Climate and Human History: Times of Feast, Times of Famine . A History of Climate since the Year 1000. Emmanuel le Roy Ladurie. Translated from the French by Barbara Bray. Doubleday, Garden City, N.Y., 1971. xxiv, 426 pp. + plates. $10.

Science ◽  
1972 ◽  
Vol 177 (4053) ◽  
pp. 982-983
Author(s):  
Harvey Nichols
Keyword(s):  
Author(s):  
Jennifer Fay

`Siegfried Kracauer’s film and photographic theory along with cinematic records of early Antarctic exploration explain how this utterly inhospitable continent (Antarctica) and this media theory advance an alternative and denaturalized history of the present. Cinema has the capacity to reveal an earth outside of human feeling and utility without sacrificing the particularity that gets lost in scientific abstraction. And Antarctica, for so long outside of human history altogether, simply numbs feeling and refuses to yield to human purpose. It is also a continent on which celluloid encounters its signifying limits. Kracauer, this chapter argues, helps us to imagine an estranged and selfless relationship to an inhospitable or even posthospitable earth that may not accommodate us.


2011 ◽  
Vol 15 (3) ◽  
pp. 271-278 ◽  
Author(s):  
Graham Livesey

A significant development in urban history was the emergence of the Garden City movement at the end of the nineteenth century, inspired by the writings and actions of Ebenezer Howard. The movement would generate a broad range of urban typologies and various visionary models of the city during the twentieth century. The Garden City was a direct response to what were perceived to be the evils of large industrial cities and attempted to reunite country and town, particularly through the residential garden and the act of gardening. Using Gilles Deleuze and Félix Guattari's assemblage theory I examine gardens and gardening, and the agencies inherent to these. By evoking the early history of the first Garden City at Letchworth, we can ask what role can gardens and gardeners play in addressing contemporary urban issues? [1].


Author(s):  
Luciana Monzillo de Oliveira ◽  
Maria Pronin ◽  
Denise Antonucci

A series of new districts appeared in São Paulo between 1915 and 1940, all inspired in the garden-city concept created by Ebenezer Howard. The City of São Paulo Improvements and Freehold Land Company Limited established some of them in the southwest sector of the city, near downtown: Jardim América (1915), Butantã (1921), Alto da Lapa (1921), Pacaembu (1925), and Alto de Pinheiros (1931). Other developers carried out land subdivisions inspired in the same garden-districts concepts, but in more distant areas. The following garden-districts were built in the southern area of the city: Chácara Flora (1928), Interlagos (1938), and Granja Julieta (1956). Unlike central garden-districts, the history of the outlying garden-districts was seldom or only partly studied. Given this scenario, this study aims to fill a historiographical gap on Interlagos garden-district, which was born as “Interlagos Satellite Spa Town”. Its form is such an important example of landscaping and cultural heritage that the district was listed as protected by the city heritage agency in Resolution nº 18, November 23, 2004, in view of the morphological and historical features of the original land subdivision. This study relies on an urban morphology cognitive study which, according to Rego and Meneguetti (2011), aims to expand the knowledge on the origins and explanations of that urban form. The study presents unpublished data on the district formation, taken mainly from a survey carried out in newspapers from the 1930s and 1940s.


2020 ◽  
Vol 2 (1) ◽  
pp. 66-71
Author(s):  
Sachpatzidis D. Avraam

New language produces new thought. creativity, critical thinking, educational achievement, empathy towards others, and ability to decipher technology. The gap between looking and seeing can be bridged with observing– the process of building a catalogue of visual elements, a very important argument in front of the so called “narrowness of the education system.” The science of perception and the history of image through the ideas of Eratosthenes, Copernicus, Descartes, Aristotle, Confucius and many others, is to create meaning. Language is, and always will be, the ultimate form of communication. A book of illustrations and not with illustrations, could make complex arguments through that medium that he couldn’t with words alone. Words have been considered for many centuries of the human history, the superior currency of intellect. So, educators don’t know where to start when it comes to teaching visual literacy. Photos without captions can make us look only at the photo, and make judgments and inferences by ourselves. Teaching graphic design alongside poetry, could show that design it’s more than just lines and illustration. It a sophisticated way to grasp the procedure from an idea to a picture. The sooner teachers can really abandon the Learning Styles Theory and not label students as “visual learners”, since we all learn visually, the sooner students will be empowered to become visually literate. Not all serious ideas require words, and many are better off without them. Visual communication deserves its place, and can also serve education.


Rhetorik ◽  
2019 ◽  
Vol 38 (1) ◽  
pp. 72-93
Author(s):  
Julia Enzinger

Abstract The present article investigates the literary representation of biographical and geological coherence in Max Frisch’s narrative Der Mensch erscheint im Holozän (1979), a story about a pensioner suffering from dementia, who has to cope with both the erosion of his memory as well as the geological erosion in the Swiss Alps. On the basis of Hayden White’s tropics of discourse and Stephen Jay Gould’s study on Myth and Metaphor in the Discovery of Geological Time, the rhetorical strategies being used by Frisch are examined in order to articulate the tension between human history and the history of nature and earth. Focusing on the two main tropes in the text, synecdoche and irony, the analysis will show how the text tries to escape forms of anthropomorphism – especially by generating a ›transhuman‹ perspective – but ultimately confesses its failure to do so. Holozän thus can be seen as an ironical (self-)reflection on the limits of rhetoric and language in terms of depicting non-human history.


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