Practical Arithmetic in Islamic Architecture: A Critical History and Survey

Author(s):  
Jafar Taheri
Author(s):  
Hans Joas ◽  
Wolfgang Knöbl

This book provides a sweeping critical history of social theories about war and peace from Thomas Hobbes to the present. It presents both a broad intellectual history and an original argument as it traces the development of thinking about war over more than 350 years—from the premodern era to the period of German idealism and the Scottish and French enlightenments, and then from the birth of sociology in the nineteenth century through the twentieth century. While focusing on social thought, the book draws on many disciplines, including philosophy, anthropology, and political science. It demonstrate the profound difficulties most social thinkers—including liberals, socialists, and those intellectuals who could be regarded as the first sociologists—had in coming to terms with the phenomenon of war, the most obvious form of large-scale social violence. With only a few exceptions, these thinkers, who believed deeply in social progress, were unable to account for war because they regarded it as marginal or archaic, and on the verge of disappearing. This overly optimistic picture of the modern world persisted in social theory even in the twentieth century, as most sociologists and social theorists either ignored war and violence in their theoretical work or tried to explain it away. The failure of the social sciences and especially sociology to understand war, the book argues, must be seen as one of the greatest weaknesses of disciplines that claim to give a convincing diagnosis of our times.


2020 ◽  
Author(s):  
William Abbiss

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.


2020 ◽  
Author(s):  
William Abbiss

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.


Sign in / Sign up

Export Citation Format

Share Document