scholarly journals Homi Bhabha master builder of nuclear India

Physics Today ◽  
2018 ◽  
Vol 71 (9) ◽  
pp. 48-55 ◽  
Author(s):  
Stuart W. Leslie ◽  
Indira Chowdhury
Keyword(s):  
2020 ◽  
Vol 138 (1) ◽  
pp. 62-79
Author(s):  
Maryam Soltan Beyad ◽  
Ehsan Kazemi

AbstractChallenging the established poetic idea of Ireland as a unified whole, new Irish poetry encourages a perspective toward homeland alongside with a corresponding revision of Irish subjectivity as liminality. Introduced by Homi Bhabha as a postcolonial cultural term, the idea privileges hybrid cultures and challenges solid or authentic ones. Moreover, this liminal rationale entails a corresponding chronotopic rendition, as Bakhtin intends to theorize it, whereby the notion of spatio-temporality assists the poet in rethinking the Irish identity. An archeologist shrouded as a poet, Heaney’s early work, North (1975), is an attempt to reterritorialize the Motherland while Station Island (1984) represents the deterritorialization of the land, a collection in which Heaney proposes an alternative notion of Irish identity. The present study seeks to show how Heaney’s aforementioned poetry collections manifest a transition from a patently nationalist reception of land to a tendency to liminal spaces. Hence, a critical juxtaposition of these two works bears witness to an endeavor to move beyond the solid, reductionist perspective of the unified Ireland into a state of liminality with respect to Bhabha’s idea of hybridity. Furthermore, it is argued how Bakhtin’s idea of chronotope can accommodate to the accomplishment of such a poetic project.


Resonance ◽  
1998 ◽  
Vol 3 (7) ◽  
pp. 3-5
Author(s):  
G. Venkataraman
Keyword(s):  

Archaeologies ◽  
2012 ◽  
Vol 8 (1) ◽  
pp. 52-54 ◽  
Author(s):  
Ömür Harmansah ◽  
Nick Shepherd
Keyword(s):  

1991 ◽  
Vol 43 (4) ◽  
pp. 538
Author(s):  
Alfred Turco ◽  
Henrik Ibsen
Keyword(s):  

2014 ◽  
Vol 73 (3) ◽  
pp. 398-416
Author(s):  
Yasir Mohammad Sakr

Sinan’s Ambivalence: The Triangular Design of the Süleymanıye Schools Complex in Istanbul interrogates the anomalous configuration of the Süleymanıye schools, including the unorthodox angular Dar-ul-Hadith, the largest and most important Ottoman educational institution, designed by the great Ottoman master-builder Sinan in 1548–59. The Süleymanıye, as Yasir Mohammad Sakr demonstrates, is not a mere adaptation of preexisting symmetrical school models to contextual contingencies, as historians have contended. Rather, the Süleymanıye and its seeming anomalies are a function of the architect’s own relentless retrospection, repeatedly reinterpreting and opposing the very types that he initially created during the same design process. Sinan synthesized the idealized Ottoman planning patterns with a vigorous fragmentation and dispersal of its functional and symbolic elements to create an innovative hybrid typology for the Süleymanıye schools, especially the Dar-ul-Hadith. The study concludes that the triangular Dar-ul-Hadith is not a residual, ad hoc space as commonly perceived. It is the key to formulating the Süleymanıye master plan, which the author defines as a powerful symbolic scheme monumentalizing the new social arrangement by Sinan’s patron, Süleyman the Magnificent. Thus, far from the negative association usually attached to the notion of “ambivalence,” Sinan’s design practice presents it as a viable alternative approach for the history of Ottoman architecture.


Genre ◽  
2021 ◽  
Vol 54 (2) ◽  
pp. 195-219
Author(s):  
Liz Shek-Noble

Alexis Wright's second novel, Carpentaria, received critical acclaim upon its publication by Giramondo in 2006. As the recipient of the Miles Franklin Literary Award in 2007, Carpentaria cemented Wright's position as the country's foremost Indigenous novelist. This article places Carpentaria within contemporary discussions of “big, ambitious novels” by contemporary women novelists by examining the ways the novel simultaneously invites and resists its inclusion into an established canon of “great Australian novels” (GANs). While critics have been quick to celebrate the formal innovations of Carpentaria as what makes it worthy of GAN status, the novel nevertheless opposes the integrationist and homogenizing myths that accompany canonization. Therefore, the article finds that Wright's vision of a future Australia involves moments of antagonism and mutual understanding between white settler and Indigenous communities. This article uses the work of Homi Bhabha to argue that Carpentaria demonstrates the emergence of a third space wherein negotiation between these two cultures produces knowledge that is “new, neither the one nor the other.” In so doing, Wright shows the resilience of Indigenous knowledge even as it is subject to transformation upon contact with contradictory ideological and epistemological frameworks.


1995 ◽  
Vol 47 (4) ◽  
pp. 550
Author(s):  
Deborah Hope ◽  
Henrik Ibsen ◽  
David Geary
Keyword(s):  

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