Art and Representation in Ortega’s Aesthetic

Authors

  • María del Carmen Avendaño de Aliaga Universidad Nacional de Córdoba (Argentina)
  • María Janovich Universidad Nacional de Córdoba (Argentina)

DOI:

https://doi.org/10.63487/reo.401

Keywords:

Ortega y Gasset, Art, knowledge, representation, metaphor

Abstract

The purpose of this work is to deal with the problem of representation in Ortega’s conception of art. This approach will revolve not only around representation, but also around metaphor. This derives from a conception of metaphor in which it is seen as a sensible mediation through which something manifests in representation and as a result of it. In this sense, all art is the outcome of a combination of forms and light that make possible its manifestation.

Downloads

Download data is not yet available.

Author Biographies

María del Carmen Avendaño de Aliaga , Universidad Nacional de Córdoba (Argentina)

Full professor and researcher at the Center for Legal and Social Research at the Faculty of Law of the National University of Córdoba (Argentina). Full member of CAB CONICET, National Council for Scientific and Technical Research, in Buenos Aires between 2011 and 2012. She was director of the R&D Project of the Secretariat of Science and Technology at the National University of Córdoba, “Forms of discourse and socio-historical research practices,” in the 2010-2011 academic year. Her lines of research are epistemology and hermeneutics. Her latest publications are “Notes on legal hermeneutics, sensus communis, and application” (2012) and “Models and metaphors: the question of reference” (2011).

María Janovich, Universidad Nacional de Córdoba (Argentina)

Graduated in philosophy from the National University of Córdoba, her research focuses on aesthetics and hermeneutics. She has published “Historiography, Praxis, and Application” (2012) together with María del Carmen Avendaño and “Hermeneutic Reading of Some Works by René Magritte” (2011) together with Mónica Barbieri.

References

ALDRICH, V. C. (1966): Filosofía del arte. México: Uteha.

ANKERSMIT, F. (2011): Giro lingüístico, teoría literaria y teoría histórica. Buenos Aires: Prometeo. BLACK, M. (1966): Modelos y metáforas. Madrid: Tecnos.

CACCIATORE, G. (1997): “Ortega y Vico”, Cuadernos sobre Vico, 7/8, pp. 236-246. Bollettino del Centro di Studi Vichiani (XXIV-XXV, 1994-1995).

DANTO, A. C. (1983): The Transfiguration of the Commonplace. Cambridge: Cambridge University Press.

GADAMER, H. G. (1988): Verdad y Método, vol. I. Salamanca: Sígueme.

GARCÍA ASTRADA, A. (1961): El Pensamiento de Ortega y Gasset. Buenos Aires: Troquel.

GOODMAN, N. (1976): Los Lenguajes del Arte. Barcelona: Seix Barral.

HESSE, M. (1979): Models and Analogies in Science. Notre-Dame: Notre-Dame University Press. HUTTEN, E. H. (1953-1954): “The Role of Models in Physics”, British Journal for the Philosophy of Science, IV, pp. 284-301.

LÁZARO CARRETER, F. (1983): “Ortega y la metáfora”, Cuenta y Razón, 11, pp. 69-82.

MARÍAS, J. (1983): Ortega. Circunstancia y vocación, 2 vols. Madrid: Alianza.

OLIVERAS, E. (2007): La metáfora en el arte. Buenos Aires: Emecé.

ORTEGA Y GASSET, J. (2004-2010): Obras completas, 10 vols. Madrid: Taurus / Fundación José Ortega y Gasset.

SEEL, M. (2010): Estética del aparecer. Madrid: Katz.

ZAMBRANO, M. (2011): Escritos sobre Ortega. Madrid: Trotta.

Downloads

Published

2013-11-01 — Updated on 2013-11-01

How to Cite

Avendaño de Aliaga , M. del C., & Janovich, M. (2013). Art and Representation in Ortega’s Aesthetic. Revista De Estudios Orteguianos (Journal of Orteguian Studies), (27), 165–177. https://doi.org/10.63487/reo.401

Issue

No. 27 (2013)

Section

Articles