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Prawda dzieła sztuki w dobie jego technicznej reprodukcji. Próba Heideggerowskiej wykładni sztuki masowej

100%
Rogoziecki R.
Estetyka i Krytyka
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2013
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issue 1(28)
133-164
EN
The text attempts to find a way for Heidegger’s aesthetics, especially the concept of the truth of a work of art, to be applied to the analysis of the phenomenon of mass art. It takes as its point of departure Benjamin’s notion of mass art seen as art deprived of aura, i.e., art that is not situated in space and time. Merging Benjamin’s conceptual apparatus with Heidegger’s indicates that the notion of mass art needs major deepening. Above all, if we define high art in terms of existential truth and, in consequence, the way the work of art transcends the world in which it is rooted, then the non-auratic art will be defined by the notions of existential untruth, i.e., what will be pointed to is the way it is rooted in the world of Dasein. While the works of elite art always transcend this world, the works of mass art never do they are worldly entities; they belong to the world (within the world entities). It means that the works of mass art have to be analysed primarily in terms of the ideological structure s of the world in which they are rooted. This bears a number of ramifications for works of mass art, such as that they are not independent beings, but rather structural units, and also that their non- temporality is not just a result of the way they are produced and distributed, but also an effect of their origins in Dasein. Bearing in mind the structural character of the works of mass art, it seems necessary to outline a division into popular art, alternative art, and experimental art
2
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SZTUKA WYSOKA I NISKA

58%
DZIAMSKI G.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2017
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vol. 23
6-27
EN
Grzegorz Dziamski High an Low Art Many people believe that the division into high and low art is already a thing of the past, that postmodernity effectively eradicated it. I would like to contradict this view by putting the thesis that the division of art into high and low always existed, and postmodernism changed only the relation to low art. A modern or modernist version of division into high and low art becomes a division into elitist and mass art. In the nineteenth century, well-known opposition of the mass art, subdued to market mechanisms, and the elitist art countering these mechanisms were formed. This opposition finds its extreme expression in the writings of Jose Ortega y Gasset and Clement Greenberg – representatives of the Frankfurt School. Mass art wants to be a popular art, it’s obvious, but the thesis does not always work. Whether or not a mass-produced objects belong to popular art depends not only on the producers, but also, and perhaps mostly – on the consumer. It is high time for aesthetics to become popular, posthumously appealing to Richard Shusterman, who was an American aesthetics theoretician. What aesthetics would bring to reflection on popular art? Shusterman says that aesthetics should validate popular art, but such legitimacy is probably unnecessary, because no one refuses popular art the status of art. It is also not clear why educated elites should contribute to improvement of popular art if this art is not addressed to them and it does not even provide any entertainment to them. It would mean putting popular art under the guardianship of the elite, and that would start a returning to some version of Platonism. On the other hand, one may wonder whether popular art is not constantly being improved by the industry, experts, psychologists, sociologists, marketing specialists and public employees. Of course, they are improving popular art in the context of box office. Post-modernity has not overcome the opposition of low art / high art, it only has redefined and changed our attitude towards it. Hierarchical tolerance and hierarchical pluralism thus replaced hierarchical intolerance. The proponents of high art have ceased to demand the liquidation of low art.
3
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ANTYBOHATEROWIE NEOSERIALI – GRA (Z) WARTOŚCIAMI

58%
Arcimowicz K.
Ars inter Culturas
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2016
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issue 5
35-48
EN
The article presents results of the analysis of four neo TV series: House M.D., Dexter, Breaking Bad, House of Cards. The new TV series, despite their roots in older television forms, by and large radically break up with this tradition. The fundamental objective of the research is to describe the most important values realized by the antiheroes as well as to demonstrate main discursive strategies employed in creating serial plots with their participation. The post-soap makers play a peculiar game with their viewers placing in the foreground discursive strategies referring to ethical relativism. In contrast to tradi-tional, “axiologically safe” TV series, post-soaps may be defined as “axiologically fuzzy”. Neo TV series question the established values, including family, showing that it is not an easy form of co-existence and not always provides happiness for an individual.
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