scholarly journals UNITÉ DE DOCTRINE – CONTINGENCY OF PRACTICE? TOWARDS A RE-READING OF TWENTIETH CENTURY PRINCIPLES OF BUILDING HERITAGE CONSERVATION

2019 ◽  
pp. 269-280
Author(s):  
Andreas Putz
Keyword(s):  
Twentieth Century ◽  
Theoretical Framework ◽  
Practical Work ◽  
Heritage Conservation ◽  
Theoretical Position

The theoretical framework of building heritage conservation is not necessarily a predefined set of tenets and axioms with potentially universal significance, but a result of particular challenges and practices bound in time and place. In this article, the guidelines of building heritage conservation in Switzerland in the last century are outlined briefly with reference to the broader European theoretical discourse. Focusing on the contradictions between the theoretical position and practical work of Linus Birchler, it argues for the necessity to re-read and assess our principles of building heritage conservation in relation to the specific built cases they originated from.

scholarly journals Traduire l’incertitude

2019 ◽  
Vol 25 (45) ◽  
pp. 77-100
Author(s):  
Spiros Macris
Keyword(s):  
Theoretical Framework ◽  
Intentional Object ◽  
Real Object ◽  
Translation Process ◽  
The Real ◽  
Theoretical Position ◽  
Radical Critique ◽  
French And English ◽  
Translational Process

About Some Poems of Hans Faverey (1933-1990) Representation, as an actualisation of a text, is the real object of translation. In order to better understand the implications of this theoretical position, it is explored through the study of translations into French and English of a few poems by the Dutch writer Hans Faverey (1933-1990) as his work constitutes a radical critique of representation. The means of his critique are: autonomy of the poem considered as a device, referential deviation, syntactic alteration, etc. These elements transform the translation process in the sense of a greater indeterminacy, but also change the nature of the translational process. These multidimensional modifications find an adequate theoretical framework in Roman Ingarden’s analysis of translation as an intentional object.

Introduction

Last Acts ◽  
2019 ◽  
pp. 1-30
Author(s):  
Maggie Vinter
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Theoretical Framework ◽  
Early Modern Drama ◽  
Modern Drama ◽  
Ars Moriendi ◽  
Critical Approaches ◽  
The Common ◽  
Critical Perspectives

The introduction outlines a theoretical framework for the book. Through a brief survey of critical approaches to Hamlet, it considers the common alignment of early modern drama with mourning and argues that new critical perspectives emerge if we focus on the experience of the dying subject instead. William Perkins’s 1595 tract, A Salve for a Sick Man, illustrates how death was understood around Shakespeare’s time. By situating Perkins’s text in relation to ancient Stoicism and twentieth-century phenomenology, the introduction explicates what is distinctive about the understanding of dying found in the ars moriendi tradition and argues for the theoretical sophistication and continuing influence of the genre.

Beyond What We Are Told Is Fact

2021 ◽  
pp. 33-66
Author(s):  
Zack Kruse
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Theoretical Framework ◽  
Industrial Workers ◽  
Immigrant Community ◽  
Ayn Rand ◽  
The Mind ◽  
Key Terms

This chapter more fully introduces the theoretical framework for Kruse’s reading of Ditko’s work and includes more thorough definitions for the key terms as well as a historical and cultural context for those terms. The contextualization provided in this chapter offers a look into Ditko’s hometown Johnstown, Pennsylvania and its immigrant community of industrial workers, along with the liberal political voices such as Ayn Rand and Nathaniel Branden alongside occult and mystic voices such as H.P. Blavatsky, and how popular twentieth-century advocates of the mind power movement like Norman Vincent Peale, Dale Carnegie, and other members link each of these seemingly disparate ideas and methodologies. The result of this entanglement—in theory and in practice—is mystic liberalism.

Studying the Institutional Dimension of Meaning Making: A Way to Analyze Subject Content in Physical Education

2008 ◽  
Vol 27 (3) ◽  
pp. 434-444 ◽  
Author(s):  
Mikael Quennerstedt
Keyword(s):  
Physical Education ◽  
Meaning Making ◽  
Theoretical Framework ◽  
The Other ◽  
Theoretical Position ◽  
Learning Content ◽  
Teaching Content ◽  
Institutional Dimension ◽  
The One ◽  
Transactional Approach

A theoretical framework for analyzing and discussing subject content in physical education that takes both learning content and teaching content into consideration is presented. For this purpose, John Dewey’s transactional approach on meaning making (Altman & Rogoff, 1987; Bentley & Dewey, 1991) as well as a discourse theoretical position (Foucault, 1988, 2002; Wetherell, Taylor & Yates, 2001) are used. On the one hand, this makes it possible to analyze the institutional content and conditions of meaning making in physical education, and on the other to discuss the content offered as one aspect of pupils’ meaning making. An empirical example of the outlined approach is also given from a previous study of local curriculum documents in Swedish physical education (Quennerstedt, 2006a, 2006b). The example illustrates how we can understand aspects of meaning making in physical education and also the research claims made possible using a transactional approach.

The Industry of Truing: Socialist Realism, Reality, Realization

Slavic Review ◽  
2011 ◽  
Vol 70 (4) ◽  
pp. 873-892 ◽  
Author(s):  
Petre Petrov
Keyword(s):  
Twentieth Century ◽  
Martin Heidegger ◽  
Reference Point ◽  
Socialist Realism ◽  
Theoretical Framework ◽  
The State ◽  
Early Twentieth Century ◽  
State Of Affairs ◽  
Radical Shift

Most existing accounts of socialist realism rely, implicitly or explicitly, on a commonsense notion of truth as correspondence between representation and its object (the state of affairs being represented). In this view, socialist realism is commonly denounced as an epistemological fraud, while quasi-dialectical formulas such as "reality in its revolutionary development" are viewed condescendingly as the fraud's fanciful garnish. Such an approach fails to see in Stalinist culture a radical shift in the understanding of truth—a shift that has less to do with Marxist orthodoxy than it does with the intellectual reflexes of early twentieth-century modernity. In this article, Petre Petrov sets out to describe this shift and, in doing so, to propose a novel theoretical framework for understanding Stalinist socialist realism. The work of Martin Heidegger from the late 1920s through the 1930s serves as an all-important reference point in the discussion insofar as it articulates in philosophical idiom a turn from an epistemological to an ontological conception of truth.

Utzon

2003 ◽  
Vol 7 (2) ◽  
pp. 183-186
Author(s):  
Richard Weston
Keyword(s):  
Twentieth Century ◽  
Second Generation ◽  
Le Corbusier ◽  
Third Generation ◽  
Avant Garde ◽  
The Third ◽  
Theoretical Position ◽  
Long Time ◽  
Acoustic Separation ◽  
Mies Van Der Rohe

It has taken a long time to be able to assess Jørn Utzon's importance. Until the end of the twentieth century, the architect described by Sigfried Giedion as the most important of the ‘third generation’ hardly appeared in its literature. By contrast we had no such problem with Le Corbusier: there were the Oeuvres Complètes. It was easy to consult any building, indeed sketch, and along the way to be thoroughly coerced into his theoretical position. His massive and megalomaniac contribution to the last century could be studied first through L'Esprit Nouveau, the avant-garde magazine which promulgated him – ‘17.23, 2me février, 1926, Grande Pensée de L-C …’ and so forth – and later through the archives and sketchbooks. Wright suffered from too many publications. After the Wasmuth Portfolio of 1910 there was no single, accessible reference to his huge output: his theory tended to the verbose, and he was devious in concealing his own sources, most especially his debt to Japan. Mies van der Rohe wrote little and was famously gnomic; his buildings supplied his ‘text’. The so-called second generation, Aalto and Kahn, were well served in terms of publication of their work. The former's theoretical position took much posthumous teasing-out by critics to become widely understood. He could overcome people's ignorance of Finnish – for example, by his 1961 definition ‘acoustic separation is kilograms’ and by his stupefied reaction to the question of what module he used: ‘a millimetre, more or less!’ – but he wrote little.

scholarly journals Managing the Twentieth-Century Modern Heritage: Conservation and Management of Louis I Kahn Buildings at Indian Institute of Management, Ahmedabad

2020 ◽  
Vol 5 (1) ◽  
pp. 43-70
Author(s):  
Brinda Somaya ◽  
Homeyar Goiporia ◽  
Ritika Jharia ◽  
SNK Conservation Team
Keyword(s):  
Twentieth Century ◽  
Indian Institute ◽  
Heritage Management ◽  
Heritage Conservation ◽  
Management Decisions ◽  
Innovative Solutions ◽  
Interdisciplinary Nature ◽  
Conservation And Management

This article talks about the challenges faced by twentieth century modern heritage in terms of its awareness, its conservation and its heritage management by elaborating the case study of Conservation of Louis I Kahn buildings (Vikram Sarabhai Library, faculty blocks, classroom complex and dormitories D1 to D18) at Indian Institute of Management Ahmedabad (IIM-A), Gujarat, India and its recently restored Vikram Sarabhai Library. Through this case study, it elaborates its conservation process, the interdisciplinary nature of heritage management, various management decisions that emerge at critical stages during the process of conservation of these buildings, thereby implementing creativity and innovative solutions while preserving the integrity of the structures.

Towards a Theory of Landscape Iconoclasm

2015 ◽  
Vol 25 (2) ◽  
pp. 461-475 ◽  
Author(s):  
José Antonio González Zarandona
Keyword(s):  
Twentieth Century ◽  
Geographic Information Systems ◽  
Archaeological Site ◽  
Heritage Conservation ◽  
Archaeological Sites ◽  
Industrial Activities ◽  
Bourgeois Society ◽  
The World ◽  
Australian Economy ◽  
State Of Affairs

‘Landscape: the land escapes (1) when we try to seize it with our maps, satellites, geographic information systems and Street Views, land is what evades our surveillance (2) land is the terrain of escape.’ (Cubitt 2012)‘Since the middle of the twentieth century, the claim that something is art does not imply what it might have meant at the end of the nineteenth century, when it was made out to be a hallmark of European high and bourgeois society.’ (Heyd 2012, 287)The destruction of Indigenous rock art sites in the Pilbara district in Western Australia has become a natural sight within the mining landscape of the area. Whilst much of the destruction is explained as acts of vandalism and as a result of the industrial activities that are propelling the Australian economy, I claim that a new theory of iconoclasm is needed to explain fully this disastrous example of heritage conservation. Henceforth, in order to explain the destruction of the Murujuga/Burrup Peninsula petroglyphs, the largest archaeological site in the world, this paper develops the theory of landscape iconoclasm. This theory states that the destruction of Indigenous landscapes can be compared to the destruction of religious images, by analysing the inherent symbolic functions of iconoclasm, together with those of heritage, the better to elucidate the state of affairs in the Murujuga/Burrup Peninsula. Furthermore, by drawing from Aboriginal mythology and art-historical and anthropological theories, the theory of landscape iconoclasm is able to explain the destruction of archaeological sites within a framework that falls outside prevalent discourses of heritage.

scholarly journals The Cinema of Exposure: Spiritualist Exposés, Technology, and the Dispositif of Early Cinema

2014 ◽  
Vol 31 (1-2-3) ◽  
pp. 113-129
Author(s):  
Simone Natale
Keyword(s):  
Twentieth Century ◽  
Film Theory ◽  
Theoretical Framework ◽  
Early Cinema ◽  
Early Twentieth Century ◽  
Stage Magic ◽  
The Relationship ◽  
Psychological Studies

This article addresses the relationship between early cinema and the tradition of spiritualistexposés. The latter were spectacular shows performed by stage magicians in the nineteenth and early twentieth century, which aimed to debunk the tricks employed by spiritualist mediums in theirséances. Drawing on the theoretical framework of thedispositif, this article shows how early cinema renewed and reinterpreted the tradition of theexposés. Focusing in particular on Hugo Münsterberg’s work, moreover, it addresses the connections between early film theory and psychological studies that debunked the illusions performed in spiritualistséancesand stage magic. In the conclusion, the article proposes to employ the concept of “cinema of exposure” in order to address how early cinema invited spectators to acknowledge their own perceptual delusion.

scholarly journals Aesthetic Experience as a Spiritual Support of Homo Post-Secularis

Religions ◽  
2019 ◽  
Vol 10 (4) ◽  
pp. 250 ◽  
Author(s):  
Victor Bychkov
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Theoretical Framework ◽  
Spiritual Support ◽  
History Of ◽  
Secular Age ◽  
The Aesthetic ◽  
The Universe

The essay begins with an analysis of the cultural situation of humanity after its transition to secular mentality and a gradual disenchantment with secularism, which leads to the formation of post-secular mentality. It further suggests that aesthetic experience traditionally served as a bridge between the secular and the religious/spiritual and can serve in this capacity again in the post-secular age. It outlines the main traits of the post-secular person (homo post-saecularis). Two aspects of aesthetic experience are emphasized: its in-depth penetration into nature in an attempt to achieve unity with it, and the aesthetic observation of artworks. In pursuing both of these aspects, the post-secular person attempts, just as Romantics and Symbolists previously, to grasp something invisible beyond visible forms and escape from banal reality into higher spiritual realms of being, ultimately experiencing him- or herself as having a place in the universe. Aesthetic experience, if it is correctly understood and practiced, can give all this to the present-day post-secular person. The rest of the essay is devoted to a brief history of twentieth-century views of art, mainly in French and Russian thought, that foreshadow its post-secular role, and to the author’s authentic theoretical framework for understanding art and aesthetic experience, as well as his, equally authentic, program of how to achieve the post-secular function of art in practice for a present-day person.

Sign in / Sign up

Export Citation Format

Share Document