scholarly journals Aleksandar Deroko: Between tradition and modernity

2019 ◽  
Vol 11 (3) ◽  
pp. 157-190
Author(s):  
Renata Jadrešin-Milić
Keyword(s):  
Twentieth Century ◽  
Research Work ◽  
The Other ◽  
Architectural Discourse ◽  
Systematic Theory ◽  
Methodical Approach ◽  
Essential Questions ◽  
The Way

Although numerous writings by professor Aleksandar Deroko raise essential questions about nature, history, and methodology of architecture, he never provided a systematic theory, and his assertions did not belong to any mainstream architectural discourse. However, his romantic visions of remote, medieval monasteries and their origin on one hand, and on the other, the rational and methodical approach to heritage surveying evident in both his early texts and later architectural textbooks, resulted in some very novel theoretical ideas in architecture of the twentieth century. This paper examines the understanding of the tradition and modernity in the work of professor Deroko, investigates reasons behind his duality, explores the way he synthesised his research work with his pedagogical work, and tries to systematise his theoretical ideas.

scholarly journals “Brutti, Sporchi & Cattivi”: Towards a Non-Abyssal Curriculum

2016 ◽  
Vol 9 (18) ◽  
pp. 75-90
Author(s):  
João M. Paraskeva
Keyword(s):  
Twentieth Century ◽  
Social Issues ◽  
Curriculum Theory ◽  
The Other ◽  
Curriculum Studies ◽  
The Way

The Western Cartesian Modernity model as an hegemonic model with its arrogant claim to address global social issues is not just moribund, it is dead. This article claims the twentieth century as ‘the last Eurocentric century’. Relying on the work of some key decolonial thinkers, such as Sousa Santos, the article denounces the way Western eugenic curriculum of modernity created an abyssal thinking in which ‘this side’ of the line is legitimate and ‘the other side’ has been produced as ‘non-existent’. In so doing curriculum as we knowing is part of the ‘epistemicide’. The article argues for an Itinerant Curriculum Theory that will help create new avenues to understand the field in the light of the classes within and beyond Eurocentrism, paying attention to other epistemologies beyond the Western framework. The article echoes Ettore Scola metaphor “Brutti, Sporchi & Cattivi” to challenge how hegemonic and specific (or so called) counter hegemonic curriculum platforms – so connected with Western Eurocentric Modernity - have been able to colonize the field without any prudency to “fabricate” and impose a classed, raced and gendered philosophy of praxis, as unique, that drives the field to an ideological surrealism and collective suicide. The article challenges curriculum studies to assume a non-abyssal position one that respects epistemological diversity. This requires an Itinerant Curriculum Theory, which is a commitment with da ruthless epistemological critique of every existing epistemology.

From Propagandistic Exploitation to Post-Communist Sensationalism: Beethoven Reception in Twentieth- and Twenty-First-Century Romania

2021 ◽  
Vol 61 (1-2) ◽  
pp. 113-128
Author(s):  
Florinela Popa
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
First Century ◽  
The Other ◽  
Political Regimes ◽  
World War ◽  
Adolf Hitler ◽  
Twenty First Century ◽  
The Way

This paper mainly investigates the way Beethoven’s image was turned, during the totalitarian political regimes of twentieth-century Romania, into a tool of propaganda. Two such ideological annexations are striking: one took place in the period when Romania, as Germany’s ally during World War II and led by Marshall Ion Antonescu, who was loyal to Adolf Hitler, to a certain extent copied the Nazi model (1940–1944); the other, much longer, began when Communists took power in 1947 and lasted until 1989, with some inevitable continuations. The beginnings of contemporary Romanian capitalism in the 1990s brought, in addition to an attempt to depoliticize Beethoven by means of professional, responsible musicological enquiries, no longer grounded in Fascist or Communist ideologies, another type of approach: sensationalist, related to the “identification” of some of Beethoven’s love interests who reportedly lived on the territory of present-day Romania.

Systematic Consideration of the Potential for Learning from Another Industry

1999 ◽  
Vol 15 (02) ◽  
pp. 103-113
Author(s):  
Philip C. Koenig
Keyword(s):  
Machine Tool ◽  
Learning Opportunities ◽  
The Other ◽  
Rust Belt ◽  
Shipbuilding Industry ◽  
Automobile Manufacturing ◽  
Steel Mills ◽  
Methodical Approach ◽  
Automotive Suppliers ◽  
The Way

An influential 1980's study of shipbuilding reported that "as compared to other manufacturing endeavors, shipyard operations are unique" (IHI 1986:2). However, in another report the same investigators described distinct similarities in "the way that ships, and most other manufactured artifacts, are actually produced" (IHI 1982:1). These two views are not inconsistent. Industries may be remarkably similar from one perspective and mutually irrelevant from another. U.S.-based shipbuilders and the other firms and organizations which form the shipbuilding industrial infrastructure can be inspired but also cautioned by the revitalization of the heavy industries of America which took place during the 1990's. The Detroit automobile manufacturers, automotive suppliers, steel mills, machine tool makers, and other heavy industrial producers of the former mid-western "rust belt" have made a remarkable comeback from the American competitiveness crisis of the 1970's and 1980's. How is shipbuilding different from these industries? Can shipbuilders learn from their experience and insight? For a specific industry, which aspects present useful learning opportunities and which are not likely to be applicable to shipbuilding? In this paper, a methodical approach for answering these questions is presented. The method is illustrated through an evaluation of automobile manufacturing as a learning source for the shipbuilding industry.

From Otello to Porgy

2017 ◽  
Author(s):  
Naomi André
Keyword(s):  
Twentieth Century ◽  
African American ◽  
The Other ◽  
European Ancestry ◽  
Male Roles ◽  
Porgy And Bess ◽  
Black Characters ◽  
Peter Grimes ◽  
The Way

This chapter explores representations of blackness in opera in relation to masculinity and morality. More specifically, it considers the changing codes of masculinity in leading male roles and how they are calibrated differently for white European characters and nonwhite characters with non-European ancestry. It also looks at the ways in which masculinity and heroism are brought together differently for black and non-black characters. In order to elucidate these issues, the chapter analyzes Giuseppe Verdi's Otello (1887), focusing on its references to getting the “chocolate” ready and the way Verdi dramatizes Otello's vicious murder of Desdemona. Four other operas written in the first half of the twentieth century, two of which feature white European title characters and the other two feature African American protagonists, are examined: Alban Berg's Wozzeck (1925), Ernst Krenek's Jonny spielt auf (1927), George Gershwin's Porgy and Bess (1935), and Benjamin Britten's Peter Grimes (1945).

CREDIT, DEBT, AND HONOR IN CASTILE, 1600-1650

2003 ◽  
Vol 7 (1) ◽  
pp. 8-27 ◽  
Author(s):  
Scott Taylor
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Early Modern ◽  
The Other ◽  
Criminal Cases ◽  
Early Modern Spain ◽  
The Mediterranean ◽  
The One ◽  
Traditional Understanding ◽  
The Way

AbstractBased largely on the findings of anthropologists of the Mediterranean in the twentieth century, the traditional understanding of honor in early modern Spain has been defined as a concern for chastity, for women, and a willingness to protect women's sexual purity and avenge affronts, for men. Criminal cases from Castile in the period 1600-1650 demonstrate that creditworthiness was also an important component of honor, both for men and for women. In these cases, early modern Castilians became involved in violent disputes over credit, invoking honor and the rituals of the duel to justify their positions and attack their opponents. Understanding the connection between credit, debt, and honor leads us to update the anthropological models that pre-modern European historians employ, on the one hand, and to a new appreciation for the way seventeenth-century Castilians understood their public reputations and identity, on the other.

scholarly journals A MEMÓRIA DO CARTÃO E A POTÊNCIA DA TAPEÇARIA

Palíndromo ◽  
2013 ◽  
Vol 5 (9) ◽  
Author(s):  
Elke Hulse
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
The Other ◽  
New Approaches ◽  
Production Processes ◽  
Other Hand ◽  
The Way

RESUMO Nesse encontro pretende-se apresentar algumas dúvidas que ficaram ao final da dissertação “As Tramas dos Tapeceiros Narradores: Técnica e Criação” e alguns tópicos assinalados pela orientação naquela ocasião. Nos últimos quatro anos, relendo e ampliando o repertório bibliográfico, surgiram novos enfoques para discutir essas interrogações e principalmente nortear uma possível continuação da pesquisa. Esta tem por objetivo analisar um conjunto de imagens de tapeçarias de diferentes períodos da história juntamente, quando possível, com as pinturas ou desenhos e os cartões que lhe deram origem. Implica ainda em perceber essa sequência de atividades e assim poder avaliar se o cartão carrega consigo a memória da pintura, e por outro lado se a tapeçaria tem sua própria potência para que esta obra se torne o acontecimento. Inicialmente o conjunto de imagens que servirão como referência para analisar as demais tapeçarias contemporâneas é uma série produzida entre 1370/80 denominada O Apocalypse. A outra série de tapeçarias, produzida a partir de desenhos do artista francês Jean Lurçat, em meados do século XX, denominadas Le Chant Du Monde também será um importante referencial. No Brasil a pesquisa buscará as tapeçarias feitas a partir de pinturas do paisagista Roberto Burle Marx. Os tapeceiros contemporâneos Archie Brennan, Sarah Swett e Jean Pierre Larochette foram escolhidos pela relevância de seu trabalho, diferentes formações e processos de produção. Como se relacionam com os eventos de arte contemporânea e quais as preocupações com a produção da tapeçaria na contemporaneidade. Palavras ChaveTapeçaria, imagem, cartão, potência/acontecimento.  Abstract In this paper is intended to show some doubts that remained in the end of the dissertation “As Tramas dos Tapeceiros Narradores: Técnica e Criação” and some topics signed by counseling at the time. In the last four years, reading and amplifying my bibliographical repertory, new approaches appeared to discuss these questions and mostly to map a possible research construction. This study aims to analyze a set of tapestries’ images from different periods of history altogether, along to paintings or drawings and the cards that originated them. It implicates still perceiving this sequence of activities and thus be able to analyze if the card brings the painting’s memory, and on the other hand if tapestry has its own potential so this work can become the happening. Initially the set of images that will serve as reference to analyze the other contemporary tapestries is a series produced between 1370/80 named “The Apocalypse”. The other series of tapestries, produced from drawings of the French artist Jean Lurçat, in the mid-twentieth century, named Le Chant Du Monde will also be an important referential. In Brazil the study will serch the tapestries made from the landscaper paintings’ Roberto Burle Marx. The contemporary tapestry weavers Archie Brennan, Sarah Swett and Jean Pierre Larochette were chose by the relevance of their works, different backgrounds and production processes. The way they relate to contemporary art events and which are the worries towards the tapestry’s production in the contemporary. Key wordsTapestry, image, card, potential/ happening.

scholarly journals ON THE HORNS OF A DILEMMA: INTELLECTUALS BETWEEN THE REGIME AND THE PEOPLE AS REFLECTED IN IRAQI COMMUNIST LITERATURE

2012 ◽  
Vol 1 (2) ◽  
pp. 140
Author(s):  
Hilla Peled-Shapira
Keyword(s):  
Twentieth Century ◽  
Social Class ◽  
The Other ◽  
Political Repression ◽  
Other Hand ◽  
The People ◽  
Proposed Model ◽  
The Social ◽  
The One ◽  
The Way

This paper deals with the way in which Communist writers in mid-twentieth-century Iraq used literature in order to, on the one hand express their tense relationship with the regime during times of severe political repression, and on the other hand sharply criticize the Iraqi people themselves for not taking responsibility for or caring about their fate—or, for that matter, for failing to internalize the social class discourse to which the Communists aspired.  The paper’s objective is to examine the connection between the writers’ ideology and the rhetorical and conceptual elements with which they expressed their dissatisfaction with the regime, the way Iraqi society was run, and the desires of both—intellectuals and society at large—to undergo change. In addition, this study will survey the esthetic and stylistic devices, which the writers under consideration chose, and consider both the meanings and motives behind their choices. These aspects will be examined in the framework of a proposed model of “circles of criticism.”  

Trailblazers Paving the Way to Semioethics

2014 ◽  
Vol 10 (1) ◽  
Author(s):  
Augusto Ponzio ◽  
Susan Petrilli
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Sign Language ◽  
The United States ◽  
The Other ◽  
Language And Communication ◽  
Phases Of Development ◽  
The Way

AbstractLike the Roman divinity Janus, Western semiotics has two faces, one turned towards Europe including the Tartu-Moscow tradition, now renominated the Tartu-Moscow-Bloomington tradition, and the other turned towards semiotics in the United States. Semiotics today ensues from different phases of development across the twentieth century - from “communication (code) semiotics”, to “signification semiotics” to “interpretation (significance) semiotics”. In this paper we draw attention to some of the authors who have most inspired our research on sign, language, and communication, influencing its development in the direction of “semioethics” in a global semiotic framework. Fundamental concepts addressed here include metaphor, abduction, iconicity, homology, as that between linguistic and nonlinguistic work, otherness, singularity and responsibility, eventness and participative understanding.

scholarly journals WINNING THE HEARTS OF THE MALAYS: THE PERSPECTIVE OF THE AUTHOR OF SYAIR TUAN HAMPRIS TOWARDS THE COLONIALISTS

2020 ◽  
Vol 2 (5) ◽  
pp. 01-15
Author(s):  
Rahimah Hamdan
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Text Analysis ◽  
Local Community ◽  
Direct Proof ◽  
Indigenous Communities ◽  
The Other ◽  
Patriarchal System ◽  
Colonial Government ◽  
The Way

This study was aimed at identifying the author’s perspective of the colonialists, and to analyse her relationship with one of them in her poem. The British colonisation of the Malay world in the nineteenth century gave rise to various reactions and attitudes among the indigenous communities, the majority of whom were opposed to colonisation, as recorded in traditional Malay literary works. Most of these works expressed the anxiety and hardships they encountered in life under the colonial government. Therefore, it would have been disturbing if any Malay writer were to heap praises on the British colonialists, more so if the writer happened to be a female, as according to the patriarchal system that dominated the conventional Malay literary world, women should be ‘silent’. Nevertheless, this tradition was broken by Hajah Wok Aisyah Nik Idris from Terengganu with her writing of Syair Tuan Hampris, in the early twentieth century. Ironically, in her poem, the author appears to have forgotten the miserable state of the Malays in the other states under the British administration. As such, did Hajah Wok Aisyah have her own reasons for writing the way she did? Was the author of Syair Tuan Hampris captivated by the British administrator? Did the British administrator, J. L. Humphreys, succeed in winning the hearts of the Malays in Terengganu? The method of text analysis was employed in this study, guided by the eight ways proposed by the first British Resident-General of the Federation of Malaya, Sir Frank Swettenham, to Syair Tuan Hampris. This study found that Syair Tuan Hampris invites its readers to savour the unique spectrum of relationships that existed between the colonised people, and the colonialists. The colonialists are no longer regarded as individuals who brought ruin and destruction to the local community, but instead, all their actions are held as being honourable. Thus, the author, being a woman, was able to perfectly explain her closeness to one such colonialist in the verses of her poem. In conclusion, Syair Tuan Hampris is strong and direct proof that women had a voice in the community at that time, even though they had to go against the conventions of Malay literature.

Robert Henri's Good Theory and Earnest Practice: The Humanistic Values of an American Painter

Prospects ◽  
1979 ◽  
Vol 4 ◽  
pp. 389-401
Author(s):  
Joseph J. Kwiat
Keyword(s):  
Twentieth Century ◽  
Turn Of The Century ◽  
Early Years ◽  
The Other ◽  
Good Theory ◽  
Father Figure ◽  
Art Dealers ◽  
The Way

Robert Henri, born in Cincinnati, Ohio, in 1865, was the acknowledged leader of the “Ash-Can” School of painters. The other members were George Luks, William J. Glackens, John Sloan, and Everett Shinn. Branded as “revolutionaries” and “apostles of ugliness” after the turn of the century, because their work and theory seemed to rub against the grain of contemporary American artistic taste and its conception of acceptable aesthetic good manners, they came into conflict with the respectable and conventional painters, critics, and art dealers in the early years of the twentieth century. Although they were a group of artists obviously in the minority, their independent exhibitions were applauded by a proportionately small—yet highly vocal—number of newspaper and magazine critics. However, it was Henri, rather than any critic, who led the way in articulating their theories and practice and who made it impossible for their work to be ignored. He was the group's intellectual spokesman, artistic catalyst, and revered father figure.

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