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As socially engaged art has played a vibrant role in responding to the crisis of the postmodernist art regime, the current post-Occupy condition has manifested itself in artistic interventions in rural China. In contrast to social writing, which encompasses street art, designers going to the countryside, and industrial empowerment to construct "good cultural governance" or "good cultural taste," the term personal writing as used here describes a type of avant-garde intervention that has sparked interest in vernacular communities. It provides a socially minded critique of art production as bifurcated from the remaking of everyday social relations and subjectivities, political and cultural possibilities, and the rural Chinese future. Grounded in a contextual analysis of the social turn in Chinese contemporary art and the lingering "rural problem" under post-socialism, this article takes artist Mao Chenyu's Paddy Film project as an example of personal writing and proposes this artist's activisms at Dongting Lake as a specific intervening field, visual ethnography as a method, paddy rice as a distinctive "thing," and archival practices as a deconstructive pathway that together have promoted the emergence of a resistance narrative in artistic intervention in Chinese rural communities. [ABSTRACT FROM AUTHOR]

Identity Postmodern art became art to deconstruct the hidden ideologies of the discourse of power for socio-political purposes, such as the struggle against the masterpieces of art, against heroism, against gender discrimination and racism. In this period, a broad effort was done to address social issues and problems concerning inequalities related to class, race, gender, and ethnicity and... to people involved with these issues. This critical content chose different ways of expressing itself; from a realistic presentation to a copy, an eclectic work, ironic references and "Appropriation" works of art that at first glance is accompanied by humor and parody. Appropriation means using or adapting preexisting works of art and borrowing them to create a new work. At this time Appropriation for a specific purpose was an action that could not be avoided in the postmodern-centered state of contemporary art. The 1960s saw the emergence of a process that allowed artists to adapt and self-create other artists' works without modification or by slightly modifying or inserting parts of other people's artwork into their own, with the goal of substituting their own voice for another voice, thus opening a new meaning instead of the previous one. Since then, art of Appropriation has peaked in the 1980s, and today the widespread use of image capture in the creation of works of art has become commonplace. The contemporary era seems to have introduced artists to the world who were eager to reinterpret and re-represent these paintings in order to expose lesser-represented cultures and elevate excluded minorities to the center of discourse. Since the late nineteenth century, African American artists, with a return to the historical past and the use of black heroes and their epic and revolutionary ideas, and under the influence of political and social events, with their works of art to fight against racial colonialism. And painted a bright future for the black nation. But today's art is different from what we know as black art in the second half of the nineteenth century and the first half of the twentieth century. This study, in order to answer the question of the role of images in deconstructing aesthetics and deconstructing the power structure, focuses on postmodern art and critically analyzes the works of African American artists on the subject of "Appropriation" of famous works of art history. Consequently, among the goals of artists in this way of representation is to focus on excluded minorities, to emphasize the fine arts as something beyond nationality and race, to create a counter-narrative, to deconstruct the power structure, to empower blacks in culture. This research is based on descriptive-analytical method, and data collection is desk-based. [ABSTRACT FROM AUTHOR]

The essay film is defined by its capability to embody an audiovisual thinking process. Chris Marker's Sans soleil/Sunless (1983) is undoubtedly one of the highest expressions of this filmic form, which reflects on postmodernity through the nature of images. This article aims to analyse the thinking in act of the film, using Jacques Rancière's concept of sentence-image, and applying Gilles Deleuze's theory of the time-image and the crystal-image. The cinematic thinking process forces the spectator to constantly transform the actual image/virtual image relationship of the film until it reaches a time-image and crystal-image of postmodernity. It is possible thanks to the shifts among the different subjectivities created by Marker and the interstices they generate. This shift also reaches a crystal-image as a materialisation of the postmodern concept of alterity as analysed by Paul Ricœur and Zygmunt Bauman. The reflection is constructed by means of an itinerary through four types of images and their screens – film image, television image, electronic image and video game image – in order to develop the image-memory-history axis and to generate an audiovisual reflection on postmodernity in total consonance with Jean Baudrillard's theory of the image, Marc Augé's of non-places and Fredric Jameson's of the postmodern historicism. [ABSTRACT FROM AUTHOR]

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Marjorie Perloff is a towering figure in contemporary literary criticism, known for her incisive analyses and groundbreaking theories on modern and contemporary poetry. Her work traverses the rich terrains of modernism, postmodernism, and media ecology, shedding light on the multifaceted nature of poetic expression in the 20th and 21st centuries. This essay, in memory of Marjorie Perloff, examines her significant literary contributions, and the critical reception of her poetic theories, underlining the interdisciplinary nature of her work. [ABSTRACT FROM AUTHOR]

This essay examines a little-known but important installation entitled Insure the Life of an Ant, conceived by artist Mike Malloy and displayed at the O.K. Harris Gallery in New York in April of 1972. This provocative and idiosyncratic piece confronted gallery-goers, who became viewer–participants, with the option of killing or saving a live ant displayed like a sculpture on a pedestal, either by pushing a button or not. The artist made the piece, which can function almost like a psychology experiment, to engender a "moral dilemma". I explore the particular role of affect in a participatory art installation, distinct from response to inanimate art. I investigate the roles of emotion and reason in dealing with the work; whether ratiocination can be considered an "anti-affect"; and how the tension between competing thoughts and feelings helped create a psychological drama. The essay looks at how an art space can operate as a zone of moral exceptionalism to encourage questionable actions. It also locates the piece in relation to the emergence of a more behaviorist art in the early 1970s, as discussed by critic Gregory Battcock, and the larger notion of postmodernism. Other contexts investigated include art and animal rights and issues of sentience and speciesism; social and military violence, including capital punishment and the Vietnam War; the 1961 Milgram experiment; Hannah Arendt's concept of the "banality of evil" as a Nazi war criminal defense; and other works of art involving maltreatment or violence toward both human and non-human animals, including those by Marina Abramović, Marco Evaristti, and Edward and Nancy Reddin Kienholz. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Rennie Ellis: Melbourne Out Loud" at the State Library Victoria, showcasing the work of Australian photographer Rennie Ellis. Ellis, known for his candid and dynamic photography, captured the essence of Australian life from the 1960s to the 1990s. The exhibition features over 400 images divided into sections like 'Melbourne Out Loud,' 'Celebrities,' and 'Protest,' offering a glimpse into the social and cultural fabric of the time. Despite some limitations in presentation, the exhibition provides a unique perspective on Melbourne's history and the art of photography. [Extracted from the article]

The article aims at interpretation of cultural-philosophical tendencies related to the changes in the structures of feeling of the (post)industrial landscape of Ostrava in the period 1989 - 2023. In the theoretical part, the notion of the "structure of feeling" as a basic category of the contextual approach to culture is discussed, thus emphasising the historical and ideological conditionality of literature as a contemporary record of the lived experience of a particular community. It draws on a structural-analytic approach in which the structure of feeling represents a complex arrangement of patterns, principles, and strategies that appear in various modifications as the predominant features of human thought and experience. The contextual analysis reflects on Ostrava's (post) industrial landscape with regard to ongoing deindustrialisation and traces how global socio-economic transformations and changes in the dominant structures of feeling (of postmodernism and metamodernism) manifest themselves at the empirical and symbolic levels. Using selected examples of representatives of the older and younger generations of Ostrava poets who experienced/are experiencing the (post)industrial landscape at one time or another, it describes specific manifestations of postmodern and then metamodern structures of feeling. [ABSTRACT FROM AUTHOR]

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Postmodernism has permeated modern Nigerian and because it is a violation of the norms of modernism, critics and art commentators have expressed their worries over the negative impacts, as a result of its various paradigms - techno art, conceptual art, installation art, video art and performance art. In their own opinions, it is empty, ephemeral, highfalutin and redundant and will affect the commercial value of artwork created in this genre or category. They also raised the issue of identity, provenance, creative colonization, as well as the relevance of its historic and anthropological legacies. Based on this, they are considering the future of art and artists creating postmodernist artwork. For intervention, the study examines postmodernist art in the Nsukka School and demonstrates its positive impacts and contributions to art development in Nigeria. Data for the study were collected from extant literatures and internet sources. The data were historically analyzed using technical and stylistic methods. The study found that postmodernist artwork not only exposes practicing artists to the global art spaces through art exhibitions but also enriches them through sales by some notable auction houses. Again, the works are acquired by some notable galleries and art collectors and have attracted significant attention in the media, the simple reasons this article argues are more than enough to show that postmodernism has impacted positively, therefore, lays to rest the politics of postmodernism, substantially. [ABSTRACT FROM AUTHOR]

Object. The evolution of the art of modernism and avant-garde is analyzed and the bases of their stylistic specification is described. It is elucidated the conceptual essence of the relations between modern and avant-garde as two concepts of the first stage of the evolution of modern art. They show the internal contradiction of the process of artistic creativity. Scientific novelty. Philosophical and aesthetic concepts of modernism and avant-garde are considered. It is noticed that each concept is characterized by a variety of styles that reflect specific ideas and trends of their time. The divergence between these concepts is manifested in the difference in the methods of expression, as well as in the attitude to the socio-cultural traditions and the history of art. The development of the stylistics of modernism from cubism to expressionism and from futurism to surrealism is determined. This process takes place when the means of expression typical for modernism are outlined more embossed and candidly. «Analytical and synthetic» painting from cubism to expressionism manifests itself through the dynamics of compositions, the intensity of lines, the contrast of colours, which embody the mysticism and energy of simplified forms. On the way from futurism to surrealism, the search for ways to represent the reality carries out a kind of “murder” of painting, using an unexpected combination of images, transformation effects, automatism in painting. The analysis of dadaism, suprematism and constructivism revealed that the formation of the stylistics of avant-garde takes place on the way from the philosophy of anti-art through the assertion of the aesthetic idealization of abstract forms to the philosophy of the constructivity of art in socio-cultural space and time. Results. It is determined that the conceptual relationship between the modern and the avantgarde describes the internal contradiction of the process of artistic creativity, the possibility of the realization its socio-cultural and technical and technological aspects. It is elucidated that the evolution of stylistics from sensuous and irrational to abstract and logical, from the absolutization of form to the conceptuality of content reveals the logic of the contradiction between modernism and avant-garde as a reflection of the diversity of philosophical ideas and socio-cultural standards of the epoch. It is shown that the styles of modernism from cubism and expressionism to futurism and surrealism were manifested as the attempts to express the sensuous and emotional aspects of the world through bright colours, dynamic forms and irrational images. Avant-garde in the styles of dadaism, suprematism and constructivism focused mainly on abstraction, decomposition of form and conceptual elements of art. Conclusions. Philosophical reflections on the stylistic specification of artistic trends can help to reveal the logic of the emergence and development of artistic styles during the evolution of forms and techniques of modern art, in particular postmodernism and contemporary art. [ABSTRACT FROM AUTHOR]

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The article discusses an art exhibition by Mideo Cruz at the Kaida Contemporary gallery in Quezon City. The exhibit features paintings and sculptures that challenge American iconography and explore themes of American perspective, capitalism, and imperialism. Cruz's works use humor and wordplay to provoke thought and critique societal norms. The article provides a detailed analysis of several pieces in the exhibit, highlighting their artistic and political significance. The exhibition aims to spark discussion about the intersections of Filipino and American culture and history. [Extracted from the article]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While the drive toward homogeneous and pure visual languages was at the foundation of early twentieth-century utopian modernist art systems, the Dadaist and Surrealist reaction to this utopianism took the form of extreme and often violent hybridity. Marcel Duchamp's 1913 "readymade" of a bicycle wheel placed atop a kitchen stool is a paradigmatic manifestation of the linguistic hybridity characteristic of post-utopian twentieth-century art. In the 1920s Francis Picabia made paintings constructed of separate and discrete layers of images, which, when viewed together, produced an unsettling visual "monster." Picabia's practice of superimposition was a significant forerunner of prevailing contemporary practices in postmodern painting. In his essay "Postmodernism, or the Cultural Logic of Late Capitalism," philosopher Fredric Jameson (1991) identifies pastiche as one of the main characteristics of cultural production in the age of postmodernism. Pastiche is defined as a work of art consisting of motifs borrowed from one or more sources, an incongruous hodgepodge of materials, forms, and images. In this age of pastiche, what are the options open to artists—to endlessly quote, imitate, or parody existing images and styles, or to construct a new and significant system of meaning? To discuss the centrality of the principle of hybridity in postmodern art—and in my own artistic practice of the past fifty years—I summoned Theolonius Marx, a fiction of my imagination who helped me handle the dilemmas of conceptual art in the 1970s. In this "conversation," Theolonius and I ponder how hybridity has placed a challenge to utopian modernist concepts, and what the conditions are for it to thrive today as a relevant and sustainable medium. [ABSTRACT FROM AUTHOR]

The research dealt with the concepts of time and architectural thought and the extent of the influence of Ideas derived from the element of time on the variation and differentiation of architectural movements and schools, by reviewing a group of vocabulary such as nostalgia, present, and looking forward to the future, the null of the present and immortality in architecture and the null or deferred future, and the study of the duration of its reflection on architectural thought to lead to the differentiation of each of the architecture of Mesopotamia, Classical architecture, Modern architecture, Postmodernism, and Autonomous architecture, Deconstruction architecture according to these terms. The problem of the research was the lack of clarity on the influence of the element of time and its role in the differentiation of architectural thought. The main goal of the research is to focus on the role of the element of time in the differentiation and uniqueness of architectural thought. As for the research hypothesis, it focused on emphasizing the role of thought that distinguishes time in the differentiation of architectural thought, which in turn guarantees the uniqueness of societies, and the most important finding of the research is that Classical architecture is distinguished by its interest in the principle of nostalgia, and that there are some trends in Contemporary Iraqi Architecture based on the principle of nostalgia represented by nostalgia for formal elements, and that modern architecture urged in most of its buildings nostalgia for the present. [ABSTRACT FROM AUTHOR]

The article discusses two art exhibitions in Nice, France: "We Live in the Flicker" at MAMAC and "Matisse in the 1930s. Through the Lens of Cahiers d'Art" at Musée Matisse. The author describes the beauty of Nice and its cultural richness, attributing it to a combination of natural attractions and a sensible cultural policy. The exhibition at MAMAC features the works of artist Thu-Van Tran, displayed in a large installation that incorporates various mediums. The Matisse exhibition at Musée Matisse explores the artist's journey through America and showcases his diverse works, including portraits, collages, and illustrations. The author praises Matisse's talent and his belief that life is worth living, evident in his vibrant and energetic paintings. [Extracted from the article]

The article relates taxidermy to oil in the subculture associated with the oil sands in the Canadian West. Kitsch as it relates to postmodernism, and postmodernism to oil, share a sense of melancholy; an affect which is explored through the author's own practice as a visual artist and in the work of Claire Morgan, an artist from the UK. The affect of oil, and its implications as to mortality on the landscape are examined through an engagement with objects considered as 'remains' sourced from the local area, generally in or near the town of Fort McMurray. The author, expanding on past work, proposes a mode by which the subculture of oil workers might be engaged in environmental narratives, necessitating attentiveness to issues of class. The author's artwork describes her own personal experiences in the region and the experiences of members of her community. This article is an attempt to contextualize and elaborate on specific experiences of oil culture; the 2016 Horse River (Fort McMurray) wildfire is a focal point. [ABSTRACT FROM AUTHOR]

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Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Nowadays, use of new technologies in creating artworks lead to the expansion of interactive approaches in art. Interactive art as a new art that influenced by technology is a suitable platform to be able to study it based on the thoughts of contemporary philosopher Jean Baudrillard. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork Jean Baudrillard, one of the postmodernism theorists, considers simulation in the contemporary world as a main factor in the disappearance of reality. According to Baudrillard's belief, signs and codes have dominated all aspects of life, including art, in the postmodern society, and he has repeatedly expressed his concern that the reality of the world is being forgotten in the midst of pretense and signs. The aim of research is by relying on the key concepts of Baudrillard's theories such as simulation and sign value and by examining two examples of Team Lab designer's interactive artworks, answers this question: how reproduction of signs and Baudrillard's simulation does occur in interactive art? To achieve this goal, a descriptive-analytical method was used to collect information using written and digital sources. The results of the research show that the presence and action of the audience in interactive art and the difference in their point of view and the way the audience communicates with the interactive work, have created new signs. This reproduction of signs along with factors such as interaction, imagination, subject and object and sense of audience leads to the blurring of the distinction between simulation and reality and the creation of signs without reference to the real world. In these interactive artworks, the role of the audience in completing the work is planned and limited according to the creator's wishes and is more close to the artist's ideas and desires. Since the creation of a hyperreal space requires requirements such as believability, computeralness, explorability, interactivity and immersion, by meeting these requirements in digital interactive art by the creator of the work and its designers, in addition to preserving the artist's idea, attractiveness for the audience of the work is also created. The lack of reference to the real world in these works demonstrates Baudrillard's creation of the hyper reality in interactive art. The interactive art invites the audience to participate and consume images and produce new signs and traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers this world as their main goal and is exposed to responding and expressing the work rather than trying to understand and judge, and the audience becomes a part of artwork and becomes an art object. The results of the investigation of digital interactive art installations of water painting and the nature of graffiti are an example of the domination of signs and the control of the audience by the codes and machine algorithms considered by Baudrillard, and a manifestation of the role of modern technology. [ABSTRACT FROM AUTHOR]

The relevance of the article lies in the fact that in the 21st century the distance learning of vocal arts is becoming increasingly important in the postmodern period. The article characterizes the role and importance of educational innovations in the development of music education during distance learning. The author indicates the most important tasks, the solution of which involves the use of educational innovations during distance learning vocal art in the postmodern period. Along with this, such main directions of innovation activities as the formation of new content of the educational process, assimilation of new pedagogical technologies, and the creation of new varieties of educational institutions are influencing. The topic of the article is relevant in the international context, since examples of relevant innovations at the university level consider a "universal" approach to teaching vocal methodology (with coverage of "child" and "adult" periods as interrelated components), the use of media technologies to find professional information, the study of priority aspects of singing in distance vocal training in the postmodern period. The article presents innovations in vocal arts distance learning in the postmodern era; the use of innovations in vocal arts instruction; the renewal of present-day vocal arts institutions in the postmodern era: the vocal arts distance learning process in the twenty-first century. [ABSTRACT FROM AUTHOR]

The article is devoted to the problem of postmodernism in the works of Ukrainian composers of the late XX century. It shows out the specifics of musical postmodernism in Ukrainian composers' creativity. In the process of the research there was highlighted a state of art history on this problem; the specifics of postmodernism emergence and its aesthetics formation in the national art were studied; the main creative methods in composers' works were generalized; the typical features of new musical vocabulary were systematized. In the article the following methods were used: source studies, historical, analytical, methods of analysis, synthesis, comparison, abstraction, theoretical generalization. The article is one of the first attempts in the world context which highlights the postmodern paradigms of Ukrainian music. This scientific paper determines the characteristic features of Ukrainian musical vocabulary. In it there was proved that musical art of the late XX century has undergone significant changes under the influence of deep processes in social, moral, spiritual spheres. Domestic music has entered a qualitatively new round, synthesizing all the experience of previous epochs, national and European musical traditions, combining them with a specifically Ukrainian mentality. All these affected the formation of national musical postmodernism, which was characterized primarily by polystylistics, stylistic allusions in both classical and folklore discourses, fragmentation and spontaneity in the creation of musical forms, conceptual authorial ideas. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hermenéutica is the property of Hermeneutic - Revista Digital de Arte, Critica y Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is dedicated to the analysis of culturological framework regarding the evolution of the scenic dance. In this sense, the philosophy of humanism has largely predetermined the emergence of currents such as classicism, romanticism, expressionism, etc. It is in the context of these currents that the evolution of choreographic art is approached, highlighting those specific factors that influenced this process. At the same time, this problem is approached from the perspective of modernism and postmodernism. [ABSTRACT FROM AUTHOR]

The article analyzes the interaction between creator and audience that occurs in the new modes of art practices. Within this field, experimenting with technology is accompanied by emergence of new art forms and genres. Thus, it seems appropriate to view technologies as a mediator in the dynamic process of communication between the creator and viewer. In this context, a number of innovative projects were considered that emerged in the art practices of the recent decades. The choice of the projects is determined by the specific expressive means and by the features of interaction of these means on the basis of contemporary technologies. Creation of these projects resulted from the ideas and achievements of the 1970s-1990s. At first, it was "pure" experimentation, aimed at expanding the range of new expressive components and testing them. Afterwards, modern art products created within this direction are mature and complete. To evoke the interest of the audience, the use of multimedia and installations based on interactive technologies are employed. Technologies stimulate further evolution of art, i.e. they contribute to forming the new genres, and trends. It was concluded that technologies constitute a toolkit that de facto serves as a catalyst enabling practical realization of the artistic polylogue within the creative process: from the point when the idea is conceived, through its fulfillment in the creator's design and up to its presentation when its communicative models of influence aimed at the art communities are activated. [ABSTRACT FROM AUTHOR]

The aim of this study is to examine the reflection of today's art practices related to migration according to Barthes' semiotic analysis. In the study, the literature review was used to form a theoretical basis for the phenomenon of migration. In addition, the semiotic analysis method was used in the analysis of visual art practices related to migration. The practices of Halil Altındere (Meatball Airlines), Ai Wewei (The Law of Travel), Tammam Azzam (Bon Voyage: New York, Bon Voyage: Suria) and Bruno Catalano (Parçalar, Venice) were examined with the purposeful sampling method. In all practices, there are indicators such as migrations, exclusion, poverty, being the other, culture, identity, stigma perception and marginalization, as well as the destructive and damaging physical images of the war and conflicts that are experienced today. The phenomenon of migration, the difficulties of migration on social life and the reflections of changes in sociological practices on the individual and society were strongly emphasized. As a result, in these studies, the problems that arise with migration, which have social, cultural and psychological dimensions, have been tried to be made visible from an artistic point of view. It has been revealed that the stakeholders have not developed effective solutions to the problems that arise with migration, and it has been requested to develop the necessary sensitivity regarding migration in the world public opinion. [ABSTRACT FROM AUTHOR]

In the article, the author discusses mapping as an artistic practice and her use of mapping to find the relationships within and among ideas. Other topics include the principles of postmodern art, the conceptual strategy for learning and artmaking, and how concept maps are helpful tools for students in addressing national standards.

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Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The arguably retrogressive development of infrastructures, socio-political systems and technology in most African states casts a shadow of doubt on Africa's claim to modernity and by extension, postmodernity. Within the context of the arts, the argument of this paper is premised on two questions: Why do some Nigerian artists claim to be postmodern? What is the viability of such a claim, in a country that, one is wondering whether it is even a modern society? To proffer answers to these questions, the paper enunciates a historical overview of contemporary African art and artists vis-à-vis the generalized concept of post-modernity, from the subjective view that its conceptualization and understanding, have a direct influence on contemporary artistic practice and expression. The paper then interrogates certain arts, within the context of their postmodern trend. The paper's conceptual framework is premised on Peroziosi's (2009) postulation that artworks are reflective of their original time, place, and production circumstances. The authors conclude that contemporary artists' responses to and their manifestation of postmodernist trends are such that can be categorised into three: Those who aspire faithfully to postmodernist principles; those who are inspired by postmodernism but want to progress their society by socio-political and economic reflections, criticism and advocacies as well as those who ordinarily would not have been artists perhaps, if not for the freedom provided by postmodernism. [ABSTRACT FROM AUTHOR]

The essay is dedicated to the work of the Mexican writer and film director Juan Manuel Torres (1938-1980), who had lived in Łódź in the 1960s for many years and studied directing at the film school there. His prose is strongly influenced by Polish literature and culture. Torres' work is currently experiencing a rediscovery: the historical-critical edition of his Obras completas [Collected Works] was recently published (2020 and 2021) by the Mexican publishing press Nieve de Chamoy (two volumes so far, the last third is announced for the end of 2023). The aim of this paper is to present and interpret Torres' literary work and to outline its biographical, historical, and theoretical contexts. What concept of literature and art can be found in his autofiction? In Torres' work, the reality of the Cold War meets the atmosphere of the sexual revolution of the 1960s. The author registers changes in the sexual morality and deconstructs gender stereotypes. In his prose, one can find some (for his times) provocative motifs, such as abortion, homosexuality or ménage à trois. Torres combines them with a complex poetological reflection on the crisis of representation and the role of art in the light of the beginning of postmodernism and the idea of the "literature of exhaustion." The essay consists of five parts. After discussing the latest edition and introducing the life and work of Torres, I present the literary contexts in which his writing can be placed. The fourth part is devoted to the collection of his short stories El viaje [The Journey], which contains the most interesting texts for the Polish audience in the discussed edition. The last part is a sketch of Torres understanding of literature and art. The focus is on the intertextual allusions to Central European modernism, especially to works by Bruno Schulz and Hermann Broch. [ABSTRACT FROM AUTHOR]

The issue of the narrative is closely linked to the formation of the universal story and the individual interpretation of it within the dimensions of time, space and action. Postmodernism demonstrates the proclivity to destroy these three dimensions, in other words, to deconstruct them. The most effective way to destroy the story, and even worse, the universal story is to deprive it of the goal, and linear development, where past, present and future are carefully outlined, and the hero envisages the end of the story as the natural, logical and supernatural consequence of his actions or even inactions. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A kaleidoscopic narrative encompassing all of Don DeLillo's recurrent motifs - sport games and war games, paranoia and secret codes, obsessed collectors of secular relics, religious rituals superseded by consumerism, dysfunctional relationships -, Underworld (1997) is at least as relevant today as it was in the late '90s. My paper centers upon land art and desert lore as tropes meant to convey loneliness and the feeling that we have become a mere abstract audience in the political theatre, but it also takes into consideration the main protagonist's Jesuit education. [ABSTRACT FROM AUTHOR]

The present paper examines how John Banville creates a peculiar version of the Faust legend in his novel Mefisto (1999) through the use of double coding. The term is frequently used in postmodern art, especially in literary theory and architecture. The idea consists of the possibility of sending two opposite or even multiple messages at once. Mefisto presents a fertile ground for the analysis of the way double coding might operate in a work of postmodernist fiction. Moreover, it has been one of the most challenging contemporary interpretations of the Faust legend for critics and, therefore, the present analysis has more specific relevance for those who are already taking interest in Banville's oeuvre and/or in the Faust legend. For those who are yet to discover Banville, the article may serve as a short introduction to his idiosyncratic artistic style and peculiar means of expression. The ensuing analysis of double coding in Mefisto has the task of demonstrating that both a metanarrative appeal and a quotation/irony combination are clearly detectable in the novel. The aspiration is also to stress that Eco's approach to the definition of double coding is more in-depth and more relevant for literary theory or postmodernism than Jencks's one. [ABSTRACT FROM AUTHOR]

Within this scientific paper, a brief analysis of furniture design is made, with a concrete analysis of the ancient Greek Klismos chair. About the famous Klismos chair, there are papers and analyses that claim the comfort and daily use of the chair at that time by all people without division. A brief description of the beginnings of the modern era is also made, including how it influenced today's architecture and design. By presenting the first modern chairs as unique and free from the former styles, in symbiosis with the Klismos chair, a new concept design for today's everyday chair is obtained. The Triga chair is minimal and functional, which follows today's trend through shape, material, and color. It is designed to be used for everyday activities and as a dining chair. The research methods used in this paper are the qualitative method, the real and productive analysis, the generalization method, the simulation method, and finally the application method. [ABSTRACT FROM AUTHOR]

This article interprets the formation of personal value orientations in the context of the artistic perception of the world. Personality is formed in the process of socialization and self-realization. Every person in the world is an individual, and individuality is formed in the process of acquiring value orientations, as well as in the conditions of cultural and educational development. Thus, an individual perceives the world and the environment in own way. His or her idea is a consequence of the value perception of the world, which arose as a result of certain life experience and educational activitiy. Human has a value attitude to oneself, to people, to art, to work, to society and state, and such an attitude is formed individually for everyone, but on equal conditions. After all, each individual has own characteristics, own worldview, dreams, and ideas. The perception of art is phenomenological in the formation of value orientations of human. After all, works of art are already a consequence of a certain value representation of a creator, which is interpreted through the work of art. In the course of our research the integration method of synthesis and the analysis of figurative structure, and, the characteristic of works of art are used. The methods of synthesis, analysis and interpretation contribute to the scientific perception of works of art that influence the formation of human values to culture. The results of our study reveal that in general, value attitude are formed throughout a person's life. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)