Carlos Eduardo Gomes

RESUMEN O presente estudo visa basicamente estabelecer uma compreensão filosófico- cultural das grandes linhas de força do sentir e do viver contemporâneos. Oriundo do labor intelectual de um dos maiores pensadores ibéricos, o filósofo espanhol José Ortega y Gasset, existe nesta figura da cultura de princípios do século XX, uma interessantíssima reflexão projectiva, em consonância com o pensamento pessimista de Oswald Spengler. O que neles existe de comum, é a necessidade existencial em decifrar os sinais dos tempos, da época em que vivemos. Isto faz Ortega recuperar temáticas filosófico-sociológicas como a vida, a massificação, o hedonismo e o niilismo. Estas serão utilizadas por Gilles Lipovetsky para fundamentar o novo paradigma da hipermodernidade, baseado no capitalismo artista. ABSTRACT This article aims to establish a philosophical and cultural understanding of the most representative ideas of contemporary feeling and existence. In the works of the spanish philosopher José Ortega y Gasset, which is one prominent Iberian thinker, there exists a very interesting projective reflection of the figure of culture in the twentieth century, in consonance with Oswald Spengler's pessimistic thought. What they both have in common is the existential need to decipher the signs of the times we live in. Because of this, Ortega recovers common philosophical and sociogical topics such as life, massification, hedonism, and nihilism, which Gilles Lipovetsky uses in order to ground the new paradigm of hypermodernity based on artistic capitalism.

This article aims to establish a philosophical and cultural understanding of the most representative ideas of contemporary feeling and existence. In the works of the spanish philosopher José Ortega y Gasset (1893-1955), which is one prominent Iberian thinker, there exists a very interesting projective reflection of the figure of culture in the twentieth century, in consonance with Oswald Spengler's pessimistic thought. What they both have in common is the existential need to decipher the signs of the times we live in. Because of this, Ortega recovers common philosophical and sociogical topics such as life, massification, hedonism, and nihilism, which Gilles Lipovetsky uses in order to ground the new paradigm of hypermodernity based on artistic (trans-aesthetic) capitalism.