Prospective and Retrospective: Le Corbusier’s Twofold Voyage d’Orient

2021 ◽  
Vol 38 (1) ◽  
pp. 291-330
Author(s):  
Jacobé Huet

Abstract In 1911, a twenty-three-year-old Le Corbusier embarked on a six-month journey from Dresden to Istanbul, and back to his native Switzerland through Greece and Italy. Upon his return, the young architect unsuccessfully attempted to publish his travel notes as a book in 1912 and again in 1914. Only in 1965, forty days before his death, did Le Corbusier conduct the final revision of his 1914 typescript for publication. The next year, Le Voyage d’Orient was published posthumously. Previous scholarship on this book has overlooked the importance of Le Corbusier’s 1965 edits, consequently approaching the work as an authentic testament of the author’s youthful spirit. Based on a new and contextualized reading of the 1914 typescript hand-annotated by Le Corbusier in 1965, this article demonstrates how the late edits constitute a re-writing of a segment of Le Corbusier’s own history, especially in relation to his ideas of modernity, tradition, inspiration, and attachment to Mediterranean architecture.

TERRITORIO ◽  
2017 ◽  
pp. 50-57
Author(s):  
Giancarlo Consonni ◽  
Graziella Tonon
Keyword(s):  

2009 ◽  
Vol 42 (1) ◽  
pp. 215-218
Author(s):  
Yannis Tsiomis
Keyword(s):  

Author(s):  
Eren Tasar

This introduction describes the main arguments and historiographical interventions undertaken in the present work. The majority of previous scholarship on Islam in Soviet Central Asia has treated the Communist anti-religious campaigns of the 1920s and 1930s as representative of the entire Soviet period. By contrast, this book argues that Stalin’s normalization of church-state relations in 1943–1944 allowed a permanent space for Islam to exist in Soviet society. This space rapidly became the site of an accommodation between Islam and Communism for many Central Asians. The introduction concludes with a discussion of the advantages and limitations of the sources employed throughout the book.


Author(s):  
Frank Graziano

Historic Churches of New Mexico Today is an interpretive ethnography based on fieldwork among hispanic villagers, Pueblo Indians, and Mescalero Apaches. The fieldwork was reinforced by extensive research in archives and in previous scholarship. The book presents scholarly interpretations in prose that is accessible, often narrative, at times lyrical, and crafted to convey the experience of researching in New Mexican villages. Descriptive guide information and directions to remote historic churches are provided. Themes treated in the book include the interactions of past and present, the decline of traditions, a sense of place and attachment to place, the church as a cultural legacy, the church in relation to native traditions, resistance to Catholicism, tensions between priests and congregations, maintenance and restoration of historic buildings, and, in general, how the church as a place and devotion as a practice are important (or not) to the identities and everyday lives of individuals and communities. Among many others, the historic churches discussed in the study include the Santuario de Chimayó, San José de Gracia in Las Trampas, San Francisco de Asís in Ranchos de Taos, the village churches of Mora County, St. Joseph Apache Mission in Mescalero, and the mission churches at Laguna, Acoma, and Picurís Pueblos.


Author(s):  
Jocelyn Szczepaniak-Gillece

This chapter discusses the movie palace’s decline and the beginnings of the neutralized movie theater from the 1920s to 1932. While much scholarship has attributed the transition to either economics after the Depression or the emergence of sound, the chapter argues for the importance of modernist architectural trends, such as the work of Le Corbusier, and new dimensions of spectatorship invested in attention. Modern machine culture reinforced the need for a theater structure that would make spectators into parts of a filmic assembly line. Ben Schlanger emerges as the loudest voice of neutralization, demanding a “slaughtering” of unnecessary decoration in the urban movie theater. His and multiple lighting designers’ work with light and darkness in the theater exemplify the upheavals in 1920s–1930s exhibition: from a theater with a panoply of effects to one centered on the dramatic play of light and dark within the film and its environment.


Author(s):  
Matthew Kroenig

This chapter provides a summary introduction to the book. It explains the central question the book addresses and why it is important. Namely, it asks why academic nuclear deterrence theory maintains that nuclear superiority does not matter, but policymakers often behave as if it does. It then provides a brief explanation of the answer to this question: the superiority-brinkmanship synthesis theory. It discusses the implications of the argument for international relations theory and for US nuclear policy. In contrast to previous scholarship, the argument of this book provides the first coherent explanation for why nuclear superiority matters even if both sides possess a secure, second-strike capability. In so doing, it helps to resolve what may be the longest-standing, intractable, and important puzzle in the scholarly study of nuclear strategy. It concludes with a description of the plan for the rest of the book.


Sign in / Sign up

Export Citation Format

Share Document