الأبعاد الفكرية للتهجين في فنون ما بعد الحداثة

All contemporary cultures are hybrid and in the amount of their hybridity, their purity is the opposite of the concepts of purity, purity and monotony. The issue of hybridity does not rise to the forefront of the perception and vitality of cultures and does not adopt hybridity in its extreme manifestations. Cultural maturity is one of the other terms that have been developed to describe what happens to culture as a result of globalization trends The currents of globalization are one-way, spreading one culture, American culture, resulting in a cultural similarity all over the world that destroys any local cultural differentiation and those terms that focus on the elements of difference and the mixing of cultures and resist the ideas of cultural purity and Unified original cultures. The current research (the intellectual dimensions of hybridization in postmodern arts) has been addressed through four chapters. The first chapter includes the methodological framework of the research, in which the research problem was raised in answering the following questions: 1. Are the intellectual, aesthetic and cognitive frameworks of hybridization applied in the visual field? 2. Did the phenomenon of hybridization give an aesthetic and artistic perception in the postmodern arts represented by the works of the artist (Robert Rochsenberg) as a model that made his work with this excellence? Then comes the importance of research that contributes to the clarification of how the intellectual dimension of hybridization works in postmodern art. And openness to the diversity of performance of the hybridization of postmodern art, especially in the works of Robert Rochenberg. The first chapter includes the research objective: the detection of the intellectual dimensions of hybridization in postmodern art (Robert Rochtenberg model). Limits of research were determined in the temporal boundaries of the period (1955-1980) and the spatial boundaries of artistic productions in the United States and Europe. By defining objective boundaries in the study of the intellectual dimensions of the hybridization of postmodern art by analyzing models of the works of art (drawing - compilation) of folk art represented by the works of the artist (Robert Rochsenberg) model. And defining terms to serve the current research. The second chapter dealt with the theoretical framework and the previous studies. It included two subjects. The first topic was specialized in the study of hybridization in postmoder