"The Spanish original, 'La rebelión de las masas,' was published by 1930; this translation, authorized by Sr. Ortega y Gasset, remains anonymous at the translator's request." Contents: 1. The Coming of the Masses 2. The Rise of the Historical Level 3. The Height of the Times 4. The Increase of Life 5. A Statistical Fact 6. The Dissection of the Mass-Man Begins 7. Noble Life and Common Life, or Effort and Inertia 8. Why the Masses Intervene in Everything, (...) and Why Their Intervention is Solely by Violence 9. The Primitive and the Technical 10. Primitivism and History 11. The Self-Satisfied Age 12. The Barbarism of “Specialisation” 13. The Greatest Danger, the State 14. Who Rules the World 15. We Arrive at the Real Question. (shrink)

El filósofo español José Ortega y Gasset y su traductora al alemán Helene Weyl intercambiaron correspondencia entre los años 1923 y 1946. José Ortega y Gasset y Helene Weyl formaron parte de dos grandes comunidades de intelectuales europeos: Ortega, representante de la filosofía académica en España y Helene Weyl, representante de una intelectualidad vivida más allá de cualquier corsé academicista. Su correspondencia documenta el desarrollo de dos grandes espíritus europeos así como la singular intersección de (...) estos dos mundos y culturas a través de un momento histórico difícil y turbulento del siglo XX. (shrink)

José Ortega y Gasset publicó en 1939, en la colección Austral, este ensayo filosófico que obtuvo una gran repercusión internacional en su día y sigue siendo en la actualidad una de las obras clave del pensamiento orteguiano. Esta edición conmemora los setenta años transcurridos desde entonces y ofrece la única edición autorizada y revisada personalmente por el autor.

6 volumenes: 1. Meditaciones del Quijote, I. 3a ed. 2. Personas, obras, cosas. 2a ed. 3. España invertebrada. 4-6. El espectador. t. 1-3. 2a ed.

Ortega y Gasset is known for his philosophy of life and his effort to propose an alternative to both realism and idealism. The goal of this article is to focus on an unfamiliar aspect of his thought. The focus will be given to Ortega’s interpretation of the advancements in modern mathematics in general and Cantor’s theory of transfinite numbers in particular. The main argument is that Ortega acknowledged the historical importance of the Cantor’s Set Theory, analyzed (...) it and articulated a response to it. In his writings he referred many times to the advancements in modern mathematics and argued that mathematics should be based on the intuition of counting. In response to Cantor’s mathematics Ortega presented what he defined as an ‘absolute positivism’. In this theory he did not mean to naturalize cognition or to follow the guidelines of the Comte’s positivism, on the contrary. His aim was to present an alternative to Cantor’s mathematics by claiming that mathematicians are allowed to deal only with objects that are immediately present and observable to intuition. Ortega argued that the infinite set cannot be present to the intuition and therefore there is no use to differentiate between cardinals of different infinite sets. (shrink)

These essays examine the contribution of Ortega y Gasset, reflecting his own diversity of interests with topics on philosophy, history, literature, esthetics, language and art. The collection draws together scholars from a variety of disciplines in an effort to deepen appreciation for one of the leading writers of modern Spain. Originally delivered at Espectador Universal to mark the 100th anniversay of Ortega y Gasset's birth, these essays are sure to open new perspectives on the thought and (...) work of one who has long been regarded as the prototytpe to the twentieth century humanist. (shrink)

The sportive origin of the state -- Unity and diversity of Europe -- Man the technician -- History as a system.

This book, an exploration of the work of Leibnitz, is Ortega’s most systematic contribution to philosophy. Ortega begins with a detailed definition of a principle and with an examination of the specific principles formulated by Leibnitz. He goes on to examine Leibnitz. He goes on to examine Leibnitz’s complex and mercurial attitudes towards principles and discusses the effects of these attitudes on his philosophy and on contributions to mathematics and logic.

"This concise, elegant essay on the roots and historical justification of philosophy marks a decisive step in posing the problem of what philosophy is. With consummate clarity and the charisma that distinguished him as a lecturer, Jos Ortega y Gasset re-creates ""that moment when Parmenides began talking about something exceptionally strange, which he called 'being.'"" How and why, he asks, did such a surprising adventure come about?Considering the human qualities that prompt a curiosity about existence and eternity, (...) class='Hi'>Ortega examines philosophy's etymology, its connection to poetry, and its differentiation from religion and other modes of thought. He lucidly delineates radical differences of doctrine and style among early Greek thinkers, especially the ""madman of reason"" Parmenides and the ""absolute individual"" Heraclitus. He also considers philosophy's fundamental task of revealing the latent world poised behind the manifest world and discovering the relations between them.""Unable to find lodging among the philosophies of the past,"" Ortega observes, ""we have no choice but to attempt to construct one of our own."" The Origin of Philosophy argues for the vital importance of philosophy as a human endeavor, even while noting that each generation of thought reveals the past as ""a defunct world of errors.""". (shrink)

Huescar presents a systematic critique of idealism and modernity, framing Edmund Husserl's phenomenological philosophy as the most refined and far-reaching version of idealism. He includes the essentials of the system of categories adopted by Ortega in order to overcome idealism.

The second of Lorca's great trilogy of rural dramas, "Yerma" is a concentrated blend of contrasting moods through which Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires. The play's rich mode of expression--a powerful combination of verbal, visual and auditory images and rhythms--is also geared to celebrating sexual attraction and fertility, creation and procreation.

After having presented briefly the life and work of José Ortega y Gasset, it is shown that it is human life as ultimate reality and meaning that predominates in his thought, and the various treatment that Ortega y Gasset makes of this notion is explained. Résumé: Après avoir présenté rapidement la vie et l'oeuvre de José Ortega y Gasset, l'A. montre que c'est la vie humaine qui prédomine dans sa pensée comme réalité et signification (...) ultimes, et explique le traitement varié que fait Ortega y Gasset de cette notion. (shrink)

Translation of "Unas lecciones de metafísica," based on a course given at the University of Madrid in 1932-1933, and published by Revista de Occidente in 1966.

Autobiography and phenomenology: Preface for Germans (1934).--Phenomenology and theory of knowledge: Sensation, construction, and intuition (1913). On the concept of sensation (1913). Consciousness, the object, and its three distances (1916).--Phenomenology and esthetics: An essay in esthetics by way of a preface (1914). Esthetics on the streetcar (1916).--An esthetics of historical reason: The idea of theater: an abbreviated view (1946). Reviving the paintings (Velázquez, chapter I) (1946).

Excerpt from Personas, Obras, Cosas Un cenobita con sayal del color de la tierra abre un portón; entramos. Dos hileras de cipre ses ensimismados con su follaje recio, de un verde casi negro, conducen a la íglesuca y al apo sento del capellán. En la sacristía se ven dos cua dros que figuran una antítesis dolorosa: es uno la imagen horrenda de una pobre ánima del purga torió ardiendo en llamas de ocre; en un rincón del lienzo está escrito: Alma (...) en pena. En el otro cuadro se lee: Alma en gracia; representa una mujer tan bella, con unos ojos tan azules, unos cabellos tan augustos y dorados y unos labios tan deleitosos, que a no hallamos tamaña altura so bre el nivel del mar y de los instintos, alguna in quietud nos sobrecogería. Luego conviene dejarse ir, lasa la voluntad, por el campo austero que se abre en derredor. Las ermitas están desparramadas en la cima, ocul tas en la espesura. Cada una tiene su huerto, largo de algunos pasos, ceñido por blanca tapia que se recala entre las chaparras y las higueras. Cada una tiene un ciprés y una espadaña. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Con este titulo polisemico Ortega y Gasset reunio en 1927 un volumen con trece ensayos de diversa procedencia. Los origenes del espanol, la inteligencia del chimpance, la obra de Miro o de Gongora se aborda desde la claridad y el dominio verbal que siempre caracterizaron a nuestro primer ensayista.

Desde 1935 Ortega anunció la publicación de un libro con el título de El hombre y la gente contendría su doctrina sociológica, pero sólo se publicó en 1957 y como la primera de sus obras póstumas. Esta nueva edición incluye el texto, inédito hasta la fecha, de la conferencia pronunciada por Ortega en 1934 a la que había dado el título que hoy lleva este libro, y en la que por primera vez expuso públicamente su idea de los (...) " usos " como realidad constitutiva del hecho social. Por otra parte, el texto va revisado y cotejado conforme a los originales. (shrink)

In the history of literary criticism the name of Ortega y Gasset is indispensable, since in this, as well as in all other sectors of cultural activity, the influence of his thought has been most decisive. He opened paths and established guidelines that remain in effect; his vision of the Quijote not only counterbalanced that of Unamuno, against which it purposely rebelled, but also, by underscoring the resources called into play by Cervantes in composing his master work, he (...) has shaped the attitudes of subsequent professional and academic criticism; and his analysis of the personalities of such important writers as Baroja is as yet unsurpassed. Among his many influential works, Francisco Ayala has written Reflexiones sobre la estructura narrativa (criticism) and España, a la fecha. (essays). His collected fiction appeared in 1969 under the title Obras narrativas completas. At Professor Ayala's request, this essay, and Ideas sobre Pío Baroja, by José Ortega y Gasset, were translated by Richard Ford. (shrink)

Ligado directamente a la dinámica de los movimientos renovadores del arte que surgieron en la España de los años veinte, el texto de Ortega y Gasset ofrece unas perspectivas más amplias y entronca con la renovación de la estética y la historia del arte que había iniciado la tradición teórica e historiográfica alemana a finales del siglo XIX. Ofrecemos, además otros escritos que, como «¿Una exposición Zuloaga?», «La Gioconda», «Diálogo sobre el arte nuevo», «Ensayo de estética a manera (...) de prólogo» y «Sobre la crítica del arte», permiten una mejor comprensión del pensamiento de Ortega y del debate artístico y estético en España. La presente edición va precedida de un prólogo de Valeriano Bozal. (shrink)

Contents: The Sportive Origin of the State – Unity and Diversity of Europe – Man the Technician – History as a System. Translation of "El origen deportivo del Estado"; (1924); "Prólogo para franceses" (1937); and Meditación de la técnica (1939). "History as a System" was published originally in English in Philosophy and History: Essays Presented to Ernst Cassirer. Edited by Raymond Klibansky and H. J. Paton. Oxford: at the Clarendon Press (London, H. Milford), 1936, pp. 283-322.

Excerpt from El Tema de Nuestro Tiempo; El Ocaso de las Revoluciones; El Sentido Histórico de la Teoría de Einstein LA primera parte de este libro contiene la redacción un poco ampliada de la lección universitaria con q'ue ínaugaré mi curso habitual en el ejercicio de 7927-22. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to (...) digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

CON: CUADROS CRONOLÓGICOS / INTRODUCCIÓN / TEXTOS ÍNTEGROS / BIBLIOGRAFÍA / NOTAS / LLAMADAS DE ATENCIÓN / DOCUMENTOS / ORIENTACIONES PARA EL ESTUDIO En septiembre de 1925 Ortega y Gasset reunió en un volumen dos importantes y polémicos ensayos, LA DESHUMANIZACIÓN DEL ARTE e IDEAS SOBRE LA NOVELA, textos que se inscriben en la tarea que se había impuesto el filósofo de interpretar la nueva época cultural que había comenzado con el siglo XX, una época que vive una (...) crisis, la crisis de la razón ilustrada, que afecta a todos los aspectos de la vida europea, dado que se ha producido una ruptura de los valores sobre los que se había venido sustentado la civilización occidental. Ambos ensayos, en parte complementarios, tienen, sin embargo, una orientación distinta. LA DESHUMANIZACIÓN DEL ARTE aborda temas relacionados con todas las manifestaciones del arte nuevo y se refiere, sobre todo, a las artes plásticas, aunque también se aluda a la literatura o a la música; el segundo se centra en un único género literario, la novela. Pero ambos están enlazados por una idea común, el agotamiento de las formas artísticas del pasado, especialmente las del siglo XIX, con el abuso de lo sentimental y de lo narrativo, ha conducido a los artistas jóvenes a evitar la mimesis de la realidad y a convertir el objeto artístico en una creación puramente estética que no ha de explicarse como copia de la realidad. (shrink)

Online encyclopedia. 2011, revised, 2014: http://plato.stanford.edu/entries/gasset/.

Se presenta una sistematización de las diez respuestas que, desperdigadas, podemos encontrar en la obra de Ortega y Gasset a la pregunta ¿por qué filosofa el hombre?: por naturaleza, amor, asombro, curiosidad, placer, felicidad, para estar en lo cierto, para jugar, para evadirse y para orientarse. Si todas estas pueden integrarse y adquieren una nueva significación en función de la última respuesta, correspondiente a las reflexiones de su tercer periodo que concibe la filosofía como orientación, esta será, además, (...) la primera tesis de su sistema filosófico, la realidad radical. De este modo, su filosofía quedará justificada; obligación que todo filósofo tiene para con su obra, a juicio de Ortega. ENGLISH: The article provides a systematization of the ten answers that can be found in the work of Ortega y Gasset to the question of why human beings philosophize: by nature, out of love, astonishment, curiosity, pleasure, or happiness, to be right, to play, to evade oneself, and to obtain guidance. If all of these can be integrated and acquire a new meaning with respect to the last response, which corresponds to Ortega's reflections during his third period, in which philosophy is understood as guidance, this will also be the first thesis of his philosophical system, radical reality. In this way, his philosophy would be justified, an obligation that according to Ortega, applies to all philosophers. (shrink)

Excerpt from Meditaciones del Quijote: Meditación Preliminar, Meditación Primera Nada que de éste provenga puede ser nos simpático. El rencor es una emana ción de la conciencia de inferioridad. Es la supresión imaginaria de quien no pode mos con nuestras propias fuerzas real mente suprimir. Lleva en nuestra fantasía aquel por quien sentimos rencor, el aspec to lívido de un cadáver; lo hemos matado, aniquilado con la intención. Y luego al ha llarlo en la realidad firme y tranquilo, nos parece (...) un muerto indócil, más fuerte que nuestros poderes, cuya existencia signi fica la burla personificada, el desdén vi viente hacia nuestra débil condición. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The first edition was published in 1948 under the title "The Dehumanization of Art, and Notes on the Novel", translated by Helene Weyl from the Spanish original, "La Deshumanizacion del arte e Ideas sobre la novela," published by Revista de Occidente, 1925. In addition to the two title essays, "The Dehumanization of Art" and "Notes on the Novel," this second expanded edition contains three other essays: "In Search of Goethe from Within" (Goethe desde dentro, 1932); "On Point of View in (...) the Arts" (Sobre el punto de vista en las artes, 1924); and "The Self and the Other" (Ensimismamiento y alteración, 1945). (shrink)