MANOLO VALDES'S APPROACH TO ART FROM POSTMODERN PERSPECTIVE

We can say that postmodernism, which emerged in the second half of the twentieth century, brought a radical freedom to art by breaking up the understanding of art and the mindset of modernism, and ignored the hierarchical distinction between high culture and popular culture by removing the boundaries between art and daily life. In addition, postmodernism, which opposes the originality of art and that it is a product of genius, did not hesitate to make a deliberate return to the previous arts and to reinterpret them, arguing that art can also exist from repetitions. Thus, postmodern artists turn towards homogeneous elements in order to reach contemporary goals and ideas; They used the work itself as a new idea and a useful style by focusing on concepts such as "possessing", "imitation", "copying". In this article, the art understanding of Manola Valdes, one of the important living artists of today, has been examined with examples; The existence of a fictional new aesthetic structure, which is mostly "purified", "reduced" and lacking depth, is observed in his works woven through material, form, light and color. The works of many important artists from Renaissance to modernism served as an "excuse" in his works, and he transformed the works he took as reference into original works in line with the concept of Appropriation of postmodernism. Keywords: Manolo Valdes, Postmodernism, Irony, Pastigy, Appropriation

Formalism and Phenomenology in Vasily Sesemann’s Aesthetics

The purpose of this article is to analyze the connection between formalism and phenomenology in Vasily Sesemann’s aesthetics. In the articles “Aesthetic valuation in the history of art” (1922), “The nature of poetic image” (1925), “Art and culture” (1927), Seseman discusses the formalist concept of art. However, the most complete critique of the formalist idea of art is revealed in his Aesthetics (1970). In this book, he presented the most comprehensive conception of aesthetic structure. In this paper, I set out first to analyze the most important features of the formalist history of art, and then to explore how Sesemann transforms the concept of artistic form into a conception of aesthetic structure. I argue that formalistic analysis of art transforms the concept of artistic form into a style. This style is nothing less than the experience of being in the world. Sesemann abandons the dualistic separation of sensory material and intelligible form, and instead offers the concept of aesthetic structure. He reveals the relationship between the sensory structure of an aesthetic object and the perceiving subject. Aesthetic value can be revealed as meaningful only with the participation of a subject and with the necessary contemplative attitude. Analysis of art must cover not only individual structures of the object, but also a phenomenological analysis of perception. The combination of formalism and phenomenology is a peculiar characteristic of Sesemann’s aesthetics. The structural analysis reveals a systematic coherence among the artistic creator, work of art, and its perceiver.

Technical Structure of Fear in the Visual Narrative

In the process of transferring meaning, visual narrative arts such as painting, theater, dance, architecture, photography, cinema, and television are built on language images. This language, which is called the visual language, makes sense with visuals, that is, the visual language. Lighting is one of the vital elements in the creation of images as well as natural light. The director makes formal arrangements on light and lighting, one of the important elements of cinematography, creating meaning and especially fear with images. Camera angles are also important in the installation of the fear element. These elements of fear are constructed from an artistic and aesthetic point of view. In the visual narrative, light and camera angles are revealed in aesthetic structure that provides desired effect besides obtaining a certain lighting and shooting process. The aim of this study is to investigate how two cinematographic elements such as illumination and camera angles are used to create meaning in images.

BIOMECHANICAL ASSESSMENT OFTHESTRESS-STRAIN STATUS OFSPLINTING STRUCTURES AND TEETH PERIODONTIUM IN CASE OF CHRONIC P

The authors have proposed an all-cast pin splint, whose technological feature is the ceramic lining of the over-the-bar part, which acts as a covering aesthetic structure, provides better distribution of the functional load and binds firmly mobile teeth affected by chronic moderate localized periodontitis. The paper offers a view at the outcomes of a comparative analysis of the stress-strain state of periodontal tissues, teeth, and cortical bone in chronic moderate localized periodontitis at the anterior group of teeth in the lower jaw, when they are splinted with a specially designed splint and a conventional metal-ceramic monolithic splint by finite element modeling. The developed 3D mathematical model included, as the initial data, the features of the periodontium, of dental tissue and of cortical bone. There was an examination carried out focusing on the distribution of stresses, which occur when using the designed splint under the impact of multidirectional loads of 130 N, acting strictly down relative to the tooth longitudinal axis (vertically), and a load at an angle of 45°. The proposed method of splinting reduces the maximum stress in the periodontium at a vertical load by 26.9%, while at a side load of 45° it reduced the stress by 34.7%, if compared to a traditional monolithic metal-ceramic splint.

“Speak your word and break!”

By tracing an alternative aesthetics of decomposition and fragmentation, this article offers a new understanding of the literary and poetological strategies Knut Hamsun uses to create a disintegrating text cosmos wherein the idea of ‘creation out of nothing’ (creatio ex nihilo) is one key to artistic originality. The article explores the interdependence of different notions of decline and shows that the image of the (biblical) fall is particularly important to the poetics and aesthetic structure of Hamsun’s Hunger (Sult, 1890). Around 1900, ideas of wholeness crumble, a decomposition which is reflected in the well-established philosophical and anthropological experiments of Nietzsche, Bourget and Simmel. Taking some of their aesthetic assumptions as a point of departure, the present paper argues that Hamsun’s novel offers an aesthetic variation on the decline of unity-based concepts, ranging from the subject to religious belief as well as to traditional storytelling.

Introduction: In Defence of Paraphrase

How did “reading for the message,” a mark of shame among literary critics, yet in many ways an ordinary reading practice, become so marginalized? The origins of this methodological commitment ultimately are intertwined with the birth of literary studies itself . The influential aestheticist notion of “art for art’s sake” has several implications crucial for understanding the intellectual history of literary criticism in the twentieth century: most important was the belief that to “extract” an idea from a text was to dismiss its aesthetic structure. This impulse culminated in the New Critical contention that to paraphrase a text was a “heresy.” Yet this dominant tradition has always co-existed with practical interpretation that was much less formalist in emphasis. A return to the world of American literary criticism in 1947, when Cleanth Brooks’s The Well-Wrought Urn was published, shows this clearly: many now-forgotten critics were already practicing a form of criticism that emphasized literary content, and often overly rejecting Brooks’s insistence that reading for the content or meaning of a poem betrayed its aesthetic nature.

Life Quality of Children Interested in Music

Many definitions have been made about music. Soykan (2002 P: 1) defines music as “explaining the effect that it awakens in the audience with stimulation, impression, affect”. According to (Sun et. al., 1969), music is the art of expression with sound and rhythm (Uçan et. al., 1996) is the music as art; It defines as a whole that describes certain situations, phenomena and events in an aesthetic structure with harmonious sounds that are combined with a certain purpose and method, with a certain understanding of beauty, with the contribution of emotions, thoughts, designs and impressions or other reasons. According to (Özer et. al., 1997). The diversity of the definitions about music arises from the existence of music concepts that vary according to the age, culture and individuals in a culture. Developing and gaining music-related behaviors during the upbringing of individuals is through music education. With music education, it is aimed to create musical behavior change in the desired direction in their psychological, cognitive and affective behavior. The behaviors that are tried to be acquired will be possible with a planned and programmed training process (Akbulut Efe et. al., 2006). Today, there are many institutions providing professional or amateur, paid or free music education. In this study, it was made to observe whether there is a change in the quality of life of children who are 10-14 years old, who are interested in music, compared to those who are not. 68 students interested in the same number of music and not attending the study participated in the study. The data of the study were collected by Kid-KINDL quality of life scale and family questionnaire. The findings were discussed and the study was thought to contribute to the field.