An Ancient Chinese Capital. Earthworks at Old Ch'ang-an

Antiquity ◽  
1938 ◽  
Vol 12 (45) ◽  
pp. 68-78
Author(s):  
Carl Whiting Bishop
Keyword(s):  
Group Living ◽  
River Valley ◽  
Ancient World ◽  
The Other ◽  
City Wall ◽  
The Past ◽  
Other Hand ◽  
The City ◽  
Chinese Empire

Not least in interest among subjects of archaeological study is that which has to do with the types of fortification constructed by organized communities in the past. These, once the habit of town-dwelling had become fixed, seem to have tended to fall into two major classes : the arx, acropolis, or citadel, one of whose functions it was to provide a temporary refuge in emergency; and the enceinte or city-wall proper, designed to afford permanent protection to the group living within it. Sometimes the two forms occur in combination; more often, singly.The first type we frequently, though by no means always, find situated on a height ; the acropolis of Athens and the Capitoline Hill at Rome are familiar examples. The second class, on the other hand, seems to have developed more especially in those alluvial plains on which sprang up the great river-valley civilizations of the Ancient World. To it belong the tremendous earthworks constructed slightly over two thousand years ago about the city of Ch‘ang-an (meaning ‘Long Peace’ ; possibly Ptolemy’s ‘Sera Metropolis’), the capital of the then recently established Chinese empire.

scholarly journals Onnipotenza divina e ordine naturale nel Medioevo

2019 ◽  
Author(s):  
Andrea Possamai
Keyword(s):  
Thomas Aquinas ◽  
Theological Reflection ◽  
Ancient World ◽  
The Other ◽  
Augustine Of Hippo ◽  
The Past ◽  
Present Essay ◽  
Other Hand ◽  
Pliny The Elder ◽  
The One

The present essay aims, on the one hand, to recall the reasons of anti-naturalism, intended in a metaphysical perspective, of a large part of medieval philosophical and theological reflection and, on the other hand, to show how the same type of problems, specifically those concerning the possible mutability or immutability of the past, can be employed in favour of various conflicting positions on the matter. To demonstrate this, reference was made to some thinkers who could represent emblematic positions on the theme, in particular: Pliny the Elder for the ancient world, Augustine of Hippo, Peter Damian, Bonaventure and Thomas Aquinas for the medieval era.

scholarly journals "Wszystko już tu było, od samego początku" - "Mikrokosmosy" Claudia Magrisa jako triesteńska auto/bio/geografia

2018 ◽  
Vol 17 ◽  
pp. 183-199
Author(s):  
Natalia Chwaja
Keyword(s):  
The Other ◽  
Multiple Role ◽  
Active Factor ◽  
The Past ◽  
Other Hand ◽  
City Space ◽  
State Of Mind ◽  
The Subject ◽  
The City

„It was all there already, from the beginning” – Microcosms by Claudio Magris as a Triestineauto/bio/geographyAbstractThe aim of my article is to study the relation between the subject and the city, focusing on thecase of an autobiographic essayistic novel by a contemporary Italian writer Claudio Magris.The space of Trieste, author’s native city, plays a multiple role in the Microcosms narration.On one hand, it works as a “mnemotechnical pretext” for the protagonist’s sentimentaljourney into the past, both individual and collective. On the other hand, the city space canbe seen as an active factor, shaping the hero’s “triestine” state of mind and reflecting itself inthe novel’s poetics. In my analysis, I refer to some essential categories of geopoetics (“auto/bio/geography” by Elżbieta Rybicka, Tadeusz Sławek’s and Stefan Symotiuk’s interpretationsof genius loci), as well as to Walter Benjamin’s oeuvre, which I consider one of the mostimportant Microcosms’ intertexts.Keywords: Claudio Magris, Trieste, city, auto/bio/geography, space, genius loci

scholarly journals Stages of territorial configuration in the non-planned occupation of the Huerta de Murcia, 1929-2015.

2017 ◽  
Author(s):  
Marcos Ros ◽  
Fernando Miguel García
Keyword(s):  
Ninth Century ◽  
The Other ◽  
Agricultural Area ◽  
The Past ◽  
Analysis Methodology ◽  
Other Hand ◽  
Family Housing ◽  
The City

The “Huerta de Murcia” is an agricultural area of about 10,000 Ha in size, originated in the ninth century, and linked to an extensive network of canals dependent from Segura River. Such system provides a much divided and fragmented agrarian morphology, around the city of Murcia, in the southeast of Spain, basically dedicated to the agriculture. The city of Murcia has experimented an important growth in the last five decades, substituting hundreds of hectares of agrarian land, into urban. But even more important than this, the periurban area has suffered along the past 90 years a periurbanization process, caused by the unscheduled appearance of buildings. Most of them have emerged in the last 4 decades, whose use is mainly family housing and holyday homes, and have not been planned by standard planning procedures. This causes a spontaneous phenomenon of dispersed territory occupation. The paper shows, through an analysis methodology based on orto-photographical series and cadastral data, the existence of different stages along the studied period (1929-2015). These stages are substantially different each other in two ways: the patterns and zones affected by this process, on one hand, and the intensity of this process, which vary along each studied period, on the other hand. The analyses of these patterns, as well as a proposed classification, and the quantification of the process in each period, are the subjects of the paper, which allows authors to set appropriate relations between the city of Murcia and its periurban territory, to afford the globalization age.

scholarly journals Uma tríade botânica na paisagem oitocentista portuense: jardins e hortos de excelência científica e económica

CEM ◽  
2020 ◽  
pp. 218-238
Author(s):  
Cristiana Vieira ◽  
Ana Catarina Antunes ◽  
Sónia Faria
Keyword(s):  
Nineteenth Century ◽  
Special Interest ◽  
Urban Landscape ◽  
The Other ◽  
City Center ◽  
The Past ◽  
Other Hand ◽  
History Of ◽  
The City

The present work explores the recognition of the past and present genius loci of three spaces of Porto city center as remaining and transformed representations of spaces with distinct, interconnected and pertinent botanical missions in the nineteenth century landscape of the city. Through the exploration of sources left by the interveners or graphic testimonies of the urban landscape from 1850 to the present day of these (ethno-)botanical spaces, we explore how the interveners and spaces of the Jardim Botânico da Academia Polythecnica do Porto, the Horto-pharmacêutico da Botica da Hospital Real de Santo António and the Horto das Virtudes mutually influenced. On the other hand, it is demonstrated how these spaces determined a time of special interest in botany that would not be repeated in the history of the city and its population.

scholarly journals Urbanismo Colaborativo

2017 ◽  
Author(s):  
Carmen Moreno Balboa
Keyword(s):  
Living Conditions ◽  
The Other ◽  
General Interest ◽  
The Real ◽  
The Past ◽  
Government Functions ◽  
Other Hand ◽  
The Subject ◽  
The One ◽  
The City

¿Ha cambiado el concepto de ciudad en tan sólo 2400 años? Si la ciudad la componen los ciudadanos ¿son éstos distintos de los ciudadanos de las antiguas polis? Si el ciudadano es quien participa en las funciones de gobierno de su ciudad, ¿quién es ahora realmente, ciudadano? ¿Quién quiere serlo? y quién quisiera participar de dichas funciones, ¿cómo podría conseguirlo?En la sociedad actual se producen dos situaciones antagónicas que afectan al desarrollo de la ciudad, por un lado las administraciones, actuando orientadas al interés general, reconocen pero congelan las posibilidades de participar de la población en el urbanismo y la creación de ciudad; y por otro lado la sociedad se mueve y actúa al margen de las administraciones en la mejora de su entorno y sus condiciones de vida, desde las denominadas iniciativas urbanas. Cuáles son los motivos de esta situación y cómo hacer que ambos movimientos coincidan en la generación del denominado “Urbanismo Colaborativo”, es el objeto de este trabajo.AbstractHas the concept of city changed in only the past 2400 years? If the city is the one consisting the citizens, are these any different of the citizens ancient polis? If the citizen is one participating in his city’s government functions, who is the real citizen now a days? Who wants to be one? Who wants to participate in those functions? How could someone acomplish that?In today’s society, there are two antagonistic situations that are affecting the development of the city, on the one hand the administrations, acting orientated to the general interest, they recognize but freeze the possibilities that the citizens have of participating in urbanism and the creation of the city. And on the other hand, the society moves and acts outside of the administrations for the improvement of their environment and their living conditions, doing this from the named urban initiatives. What causes this situation and how to put together both movements and for them to agree in the generation of the named “Collaborative Urbanism” is the subject and what this study wants to acomplish.

scholarly journals O Recife de Freyre e dos Mangueboys: Visões sobre os Espaços e a Vida da Cidade * The Recife of Freyre and the Mangueboys: Views on the Space and Life of the City

2013 ◽  
Vol 1 (2) ◽  
pp. 70
Author(s):  
ESDRAS CARLOS DE LIMA OLIVEIRA
Keyword(s):  
The Other ◽  
Urban Experience ◽  
Modern City ◽  
The Past ◽  
Other Hand ◽  
The City

<p><strong>Resumo:</strong> O presente artigo pretende lançar um olhar sobre o Recife a partir de duas perspectivas. De um lado, o Recife da saudade, das memórias, na obra de Gilberto Freyre <em>Guia Prático e sentimental do Recife</em>; onde o autor enaltece a cidade onde vida, a partir de seu passado de localidade colonial dominante, antes que o mal da Modernidade, avassaladora, a mudasse a  tal ponto que ele já não se reconhecia em certos traços de sua cidade. Do outro lado temos a visão de alguns <em>mangueboys</em>, assim chamados os componentes da cena cultural <em>Manguebeat</em>, na década de 90 do século passado. A Modernidade que modificou a cidade freyreana é vista a partir das periferias nos seus desacertos, no caos da metrópole em que se tornou a outrora bucólica Recife. <em>Andando</em> pela obra desses indivíduos podemos ver as diferentes visões sobre a cidade, dos sobrados e das palafitas ela é vista com tons, sons e sentimentos díspares.</p><p><strong>Palavras-chave: </strong>Recife – Cidade moderna – Vivências urbanas.<strong></strong></p><p><strong> </strong></p><p><strong>Abstract: </strong>This paper aims to catch sight of Recife from two distinct perspectives. On one hand, we can see Recife in the memories of Gilberto Freyre in his book <em>Guia Prático e sentimental do Recife</em>, where the author honors the city where he lives starting from his past of dominant colonial location before the evil of devastating Modernity could change it in such a way that he could not recognize certain traces of his city. On the other hand, we have the views of some <em>mangueboys, </em>so called the components of the cultural scene <em>Manguebeat</em> in the 90s last century. The Modernity which changed Freyre’s city is seen from the peripheries in the mistakes, in the chaos of the metropolis in which became the bucolic Recife in the past. Checking the work from these individuals we can see the different views on the city, on the two-storied houses and houses on stilts. It is seen with disparate tones, sounds and feelings.</p><p><strong>Keywords: </strong>Recife – Modern city – Urban experience.<strong></strong></p>

Ghosts of Exile: Doubles and Nostalgia in Vergil's "Parva Troia" ("Aeneid" 3.294ff.)

1997 ◽  
Vol 16 (1) ◽  
pp. 8-33 ◽  
Author(s):  
Maurizio Bettini
Keyword(s):  
Eighteenth Century ◽  
Total Loss ◽  
The Other ◽  
The Past ◽  
Other Hand ◽  
Early Eighteenth Century ◽  
The Dead ◽  
The City ◽  
As If ◽  
At Home

This paper provides an analysis of Aeneas' visit to the "parva Troia" in Epirus (Vergil, "Aeneid" 3.294ff.), centered on the theme of "substitutes" and "doubles," and beginning with Andromache, the heroine of this encounter. With Helenus as a substitute for her deceased husband, Hector, Andromache is involved in a sort of levirate marriage. Moreover, she reacts to Aeneas and his companions as if they too were "substitutes," living persons who immediately evoke images of the dead, "doubles" for her lost loved ones (Hector first and foremost, and also Creusa and Astyanax). This makes Andromache perfectly at home in "parva Troia", which is itself a "double," a "substitute" for the city destroyed by the Greeks. Except that, like all "doubles," "parva Troia" is an insubstantial illusion, the effigy of something that no longer exists. This city and its landscape can only be "seen," not actually "inhabited." These Trojan exiles are thus victims of a syndrome very similar to "nostalgia" (a Greek word unknown to the ancient Greeks, dating to the early eighteenth century, and beautifully described in a remarkable passage by Chateaubriand). Helenus and his companions are "too faithful" to their vanished city; their destiny, like that of the dead, has been hopelessly fulfilled. Aeneas, however, is not allowed to become a prisoner of the past. Against his will, he must be "unfaithful" to his former city: he will not rebuild Troy. The companions of Helenus and Andromache suffer from an "excess of identity" (one way to define nostalgia). Aeneas, on the other hand, submits to the almost total loss of his own identity: except for the Penates, a highly significant, sacred part of the lost patria, which will contribute to the formation of his identity in a way similar to Helenus and Andromache's own nostalgic cult of the image of Troy.

scholarly journals Lost, redefined, or preserved? Expressions of solidarity in Paul Auster’s 'In the Country of Last Things'

2018 ◽  
pp. 85-104
Author(s):  
Julia Kula
Keyword(s):  
Urban Space ◽  
The Other ◽  
Paul Auster ◽  
The Past ◽  
Other Hand ◽  
The City

In his novel set entirely in a dystopian environment, In the Country of Last Things, Paul Auster portrays a disturbing vision of urban space where pervasive processes of disintegration and destabilisation profoundly determine the relations inside it. In this study the semiotic space of this unnamed city will be examined on the basis of the opposition between dominant dystopian space and impermanent sanctuaries located within the urban realm. The defining division of space has its reflection in the practical realisation of the concept of solidarity. The city is inhabited by society for whom moral codes and higher values can be considered relics of the past. Consequently, genuine solidarity has been replaced by what Sally Scholz calls ‘parasitical solidarity’. Temporary refuges, on the other hand, serve as the last anchorages of humanity trying to resist detrimental impacts from outside and to preserve natural gestures of solidarity.

Yahya Kemal and Nizar Qabbani: Two Poet-Diplomats in Spain and “Andalus” in their Poems

CLEaR ◽  
2017 ◽  
Vol 4 (2) ◽  
pp. 20-33
Author(s):  
İhsan Doğru
Keyword(s):  
The Other ◽  
Past Century ◽  
Coffee Shop ◽  
The Past ◽  
Other Hand ◽  
Traditional Dance ◽  
The People ◽  
The One ◽  
Almost All ◽  
The City

Abstract Yahya Kemal and Nizar Qabbani were two poets who served as diplomats in Spain in the past century on behalf of the governments of Turkey and Syria. Yahya Kemal wrote two poems about Spain, “Dance in Andalusia “ and “Coffee Shop in Madrid”. “Dance in Andalusia,” a poem written about the Flamenco dance, has become very famous. In this poem, he described the traditional dance of the Spanish people and emphasized the place of this dance in their lives and the fun-loving lives of the people of Spain. In almost all of the poems which Nizar Qabbani wrote about Spain, on the other hand, a feeling of sadness rather than joy prevails. He gives a deep sigh in his poems as he regards Andalusia as the one-time land of his ancestors. His most important poem with respect to Spain is the poem entitled “Granada”. This poem is considered to be one of the most significant odes in the Arab literature describing Granada, the pearl of Andalusia, Arab influences there, the Alhambra palace and the sadness felt due to the loss of the city by Arabs. This study analyzes the two most important poems written by Yahya Kemal and Nizar Qabbani concerning Spain, namely “Dance in Andalusia” and “Granada”. Whenever it is deemed appropriate, other poems of the two poets regarding Spain will be dwelt upon and what kind of an influence Andalusia left in their emotional world will be revealed.

‘Newness which never perishes’? Schoenberg’s ambivalent reception of Haydn

2010 ◽  
Vol 51 (1-2) ◽  
pp. 215-224
Author(s):  
Alexander Carpenter
Keyword(s):  
The Other ◽  
Major Influence ◽  
Musical Style ◽  
The Past ◽  
Other Hand ◽  
The Future ◽  
Music Tradition

This paper explores Arnold Schoenberg’s curious ambivalence towards Haydn. Schoenberg recognized Haydn as an important figure in the German serious music tradition, but never closely examined or clearly articulated Haydn’s influence and import on his own musical style and ethos, as he did with many other major composers. This paper argues that Schoenberg failed to explicitly recognize Haydn as a major influence because he saw Haydn as he saw himself, namely as a somewhat ungainly, paradoxical figure, with one foot in the past and one in the future. In his voluminous writings on music, Haydn is mentioned by Schoenberg far less frequently than Bach, Mozart, or Beethoven, and his music appears rarely as examples in Schoenberg’s theoretical texts. When Schoenberg does talk about Haydn’s music, he invokes — with tacit negativity — its accessibility, counterpoising it with more recondite music, such as Beethoven’s, or his own. On the other hand, Schoenberg also praises Haydn for his complex, irregular phrasing and harmonic exploration. Haydn thus appears in Schoenberg’s writings as a figure invested with ambivalence: a key member of the First Viennese triumvirate, but at the same time he is curiously phantasmal, and is accorded a peripheral place in Schoenberg’s version of the canon and his own musical genealogy.

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