Valades ousitanes, architettura e rigenerazione

ARCHALP ◽  
2020 ◽  
Vol 2020 (N. 4 / 2020) ◽  
Author(s):  
Antonio De Rossi ◽  
Laura Mascino

It hasn’t even been half a century since, in 1977, the famous book by Nuto Revelli entitled Il mondo dei vinti was published. A symbolic image, which summed up with powerful evocative efficacy the dramatic process of depopulation and dissolution of traditional Alpine societies during the twentieth century. A phenomenon that found its epicenter in the valleys of Carnia and in the south-east of France, and especially in the Piedmont’s valleys of the Cuneo area, with drop-out rates that will reach even 80-90% of the population. A little over forty years have passed by since Nuto Revelli’s book was published and since then a lot seemed to have changed. Today many prestigious and successful tourist and winter centers are experiencing a growing crisis of image and public, while the once neglected Valades ousitanes live an unprecedented season, focused on enhancing the trinomial of natural, historical, and cultural heritage. Maira Valley, Ostana in the Po Valley, Paraloup and Rittana in the Stura Valley, the upper Varaita Valley, the phenomena of rebirth are affecting all the Occitan valleys, with interesting resettlement processes that have their engine in who are defined «the new mountaineers». This renaissance of the Occitan valleys is accompanied by new forms of architecture that focus on the theme of the recovery and reuse of heritage, of dialectical confrontation with environmental and historical contexts, but without forgetting the contemporary and technological innovation.

2019 ◽  
Vol 63 (1) ◽  
pp. 77-86 ◽  
Author(s):  
Bogusław Podhalański ◽  
Anna Połtowicz

Abstract The article discusses a project that features the relocation of the historic Atelier building, built by Krakow-based architect Wandalin Beringer (1839–1923) who was active in the early twentieth century, and the regeneration of a plot belonging to the Congregation of the Resurrection since 1885, which is located at 12 Łobzowska Street in Krakow. The method includes cutting the entire structure off at the foundation and then after reinforcing it with a steel structure transporting it in its entirety to the new location. The project included two possible variants of moving the building in a straight line, either by 21 or 59 metres and evaluates two projects of further regeneration, the adaptive reuse of the building as an exhibition and religious space as well as a proposal for the remodelling of the nearby plot that belongs to the Congregation into a space for meditation and as a recreational park. The aim of these measures is to prevent the demolition of this building, now over a century old, as a result of which a forgotten element of the cultural heritage of the city will be saved. This project was based on the results of analyses of the cultural and historical conditions of Krakow. The block of buildings in which the Atelier in question is located is a very attractive location, near to the very centre of Krakow, adjacent to residential, service and educational buildings. It is directly adjacent to the Monastery Complex of the Congregation of the Resurrection, listed as a heritage building under conservation protection (municipal registry of heritage buildings). In the second half of the twentieth century, the building was used as a workroom by artists such as Xawery Dunikowski and later by the sculptress Teodora Stasiak. The case of the Atelier may provide an inspiration for discussion as well as raising awareness among citizens and city authorities to avoid future situations in which cultural heritage may become forgotten or demolished.


Author(s):  
Larysa Kovryk-Tokar

Every nation is quite diverse in terms of his historical destiny, spiritual priorities, and cultural heritage. However, voluntary European integration, which is the final aim of political integration that began in the second half of the twentieth century from Western Europe, provided for an availability of large number of characteristics in common in political cultures of their societies. Therefore, Ukraine needs to find some common determinants that can create inextricable relationship between the European Community and Ukraine. Although Ukrainian culture is an intercultural weave of two East macrocivilizations, according to the author, Ukraine tends to Western-style society with its openness, democracy, tolerance, which constitute the basic values of Europeans. Keywords: Identity, collective identity, European values, European integration


Author(s):  
R.M. Valeev ◽  
O.D. Vasilyuk ◽  
S.A. Kirillina ◽  
A.M. Abidulin

Abstract The study of the Turkic, including Asia Minor sociopolitical, cultural and ethnolinguistic space of Eurasia is a long and significant tradition of practical, academic and university centers in Russia and Europe, including Ukraine. The Turkic, including the Ottoman political and cultural heritage played a particularly important role in the history and culture of the peoples of Russia, Ukraine and modern Turkic states. Famous states and societies of the Turkic world (Turkic Khaganates, Volga Bulgaria, Ulus Juchi, the Ottoman Empire and other states of the Middle Ages and the New Age), geographical and historical-cultural regions of the traditional residence of the Turkic peoples of the Russian and Ottoman empires and Eurasia as a whole became the object and subject of scientific studies of Russian and European orientalists Turkologists and Ottomans of the nineteenth beginning of the twentieth century.Аннотация Исследование тюркского, в том числе малоазиатского социополитического, культурного и этнолингвистического пространства Евразии является давней и значимой традицией практических, академических и университетских центров России и Европы, в том числе Украины. Особо важную роль тюркское, в том числе османское политическое и культурное наследие играло в истории и культуре народов России, Украины и современных тюркских государств. Известные государства и общества тюркского мира (Тюркские каганаты, Волжская Булгария, Улус Джучи, Османская империя и другие государства Средневековья и Нового времени), географические и историко-культурные регионы традиционного проживания тюркских народов Российской и Османской империй и в целом Евразии стали объектом и предметом научных исследований российских и европейских востоковедов тюркологов и османистов ХIХ начала ХХ в.


Text Matters ◽  
2016 ◽  
pp. 35-52 ◽  
Author(s):  
Kristen Lacefield

This essay begins by examining the rhetorical significance of the guillotine, an important symbol during the Romantic Period. Lacefield argues that the guillotine symbolized a range of modern ontological juxtapositions and antinomies during the period. Moreover, she argues that the guillotine influenced Mary Shelley’s novel Frankenstein through Giovanni Aldini, a scientist who experimented on guillotined corpses during the French Revolution and inspired Shelley’s characterization of Victor Frankenstein. Given the importance of the guillotine as a powerful metaphor for anxieties emergent during this period, Lacefield employs it as a clue signaling a labyrinth of modern meanings embedded in Shelley’s novel, as well as the films they anticipated. In particular, Lacefield analyzes the significance of the guillotine slice itself—the uneasy, indeterminate line that simultaneously separates and joins categories such as life/death, mind/body, spirit/matter, and nature/technology. Lacefield’s interdisciplinary analysis analyzes motifs of decapitation/dismemberment in Frankenstein and then moves into a discussion of the novel’s exploration of the ontological categories specified above. For example, Frankenstein’s Creature, as a kind of cyborg, exists on the contested theoretical “slice” within a number of antinomies: nature/tech, human/inhuman (alive/dead), matter/spirit, etc. These are interesting juxtapositions that point to tensions within each set of categories, and Lacefield discusses the relevance of such dichotomies for questions of modernity posed by materialist theory and technological innovation. Additionally, she incorporates a discussion of films that fuse Shelley’s themes with appeals to twentieth-century and post-millennium audiences.


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