scholarly journals Las veras de Girona. Laboratorio de diseño y gestión para una Infraestructura Verde Urbana en Girona | Girona’s shores. Design and management laboratory for Green Urban Infrastructure in Girona

ZARCH ◽  
2016 ◽  
Author(s):  
Martí Franch Batllorí
Keyword(s):  
Applied Research ◽  
Urban Infrastructure ◽  
The Other ◽  
Space Sequence ◽  
Pilot Projects ◽  
Economic Context ◽  
Time Space ◽  
Open Process ◽  
The One ◽  
Reversed Time

Girona - veras es un proyecto territorial de investigación aplicada. Si bien el objeto del proyecto es conocido: mallar una infraestructura verde urbana que valorice, permeabilice, y estructure los bordes urbanos, su método y operativa incorpora diversas experimentaciones disciplinares que se adaptan al contexto económico precario del sur de Europa para proponer un método abierto: • Por un lado una secuencia tempo-espacial invertida que parte de proyectos pilotos con resultados inmediatos y demostrativos que habilitan la factibilidad y adaptabilidad del proyecto. • Por otro, la experimentación con el ‘el diseño de la gestión diferenciada’ como detonante para la valorización de la vera y la emergencia de una nueva estética naturbana socialmente asumible. • Finalmente se propone un organigrama operativo por el cual la los servicios y ‘brigada’ municipal se convierten en conceptores, ejecutores, gestores y multiplicadores del mismo. Esta praxis proyectual y de investigación aplicada es un proceso vivo, abierto y de creciente escala y complejidad. La concepción y ejecución en cortos ciclos recurrentes, permite adaptar y diferir decisiones según los tiempos sociales, políticos o económicos. Y adaptarse significa persistir productivamente. Girona - shores is a territorial, applied research project. Although the objective of the project is known: to mesh a green urban infrastructure that gives value, increases permeability and structures urban borders, the method and operative feature different disciplinary experiments that are adapted to the precarious economic context of southern Europe to propose an open method: • On the one hand a reversed time / space sequence based on pilot projects with immediate, proven results that enable the feasibility and adaptability of the project. • On the other, experimenting with the "differentiated management design" as a trigger for giving value to the Shores and the emergence of a new socially assumable "naturban" aesthetics. • Finally, an operational organisation chart is proposed through which the services and municipal "brigade" become co-concepts, executors, managers and multipliers of it. This project praxis and applied research is a living, open process that grows in scale and complexity. The concept and execution in short recurring cycles permits adaptation and deferring decisions in accordance with social, political or economic moments. Here adaptation means productive persistence.

A Constitution for a Nonstate

2014 ◽  
Vol 43 (2) ◽  
pp. 42-58
Author(s):  
Emilio Dabed
Keyword(s):  
The Other ◽  
The Political ◽  
Constitutional Order ◽  
Economic Context ◽  
Basic Law ◽  
History Of ◽  
The One ◽  
Constitutional Regime ◽  
The Relationship ◽  
Law Making

This article sheds new light on the political history of legal-constitutional developments in Palestine in the fourteen years following the Oslo Accord. It examines the relationship between the unfolding social, political, and economic context in which they arose, on the one hand, and PA law-making and legal praxis, on the other. Focusing on the evolution of the Palestinian Basic Law and constitutional regime, the author argues that the “Palestinian constitutional process” was a major “battlefield” for the actors of the Palestinian-Israeli conflict. Thus, changes in the actors' political strategies at various junctures were mirrored in legal-constitutional forms, specifically in the political structure of the PA. In that sense, the constitutional order can be understood as a sort of “metaphoric representation” of Palestinian politics, reflecting, among other things, the colonial nature of the Palestinian context that the Oslo process only rearticulated. This perspective is also essential for understanding the evolution of the Palestinian-Israeli conflict after Oslo.

scholarly journals Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)

2018 ◽  
Vol 50 (50) ◽  
pp. 89-102
Author(s):  
Duangui Wang
Keyword(s):  
Slow Motion ◽  
The Other ◽  
Literary Translation ◽  
Time Space ◽  
Free Translation ◽  
The One ◽  
The Individual ◽  
Two Parameters ◽  
Love Language ◽  
Poetic Composition

Formulation of the problem. In the chamber-vocal genre, the composer exists in two images: he is both the interpreter of the poetic composition and the author of a new synthetic music and poetic composition. The experience of the style analysis of one of the best examples of Ukrainian vocal lyrics of the first third of the 20th century shows that the cycle op. 20 characterizes the mature style of the composer, which was formed, on the one hand, under the influence of European Romanticism. On the other hand, the essence of the Ukrainian “branch” of the Western European song-romance (“solo-singing”) is revealed by the prominent national song-romance intonation, filled with not only a romantic worldview, but also with some personal sincerity, chastity, intimate involvement with the great in depth and simplicity poetry line, read from the individual position of the musician. The paradox is as follows. Although Pushkin’s poetry is embodied in a “holistic adequacy” (A. Khutorskaya), and the composer found the fullest semantic analogue of the poetic source, however, in terms of translating the text into the Ukrainian language, the musical semantics changes its intonation immanence, which naturally leads to inconsistency of the listeners’ position and ideas about the style of Russian romance. We are dealing with inter-specific literary translation: Pushkin’s discourse creates the Ukrainian romance style and system of figurative thinking. The purpose of the article is to reveal the principle of re-semantization of the intonation-figurative concept of the vocal composition by V. Kosenko (in the context of translating Pushkin’s poetry into the Ukrainian language) in light of the theory of interspecific art translation. Analysis of recent publications on the topic. Among the most recent studies of Ukrainian musicology, one should point out the dissertation by G. Khafizova (Kyiv, 2017), in which the theory of modelling of the stylistic system of the vocal composition as an expression of Pushkin’s discourse is described. The basis for the further stylistic analysis of V. Kosenko’s compositions is the points from A. Hutorska’s candidate’s thesis; she develops the theory of interspecific art translation. The types of translation of poetry into music are classified according to two parameters. The exact translation creates integral adequacy, which involves the composer’s finding a maximally full semantic analogue of the poetic source. The free translation is characterized by compensatory, fragmentary, generalized-genre adequacy. Presenting the main material. The Zhitomir period for Viktor Kosenko was the time of the formation of his creative style. Alongside the lyrical imagery line, the composer acquired one more – dramatic, after his mother’s death. It is possible that the romances on the poems of A. Pushkin are more late reflection of this tragic experience (op. 20 was created in 1930). “I Loved You” opens the vocal cycle and has been dedicated by A. V. Kosenko. The short piano introduction contains the intonation emblem of the love-feeling wave. The form of the composition is a two part reprising (А А1) with the piano Introduction and Postlude. The semantic culmination is emphasized by the change of metro-rhythmic organization 5/4 (instead of 4) and the plastic phrase “as I wish, that the other will love you” sounding in the text. Due to these melodies (with national segments in melo-types, rhythm formulas and harmony) V. Kosenko should be considered as “Ukrainian Glinka”, the composer who introduced new forms and “figures” of the love language into the romantic “intonation dictionary”. In general, V. Kosenko’s solo-singing represents the Ukrainian analogue of Pushkin’s discourse – the theme of love. The melos of vocal piece “I Lived through My Desires” is remembered by the broad breath, bright expression of the syntactic deployment of emotion. On the background of bass ostinato, the song intonation acquires a noble courage. This solo-singing most intermediately appeal to the typical examples of the urban romance of Russian culture of the 19th century. “The Raven to the Raven” – a Scottish folk ballad in the translation by A. Pushkin. V. Kosenko as a profound psychologist, delicately transmits the techniques of versification, following each movement of a poetic phrase, builds stages of the musical drama by purely intonation means. The semantics of a death is embodied through the sound imaging of a black bird: a marching-like tempo and rhythm of the accompaniment, with a characteristic dotted pattern in a descending motion (like a raven is beating its wings). The middle section is dominated by a slow-motion perception of time space (Andante), meditative “freeze” (size 6/4). The melody contrasts with the previous section, its profile is built on the principle of descending move: from “h1” to “h” of the small octave (with a stop on S-harmony), which creates a psychologically immersed state, filled by premonition of an unexpected tragedy. In general, the Ukrainian melodic intonation intensified the tragic content of the ballad by Pushkin. The musical semantics of V. Kosenko’s romances is marked by the dependence on the romantic “musical vocabulary”, however, it is possible to indicate and national characteristics (ascending little-sixth and fifth intervals, which is filled with a gradual anti-movement; syllabic tonic versification, and other). Conclusion. The romances (“solo-singings”) by V. Kosenko belongs to the type of a free art translation with generalized-genre adequacy. There is a re-semantization of poetic images due to the national-mental intonation. Melos, rhythm, textural presentation (repetitions), stylization of different genre formulas testify to the rare beauty of Kosenko’s vocal style, spiritual strength and maturity of the master of Ukrainian vocal culture. Entering the “Slavic song area”, the style of Ukrainian romance, however, is differenced from the Russian and common European style system of figurative and intonation thinking (the picture of the world).

scholarly journals “Pulled Apart, Pushed Together”

2005 ◽  
Vol 59 (4) ◽  
pp. 769-792 ◽  
Author(s):  
Michael Brookes ◽  
Timothy Hinks ◽  
Geoffrey Wood ◽  
Pauline Dibben ◽  
Ian Roper
Keyword(s):  
South African ◽  
Trade Unions ◽  
Organizational Capacity ◽  
Nationwide Survey ◽  
The Other ◽  
Labour Movement ◽  
Economic Context ◽  
Vertical Linkages ◽  
Racial Lines ◽  
The One

This is a study of horizontal and vertical solidarity within a national labour movement, based on a nationwide survey of members of affiliated unions of the Congress of South African Trade Unions. On the one hand, the survey reveals relatively high levels of vertical and horizontal solidarity, despite the persistence of some cleavages on gender and racial lines. On the other hand, the maintenance and deepening of existing horizontal and vertical linkages in a rapidly changing socio-economic context, represents one of many challenges facing organized labour in an industrializing economy. COSATU’s strength is contingent not only on an effective organizational capacity, and a supportive network linking key actors and interest groupings, but also on the ability to meet the concerns of existing constituencies and those assigned to highly marginalized categories of labour.

Ghosted subjectivities in Margo Lanagan’s ‘The Point of Roses’

2020 ◽  
Vol 10 (1) ◽  
pp. 57-72 ◽  
Author(s):  
Karima Thomas
Keyword(s):  
The Other ◽  
Dual Nature ◽  
Disturbing Force ◽  
Construction Of Identity ◽  
The Uncanny ◽  
Other Hand ◽  
Time Space ◽  
The One ◽  
Opening Up

This article examines the tropes of ghosting in Margo Lanagan’s ‘The Point of Roses’ in relation to Judith Butler’s theory of the performative construction of identity through reiteration and foreclosure. The story illustrates the ghosting effect of normative subjectivities and the spectral, disruptive return of the contingent, socially erased subjectivities. Ghosting is considered in the light of the dual nature of the spectral as ‘a dispossessing erasure or disappearance’, and also a ‘powerful ability to rematerialize as a disturbing force’ (Maria del Pilar Blanco and Ester Peeren). In this sense, the ghost is that which is ontologically invisible because of absence/erasure; but which is also visible because it is haunting those who try to erase it. The article examines the role of the uncanny in disrupting the ontological conditions of time, space, character, substance and language. Then, it focuses on the traces of invisibility as signs of erasure and foreclosure that are meant to institute and suture an identity, while relegating other layers of subjectivity to oblivion. Finally, the article studies the disruptive return of the excluded and its dual consequences on the haunted subject, on the one hand by establishing a liminal condition of unknowing and, on the other hand, by opening up to a condition of ‘transformative recognition’ (Avery Gordon).

scholarly journals Modernitetens modsigelser. Konfigurationskonflikter og samfundstænkning i Grundtvigs »Om Mennesket i Verden«

1998 ◽  
Vol 49 (1) ◽  
pp. 142-156
Author(s):  
Henning Eichberg
Keyword(s):  
Civil Society ◽  
Social Relations ◽  
Social Life ◽  
The Body ◽  
The Other ◽  
Human Being ◽  
Human Beings ◽  
Time Space ◽  
The World ◽  
The One

Contradictions of Modernity. Conflicting Configurations and Societal Thinking in Grundtvig's »The Human Being in the World«A Worm - a God. About the Human Being in the World. Ove Korsgaard (ed.). With contributions of Niels Buur Hansen, Hans Hauge, Bosse Bergstedt, Uffe Jonas and Knud Bjarne Gjesing. Odense Universitetsforlag 1997.By Henning EichbergIn 1817, Grundtvig wrote »Om Mennesket i Verden« which can be regarded as a key to the understanding of his philosophy and psychology, but which is difficult to place in relation to his later folkelig, societal engagement. A recent reedition of this text together with some actual comments by Grundtvig researchers is an occasion to quest deeper about this relation.However, it is not enough to ask - as Grundtvig research has done for a long time - what Grundtvig wanted to say, but his text can be regarded as a document of how modem orientation in the world is characterized by conflicting linguistic and metaphorical patterns, which sometimes may tell another story than intended.On the one hand, Grundtvig's text speaks of a lot of dualistic contradictions such as life vs. death, light vs. darkness, truth vs. lie, God vs. devil, human fall vs. resurrection, body vs. spirit, nature vs. history and time vs. eternity. In contrast to the author's intention to produce clarity and lucidity - whether in the spirit of Christianity or of modem rationality - the binary constructions give rather a confusing picture of systematical disorder where polarity and polemics are mixed, antagonism and gradual order, dichotomy and exclusive either-or, paradoxes and dialectical contradictions. On the other hand,Grundtvig tries again and again to build up three-pole imaginations as for instance the threefold human relation to time, space and truth and the three ages of spiritual seeing, feeling and conceptualization resp. of mythology (childhood), theology (youth) and history (adult age). The main history, Grundtvig wants to tell in his text, is built up around the trialectic relation of the human being to the body, to the spirit and to itself, to the living soul.The most difficult to understand in this relation seems to be what Grundtvig calls the spirit, Aanden. Grundtvig describes it as Aandigt Samfund mellem Menneske og Sandhed, »the spiritual community between the human being and the truth«, and this may direct our attention towards samfund, meaning at the same time association, togetherness and society. Aanden is described by threefold effects - will, conscience and faith, all of them describing social relations between human beings resp. their psychological correlate. The same social undertone is true when Grundtvig characterizes three Aande-Livets Spor (»traces of spiritual life«): the word, the history and love. If »the spirit« represents what is larger or »higher« than the single human being and what cannot be touched by his or her hand, then this definition fits exactly to society or the sociality of the human being. Social life - whether understood as culture, social identity or folk (people) - is not only a quantitative sum of human individuals, but represents another quality of natural order. Thus it has its logic that Grundtvig places the human being in between the realms of minerals, plant and animal life on the one hand and the »higher« order on the other, which can be understood as the social existence.In this respect, the societal dimension is not at all absent in his philosophy of 1817. However, it is not enough to state the implicite presence of sociality as such in the earlier Grundtvigian thinking before his folkelig break-through. What was the sociality, more concretely, which Grundtvig experienced during the early modernity? In general, highly dichotomous concepts are dominating the modem discourse as capitalism vs. feudalism, materialism vs. idealism, modernity vs. premodemity, democracy vs. absolutism or revolution vs. restoration; Grundtvig was always difficult to place into these patterns. Again, it might be helpful to try a trialectical approach, transcending the dualism of state and market by civil society as a third field of social action. Indeed, it was civil society with its farmers' anarchist undertones which became the contents of Grundtvig's later folk engagement.

scholarly journals Huellas del vicio redhibitorio romano en el Código Civil español

2020 ◽  
pp. 227
Author(s):  
Teresa González Herrero
Keyword(s):  
Civil Code ◽  
The Other ◽  
Roman Law ◽  
Time Space ◽  
The One

En la regulación normativa del contrato de compraventa de nuestro Código Civil puede constatarse una clara huella y supervivencia del Derecho romano. En particular, la protección prevista por razón de los vicios ocultos reproduce, casi literalmente, la contemplada en Roma, donde la noción de vicio redhibitorio se origina y evoluciona en el seno del Derecho edilicio. Tal concepto, se forma en correspondencia al contexto espaciotemporal y socioeconómico en el que se desarrolla y evoluciona el Derecho edilicio en relación con las demás fuentes. Todo ello condicionó las acciones procesales ofrecidas por los Ediles, su naturaleza y finalidad, así como el régimen de responsabilidad del vendedor. Teniendo en cuenta pues, tales variables, el estudio pretende profundizar en la casuística romana para, desde la misma, extraer los principales rasgos del concepto de vicio en nuestro Código Civil.In the normative regulation of our Civil Code we can verify the echo and survival of the Roman Law. Specifically, the protection provided by reason of latent defect, reproduces, almost literally, that reproduces the one contemplated in Rome, where the notion of redhibitory vice that was originated and evolved within the aedilitian Law. That same concept was formed depending on the socioeconomic and time-space context in which the aedilitian Law developed and evolved in relation to the other sources. All of that, influenced the procedural actions offered by these magistrates, its nature and goal, as well as the responsibility of the seller. Bearing these variables in mind, as it was said, the study intends to delve the Roma casuistry to, from itself, to extract the main features of the concept of vice in our Civil Code.

Urban Magic: Concluding Remarks

2012 ◽  
Author(s):  
Yannis M. Ioannides
Keyword(s):  
Social Networks ◽  
Social Interactions ◽  
Physical Space ◽  
Urban Infrastructure ◽  
The Other ◽  
Urban Networks ◽  
Social Fabric ◽  
The One ◽  
The City

This chapter considers the prospect of a deeper understanding of social interactions in urban settings as well as their significance for the functioning and future role of cities and regions. It introduces broader sets of tools for exploring the properties of urban networks, from the lowest microscale up to the highest levels of aggregation. Graph theory, for example, offers a promising means of elucidating the urban social fabric and the interactions that define it, and more specifically the link between urban infrastructure and aspatial social networks. The chapter also compares individuals and their social interactions to an archipelago, a metaphor that offers a picture of the magic of the city. It concludes by emphasizing the interdependence between the creation of cities over physical space, on the one hand, and the urban archipelago and its internal social and economic structures, which are man-made, on the other.

A Space of Our Own: The Case for Masters-Level Professional Anthropology

1997 ◽  
Vol 19 (2) ◽  
pp. 17-21
Author(s):  
Marsha Jenakovich ◽  
R. Murdoch
Keyword(s):  
Nonprofit Organizations ◽  
Training Program ◽  
Policy Development ◽  
Applied Research ◽  
Applied Anthropology ◽  
The Other ◽  
Professional Experience ◽  
The Past ◽  
Independent Consulting ◽  
The One

For the past three years, both of the authors have been participants in the creation of a network of anthropologists practicing with masters' degrees. The observations in this article have slowly grown out of the experiences of members of this network, as well as the professional experience of the authors. Murdoch, on the one hand, has been consistently engaged in work on the fringes of applied research, with a focus on policy development and NGOs. Jenakovich, on the other, has worked primarily with grassroots, educational, nonprofit organizations, with a 2-year stint as assistant graduate director for an applied anthropology training program. Both authors also have experience with independent consulting.

La projection spatiale de la politique togolaise de développement rural dans la préfecture de l'Oti

Africa ◽  
1995 ◽  
Vol 65 (3) ◽  
pp. 430-447
Author(s):  
Ayéchoro K. Akibode
Keyword(s):  
National Development ◽  
Development Programme ◽  
The Other ◽  
Traditional Logic ◽  
Economic Context ◽  
The Social ◽  
The Government ◽  
The One ◽  
Political Realities ◽  
Budget Revenue

AbstractInitiated in 1978 in order to “involve the Oti basin in national development”, the Namiélé project, like any other project, has changed when coming into contact with political realities and (to a lesser extent) with the social and economic context.Four years after the beginning of the project, events have modified the basin development programme. In 1982, Togo authorities decided to enlarge an animal reserve on both sides of the Oti: the farmers were moved from their villages to be resettled away from the river.In addition, in the same year, the government, confronted with a difficult economic situation, reduced the investments that had been planned for the fulfilment of the project. As far as the populations profiting from the project are concerned, neither an appropriate ideology wrapped up in generosity nor paternalism are enough to make them accept an innovation: they are sometimes reluctant, sometimes cooperative, exercising an unacknowledged pressure on the project's future.The state also keeps an eye on its interests (increasing budget revenue, maintaining trade balances, and the like). The project has become an opportunity for conflict where two essentially contrary logics have to coexist: on the one hand the administrative logic of the financiers who initiated the project and on the other hand, the traditional logic of the populations caught up in the project.

scholarly journals 150 years after the birth of Rosa Luxemburg: Actuality of her social reform or revolution

2021 ◽  
Vol 55 (3) ◽  
pp. 833-865
Author(s):  
Vera Vratuša-Žunjić
Keyword(s):  
Content Analysis ◽  
Social Reform ◽  
The Other ◽  
Main Method ◽  
Capitalist Mode ◽  
Time Space ◽  
The One ◽  
Mode Of Production ◽  
Rosa Luxemburg

The paper examines the actuality of Rosa Luxemburg's Reform or revolution 150 years after her birth. The main method used is the content analysis of this important polemical pamphlet placed in the context of the time/space, i.e. when and where it was written, on the one hand, and today, on the other. The main finding is that Rosa's work has remained relevant to our days since the capitalist mode of production is still characterized by internal contradictions producing barbaric consequences of exploitation and imperialist wars. These capitalist system's consequences ensure the permanent actuality of the dilemma between socialism and barbarism confronted by Rosa Luxemburg throughout her life.

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