Suchergebnisse

The article is devoted to the consideration of the dual nature of art journalism, manifested in the trajectories of its development and the corresponding functions in the modern media space — cultural-educational and information-advertising. The author of the article interprets art journalism as a sphere of professional activity, the purpose of which is to form the aesthetic taste of the target audience and convey a set of values that have universal and national significance. Arts journalism is increasingly targeting a wider audience, as evidenced by trends towards deliberate simplification of text and increasing entertainment value. At the same time, the goals of art journalism — the preservation of cultural and national values, the comprehensive development of man, his education based on examples of world culture — are embodied in the implementation of the cultural and educational function of art journalism and, as a consequence, in the development of aesthetic taste using its tools and means. In an effort to satisfy the needs of the target audience for information about facts and cultural events, about works of various types of art, art journalism also implements an information and advertising function. The intentionality of art journalism is characteristic of both trajectories of its development in the modern media space: the formation of ideas, positions, and opinions naturally determines the emergence of expected emotional states in the addressee. The article proves that the information and advertising trajectory of art journalism organically complements the cultural and educational one: in any of the areas studied, the addressee is able to expand his cognitive and emotional experience in the cultural space, possessing creative potential. The cultural and educational trajectory of the development of art journalism cannot be implemented outside of information and entertainment: expanding the intended target audience by attracting attention to cultural and artistic events contributes to the representation of the news occasion from the perspective of organizing leisure time, deepening knowledge about a particular work of art or cultural figure and, as a result, ensuring and maintaining cultural balance in society

The article discusses the main characteristics of modern art journalism, which allow us to assert its anthropocentricity. It is proved that the subject of creativity, which creates artistic images, as well as the work itself as a reflection of the value picture of the artist's world, his worldview and ideological concept are the subject of reception and analysis of art journalism. The anthropocentricity of art journalism as a whole is obvious because art itself is anthropocentric. However, in modern conditions of globalization and the development of postmodern worldview, the anthropocentricity of art journalism is undergoing certain transformations. The specificity of art discourse lies, first of all, in a pronounced appraisal and authorial modality, and the very representation of a work of art in a media text is determined by the level of professionalism and the degree of talent of its producer, as well as the social recognition of the artist and the very status of the work of art, determined by the interest of the public in it, the artist's innovation, the demand for a particular genre in the art industry. In the text-discursive space of mass art journalism, one can find the most revealing cases of interaction between institutional, professional and everyday discourses, which, on the one hand, significantly characterizes modern art journalism from the standpoint of its anthropocentricity, and on the other hand, allows us to evaluate the dynamic transformations inherent in it in postmodern conditions. The postmodern worldview deprives the art discourse of any stable coordinates in terms of terminology or the presence of professional art criticism competencies in an art journalist. A positive assessment in the discourse of art journalism is aimed at reflecting success, the predominance of the best qualities in the interpreted object, which is further enhanced by the use of art criticism terminological apparatus, however, texts with ambiguous evaluation and authorial modality are also presented in the text-discursive space.