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В статье анализируется философско-мировоззренческое понятие «дух времени» в контексте научного диспута французского постструктуралиста Лиотара и немецких ученых — Юргена Хабермаса, Тильмана Борше, Манфреда Франка. Повествование включило обзор отдельных философских работ, которые имеют большое значение для развития художественной теории постмодерна. На примере кураторского замысла интернациональной выставки «Дух времени» («Zeitgeist», 1982, ФРГ, Берлин) выявлена идейная и образная основа «духа времени», связанного с принципами восприятия классического наследия в искусстве постмодерна. Сделана характеристика крупных произведений художников Йозефа Бойса, Зигмара Польке, Георга Базелица и др. Обоснован вывод о реконтекстуализации самого понятия «дух времени» в эпоху постмодерна. Данная работа выполнена с использованием иконографического и семиотического методов искусствоведческого анализа.

The term cognitive theories refers to the mental activities carried out by the recipient within the framework of the process of artistic appreciation of works of art, and mental activities "are those processes that involve under the concept of knowledge to discover, interpret, classify and remember information, evaluate ideas, principles of inference, rules of induction, and other cognitive aspects that represent Human experience in the position of artistic taste. And artistic appreciation for works of art can be linked to cognitive theories, especially since the trends of postmodern arts called the connoisseur to think about the artwork, and also called for stopping the direct emotion of feeling towards the artwork, and added more ambiguity to it, which in turn affected the connoisseur’s view of art. To these works of art, in an attempt to decipher the mystery surrounding them, especially since the taste based on feeling and feeling towards typical works of art is no longer valid with this type of art. In this context, the process of artistic appreciation for artworks is essentially a communicative process, requiring the presence of three parties, namely the sender, artist/receiver, recipient, message or artwork. Thus, "the process of artistic tasting raises the cognitive aspects of the recipient to explore the nature of the artwork, its subject and its aesthetics, so that it can be tasted by re-thinking about the prevailing ideas or theories.The research aims to reveal the cognitive theories that contribute to explaining the process of artistic taste for the works of postmodern arts, while the research problem lies in the possibility of revealing the cognitive theories that explain the artistic taste of postmodern arts? The importance of the research is to study the cognitive theories that support mental activity in the face of artistic work within the framework of the process of artistic appreciation. Research on the philosophical potential of cognitive theories and their role in interpreting the process of tasting artistic work as an aesthetic stimulus. It sheds light on a selection of postmodern artworks that support the cognitive theories that explain the process of artistic taste.

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This study aims to examine the relationship between aesthetic and sociological imagination within the framework of the characteristics of visual forms (art/media images) in the environment of contemporary visual culture and to make a theoretical assessment of the importance of these imagery structures in art and art education. These assessments were carried out from a perspective based on the relationship between art and society. As a result of these assessments, it was found that the relationship between aesthetic and sociological imagination is intertwined within the scope of the production, distribution, and consumption processes of visual forms in the postmodern process, and in parallel with this situation, the importance of teaching activities and curriculum arrangements for the integration of both imagination structures in art education has been encountered. It has been understood that pedagogical activities focused on developing sociological imagination will provide a sociological perspective to the aesthetic imagination of individuals; thus, it will help to provide a conscious way of thinking about the cultural and social characteristics of visual forms.

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]

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Copyright of Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies 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 importance of the outlined problem lies in the fact that professional training of future fine arts teachers should take into account the trends of recent general scientific, sociocultural and moral-aesthetic processes. Analysis of the professional training system in the context of the requirements of postmodern society gives grounds to claim that it requires significant updating. In particular, individualization and democratization of education, interdisciplinarity, departure from traditional patterns of professional training, rethinking of pedagogical ideas and postulates in the context of quality assurance, etc. are paramount. The article defines the structure of artistic and pedagogical competence of a fine arts teacher. Its structural elements (artistic component (artistic and aesthetic education, skill)) and pedagogical component (psychological and pedagogical culture, reflection) and ways of their formation are determined. Ways to improve professional training of future fine arts teachers taking into account the postmodern features of higher education development (ensuring continuity of creative education; updating the scope of professional training; the use of information technology in the process of professional training of future fine arts teachers; emphasis of the educational programme on personal and creative development, selffulfilment of students of artistic specialties. Development of pedagogical conditions for formation of artistic and pedagogical competence in future fine arts teachers and organization of a pedagogical experiment in order to determine their effectiveness seems promising. [ABSTRACT FROM AUTHOR]

The article analyses the modern assimilations of the definition „dialog" and its rendering by the world academic community. Attention is drawn to the exceptional empirical significance of dialogics as a general scientific universal. The etymology of dialogue as a key category of philosophical, educational and pedagogical knowledge is identified. The evolution of the lead notionalists' ideas about the kernel and nature of dialogue that are relevant of the humanity itself, human mind and constant search of true knowledge is studied. A parallel is drawn between Socratic dialogue and dialogue in the postmodern educational and philosophic discourse. The problem of the antique thinkers' understanding of dialogue is studied discretely. The contemporary approaches to the fundamentals of dialogism, as outlined in the works of the lead theorists, are studied from the antiqueness to these days. It is highlighted how relevant and applicable for educational philosophy of the XXI century „G. Skovoroda's dialogues" are. It is ascertained that setting dialogue as autonomous subject of research of a particular school of thought reaches the works of L. Feuerbach with its thesis origins, but gets its final formulization in the works of M. Buber. The author dwells on the main theses of the approach of M. Bakhtin about the dialogic sources of the human beingness. The content and scope of the concepts „dialogical pedagogics", „interactive dialogue", „egalitarian dialogue" are analysed. The advantages and disadvantages of the idea „knowledge building" are studied. It is accentuated that the origins of many contemporary dialogue theories and methodologies date back to the ancient times and represent the attempts to integrate the „Socratic dialogue" into the postmodern discourse. The state of adaptedness and conformance of the contemporary theories of dialogue to challenges of digitalisation and globalisation of the postmodern educational-philosophical space is studied. [ABSTRACT FROM AUTHOR]

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As an outcome of information or technology era since 1960s to date, post-modernism is considered as a process, in which extraordinary advancements and changes occurred and different discourses emerged in the fields such as painting, graphic, sculpture, architecture, philosophy, economics, and sociology involving the social life and culture. Postmodernism caused the emergence of new artistic discourses as a result of rapid change and development of artistic events in the current era, it transformed into different identities other than modern art and brought new concepts and perspectives to the art life. These concepts and perspectives are in opposition to modernism and they are very tough. Considering that the modern art’s elements such as mission, uniqueness, beauty, and proportion would limit the area of art, postmodern artists place the esthetic components into a populist structure in harmony with today’s living conditions. In the present study, the changes in postmodernist art after modernism will be discussed, postmodern art esthetic will be explained, and the transformation of artistic values within the frame of Pop-art and Conceptual Art will be examined.

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The article discusses the historical evolution of the concept of authorship in theatre, It explores the subject of the death of the author, the disappearance of subjectivity and reality in postmodern art. Аnother topic is the conceptual crisis of aesthetics with regard to the definition and evaluation of contemporary art forms. [ABSTRACT FROM AUTHOR]

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Many modern artists have been anti-aesthetic and have adopted the form of exaltation. The origin of a postmodern artist is often ideas, expressions, criticisms and meanings. The aim of the research is to question the changes of these concepts in postmodern art in the context of artists and their works. The scope and focus of the study is limited to picture examples in postmodern art. Moreover, a comparison with contemporary artists has been made by including modern artists too. In the findings obtained in the research, it was determined that the elements such as idea, meaning, form and aesthetic were different in both processes. Subheadings have been created and explanations have been made. The problems in the study can be listed as so: Why does the artist require form in modernism? How do the basic approaches in postmodern art resemble the approaches of modern art? What does postmodern art seek to express? The answers to these questions were attempted to be answered by analysing the works of artists such as Marcel Duchamp, Michaël Borremans and John Baldessari. It is anticipated that as a result of the study, the problems arising from conceptual differences between modern and postmodern could be eliminated. [ABSTRACT FROM AUTHOR]

Abstract: Roma (1972) e tra i film di Fellini di piu ardua fabbrica e di piu controvertibile decifrazione estetica. Conteso tra l'impresa documentaria sulla Roma coeva e il ripiegamento immaginifico [...]

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The purpose of this article is to approach postcolonial African photography through the pictures of the Nigerian group DOF (Depth of Field), in terms of what has been called Trans-African Photography; a photography that brings down the borders of the African continent and denies the identitary aspects of “the African” as a Western construction. The pictures of this new generation keep no relation with such characteristics as the naïve, the primitive or the brute, all of them related to “the African” from the point of view of the West. On the contrary, they insert themselves into the global dialogue of the Postmodern Art. And by doing so, they break away from the omnipresent ethnocentrism in the arts. It is important to raise this topic in the academia in order to create legitimization for these artistic practices that question not only the art circle and its system but also the social construction of an imagery that is currently widespread in the Western Countries. The training of these photographers has taken place mostly in Europe. Therefore talking about the migratory flux of the art and its meanings becomes necessary as well. The pictures of DOF, rather than represent the Other, raise controversy about the pertinence of Africa being part of a globalised world distributes their artworks and, at the same time, relocates them away from their territory. This has caused a great split not only in the western imagery but also in more traditional-style African photographers such as J.D. ‘Okhai Ojeikere, Tam Fiofori, Jide Adeniyi-Jones y Sunmi Smart-Cole.El propósito de este artículo es realizar una aproximación a la fotografía postcolonial africana a través de la obra del grupo nigeriano DOF (Depth of Field). Se tratará en él lo que se denomina Fotografía Transafricana; una fotografía que rompe con los bordes del continente y que niega el carácter identitario que desde Occidente se ha utilizado para construir “lo africano” desde un punto de vista colonial. Las fotografías de esta nueva generación nada tienen que ver con lo naif, lo primitivo o lo rudo - características éstas asociadas a lo que podríamos etiquetar como “lo africano - occidental”, sino que se insertan en el diálogo global del arte posmoderno y rompen con el etnocentrismo imperante en las artes. Es importante tratar este tema desde el mundo académico para legitimar unas prácticas que cuestionan no sólo el círculo y el sistema del arte, sino también la construcción social de un imaginario que a día de hoy sigue imperante en el mundo Occidental. No hay que olvidar asimismo que una parte importante de la formación de estos fotógrafos se ha desarrollado en Occidente, por lo que es necesario hablar también de los flujos migratorios del arte y de sus significados. Las fotografías de DOF, además de tratar el tema del Otro, promueven el debate sobre la pertinencia de la entrada de África en un mundo globalizado desde el que distribuir sus obras de arte al mismo tiempo que las deslocaliza de su territorio. Esto ha causado una gran brecha no sólo en el imaginario occidental sino entre los fotógrafos africanos más tradicionales como es el caso de J.D. Okhai Ojeikere, Tam Fiofori, Jide Adeniyi-Jones y Sunmi Smart-Cole.

THE STUDIO PRACTICE OF Bernadí Roig speaks of society at the edges, caught in a time tainted by the loss of historical memory and identity. The artist works in a [...]

Barbara Kruger, a postmodern artist who emerged in the 1980’s, systematically embeds texts with images which pertain to a feminist rhetoric and convey a moral, sarcastic, sharp and sometimes contemptuous criticism. Challenging the traditional notions of feminine and masculine, her works question the implications of a consumer society in which individuals identify with a symbolic universe and ideological norms. This article analyzes the reasons why Kruger’s works often induce psychological discomfort: it shows how the artist undermines the passivity engendered by the imposition of stereotypes and the way she blocks the fascination produced by images by introducing texts which contradict them. This relationship between texts and images is opposed to media conventions and usually results in a feeling of malaise (Unbehagen in Freudian terminology) in the audience who cannot always position themselves in relation to the messages. We will first focus on discomfort as a result of a relation domination/submission; the second part of this article will be devoted to the body as a disembodied object causing discomfort. We will then tackle the medical institution as a locus of pain and suffering. Finally, the last part will analyse the uncanny atmosphere conveyed by Kruger’s works which calls to mind Orwell’s in 1984.

The emergence of artistic movements and in turn of various forms of art and aesthetic creations have displaced artists of contemporary art, more precisely of postmodern art, to a given encounter between their creative abilities and certain factors that are implicit in the contextual reality of the artist. Such factors are immersed in daily spheres and universes linked to events that occur in urban areas, being this the case of the conflict, the main vortex that triggers artistic creations, creations arising from the tacit conflict that exists in the major city and that once mutated by the artist's vision, it moves again to the urban space now as a body or form of art formed by the creative artist. This art conceived in permanent conflict environments leads from, by, and for the body a device where the artwork-viewer relationship has a different treatment. [ABSTRACT FROM AUTHOR]

The present study departs from Ioan Stanomir's recent book, Camera obscura. Dream, imagination and comics, in order to explore the unextinguishable imaginaire of the "graphic prose". Following Stanomir's foostepts, Mitchievici aims at showing that comics are not a minor genre, as common preconception states; the comics are instead a vehicle just as effective as any other literary genre in conveying a sense of the great art. Mainly focused on the iconic figures of Tintin and Corto Maltese, the studies of Stanomir and Mitchievici clearly prove their demonstrandum - namely that "graphic prose" or comics are one of the few forms of art specific to the postmodern cultural paradigm. [ABSTRACT FROM AUTHOR]