期刊名称：Anales del Seminario de Historia de la Filosofía
印刷版ISSN：0211-2337
电子版ISSN：1988-2564
出版年度：2014
卷号：31
期号：2
页码：461-482
DOI：10.5209/rev_ASHF.2014.v31.n2.47578
语种：Spanish
出版社：Servicio de Publicaciones de la Universidad Complutense
摘要：Eduardo Nicol studies the Ortega’s historical reason: the historicism with which he reorients his vitalism. But in his review he does not include the philosophy of art: how Ortega interprets the avant-garde art as the symptom of a new era, because he understands that the defense of the autonomy of art by young artists responds to their understanding of art as inconsequential (in line with a new sensitivity vital in the early twentieth century). My thesis: With his notion of generation, Ortega starts his analysis of new art from its condition of historical product. Understood a telos for art history that places it closer to the target (pure art) than romantic art (its opposite).
其他摘要：Eduardo Nicol studies the Ortega’s historical reason: the historicism with which he reorients his vitalism. But in his review he does not include the philosophy of art: how Ortega interprets the avant-garde art as the symptom of a new era, because he understands that the defense of the autonomy of art by young artists responds to their understanding of art as inconsequential (in line with a new sensitivity vital in the early twentieth century). My thesis: With his notion of generation, Ortega starts his analysis of new art from its condition of historical product. Understood a telos for art history that places it closer to the target (pure art) than romantic art (its opposite).
关键词：autonomía del arte;generación;J. Margolis;razón histórica;vanguardias.
其他关键词：avant-garde art;autonomy of art;generation;historical reason;J. Margolis.
