic things.

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Algunos de los ensayos incluidos son mejores que el titular, y en general forman un conjunto interesante. Art was a very serious matter, almost hieratic. Princeton published the first English translation of the essay paired with another entitled “Notes on the Novel.

To achieve this end, Reinhardt wishes to radically free his art from any subject other than mental pattern and intellectual process.

Why this urge to dehumanize, why this loathing of living forms? I have said, these are random questions not pertinent oftega the immediate issue. Amazon Renewed Refurbished products with a warranty. But Ortega y Gasset is a very strong essayist, both as jlse thinker and as a stylist, and thw is a nice little concise collection of some of his work.

Bozal says that it’s much better to suspend any foundational agreement or disagreement, and let him unravel his thinking, and give us the wealth of his own questions, suggestions, and propositions. This is what serious people, less attuned to the present, find most difficult to understand in modem art.


But art for him is something different:.

This design in which the I consists, is not an idea or plan ideated by the person involved, and freely chosen. Nov 16, A. Ortega y Gasset’s Visionof New Music”.

The latter has to live out his human destiny; the mission of the former is to invent what does not exist. The Dehumanization of Art.

The Dehumanization of Art and Other Essays on Art, Culture and Literature

In order to satisfy the urge to dehumanize it is not, therefore, necessary to alter the inherent nature of things. Gasset does exactly this in his second essay, which is on novels. Modern art finds itself in the opposite situation, it has unleashed itself from the chains of formalism, and therefore of xrt human form itself.

Some Lessons in Metaphysics. We not only have to approach these paintings with a completely open mind; we have to create and invent almost unimaginable characteristics which might fit those exceptional objects.

Verticality and horizontality, rectilinearity, parallelism, stasis. Probably, like every historical phenomenon, its roots are so tangled only the subtlest detection could unravel them.

But in the case of modern art the separation occurs on a deeper plane than the mere differences in individual taste. Pure art’s aspiration is not, as we believe, prideful, much on the contrary, it reveals great modesty.