home Culturology Українська та зарубіжна Culture - Вечірко Р. М.

Українська та зарубіжна Culture - Вечірко Р. М.

MODERN TA POSTMODERNISM XX century.

1. A legal characteristic, the basic principles of modernity.

2. Architekturne vtilennya modernist style.

3. Modern about the main sensor of the recognition of the mystery.

4. The basic postposition of postmodernity.

5. Aesthetic concept of postmodernity.

6. The historical role of the interchange of postmodern models of culture.

Genuine characteristic, the basic principles of modernizing modernity

The cultural identity of everyday life is represented by two models: modernity and postmodernity.

Modern (French moderne - naynovishy, ​​suchasnj) - one of the names stylovogo strains in Europe and the American American mysticism. ХІХ - поч. ХХ століття. In Belgium, the United Kingdom, the United States of America, the New World, Art Nouvean, Nimecchini - Jugend Stil, Austria - "Sezessiostil" style, in Italy - "Līberti style" ( Stile Liberty), in Іppanії - modernism (modernismo). Modernity is evident in the minds of the crisis of the bourgeois culture, one of the neo-romantic protests against the anti-bourgeois bourgeois way of life, the reaction to the positiveism of that pragmatism.

Philosophical representatives of artistic modernism, respected Schopenhauer, Nietzsche, Freud, Jung, yaki in his creations zobrazhuvayut zhorstky that absurdity svit, superechnosty ta conficty of a nerozv'yazuvani for his suttyu. Дії та вчинки людини, що живе в такому світі, побавлені сенсу, а обставни, які раслися, - ворожі щї неї.

The style of "modern" is subject to the influence of selfishness in those areas: cubism, futurism, imaginism, surrealism, abstraction, pop art. The basic principles of modernism in mystery are the zabrazhennaya zabrazhuvannogo, abstraction and pop art; At the music - zaperekchennia "melodії, garmonії", domіnuvannya elektronnoi kontrastnoї music; At the theater - the entrance of the log, the dramatic day. At the duma of theoreticians of modernity, zokrema belgiytsya, Kh. K. Van de Velde, modernism of the cries of the stati style of the new life, molded by the yoke of syspilism, behaving in the same way as the people of tsilin, it is esthetically sparse beyond measure. Naybіlsh, in a modern manner, utilitises its principle in the sphere of science in the sphere of the bagatical indivisual life. Prote in stilі modern, yak of the universal style of his hour, there were numerically numbered, promyslovi portsi sporudi, station, teatri, bridge tochno.

Modernity can be matched to characteristically for the bourgeois culture of the ХІХ century. The persistence of artistic and utilitarian ambushes, nadati estetichnogo zabarvlennya all spheres of the life of the people, having rewritten її on the part of the artistic tsilogo. Practically, modern boules are the first, in a unique way, the last style of artistic design of the various spheres of bourgeois inducement. Він having defended the episcopacy of the ХІХ century. Єдність, оргаічність та freedom rozvitku stilіzovannoї, узагальненої, римічно оргаізованої форма, призначення якої - spiritualize the materially-mediated mediocrity.

The transition to modernity (between the nineteenth and twentieth centuries) of cognition by national-romantic hunters, the entertainers to the middle age and that of the people's mystery. Tsei etap is characterized by the appearance of the artist-craftsmen-maynenen (prototypes of the buli masters of W. Morrice (1861) and "Vistavka's comradeship of the mysteries of crafts" in Great Britain), they protested to themselves the capitalist industrious: "The Artistic and Artistic Maynerny" (1897) ta "Nimetsky Mastersterni Artistic Crafts" (1899) near Nimecchin; "Віденські майстерні" (1903) in Austria; Майстерні в Абрамцеві (1882) та Талашкіні (1900) from Russia.

"Zrіliy" modern (cobble of the twentieth century) nabuvaєe rice іnternatsionalnogo style, sho base on zastosuvannyy principle of the new artistic forms. On the counterpart to eklektizmu y yogo Іnteresom до достовірності відтворення окремих details історичного та національного стилів, modern pragnav vidroditi spirit stilovoy єдності художніх оргаізмів. Tse zamovil viniknnnia new type of artist-universal, scho poednuє in odnі odobi arhіtectora, county, painter, designer and theorist. The idea of ​​a synthetic, centralized creation of the mystery was vvililasya in arhitekturі інтер'єрів, rhythmic uzhngostіnі ліній та тонів, єдності of the details of the decor of the situation, the distance to the spaciousness, the well-worn spread of the dzerkal, the picturesque panels of the tomb.