The Jeremian Oracles against the Nations

A substantial portion of the book of Jeremiah consists of the Oracles against the Nations (OAN), a common prophetic genre of threats and predictions of violence directed at foreign nations. In Jeremiah, the OAN are significantly different in the Masoretic (Hebrew) and Septuagint (Greek) texts, including their length, their internal order, and their location in the book. While the function of the OAN is unclear, their literary character is undeniable. Primarily poetry, they present a dense collection of evocative images of violence and destruction. Sound, gender, and the “nation” are all themes of interest in the OAN. The OAN are a crucial part of the book of Jeremiah as a whole.

THE INIMITABLE BLEND OF POETICS AND POLITICS: READING NARENDRA MODI AND PABLO NERUDA AS THE POETS OF PEOPLE

This research explores and contributes to knowledge pool of poetry and polity in the creative literary work of Narendra Modi and Pablo Neruda. It traces the course of discovering the poet's expression as the journey within, a divine communion with cosmic consciousness an idea of nation building and collective harmony. This quest of comparative reading of Narendra Modi and Pablo Neruda as poets of people began long back in 2011. I am glad to present this study after working on it gradually for long, I have selected to study few poems from Modi’s Blessed are these Eyes/ Ankh Aa Dhanya Chee and Neruda's Spain in Our Hearts/ Espana En El Corazon, as a more radical investigation into the possibilities and limits of poetics and politics as field of human activity. Focal points of the paper are:  How and why poet Narendra Modi and leader Narendra Modi, is promising. Why and how poet Pablo Neruda and leader Pablo Neruda appeals.  Their works reflect that the poet in their individuality chant about internal order of man, while the leader relates to the external well being and ordering of men.  A quest for internal order in a given epoch coincides with the external ordering and this finally leads to construction of better society, newer nation and a novel world.  An anatomizing of Narendra Modi‘s and Pablo Neruda’s sensitiveness towards Nation, it‘s people and the vocalization of their devotedness through literature.

Francis Bacon on Imperial and Colonial Warfare

This article offers a textual and historical reconstruction of Francis Bacon's thought on imperial and colonial warfare. Bacon holds that conquest, acquisition of peoples and territory through force, followed by subjugation, confers a legal right and title. Imperial expansion is justified both by arguments concerning the interstate balance of power and by arguments related to internal order and stability. On Bacon's view, a successful state must be expansionist, for two key reasons: first, as long as its rivals are expansionist, a state must keep up and even try to outpace them, and, second, a surplus population will foment civil war unless this “surcharge of people” is farmed out to colonies. These arguments for imperial state expansion are held to justify both internal and external colonization and empire. Paradoxically, Bacon holds that the internally colonized may be treated with greater severity, as suppressed rebels, than the externally colonized, who are more fitly a subject of the ius gentium. Bacon holds that toleration offers both an imperial stratagem and a comparative justification for why English and British imperial expansion is more desirable than Spanish imperial expansion. The article concludes with reflections about how one might understand the place of imperial and colonial projects in Bacon's thought, contending that these projects are central to an understanding of Bacon's political aims and thought more broadly.

EL ARQUETIPO COMO HERRAMIENTA PARA IDENTIFICAR VALORES FORMALES EN LA ARQUITECTURA MODERNA ECUATORIANA: ARQUITECTURA ACADÉMICA EN LA OBRA DE MARIO ARIAS SALAZAR

En el clasicismo, la manera de hacer arquitectura seguía parámetros establecidos, contraponiéndose con la modernidad, que a raíz de los nuevos materiales y a las nuevas necesidades a causa de la industrialización, buscaba nuevas maneras de organizar forma. De esta manera se generaron cambios en los criterios formales, dando como resultado que la arquitectura moderna deje de lado la utilización de reglas fijas tal como ocurrió en el clasicismo. Términos como orden arquitectónico, tipo clasicista, modelo, entre otros, han sido empleados a lo largo de la historia para analizar una obra arquitectónica y han contribuido a determinar criterios para su análisis y estudio; sin embargo, deberían estar exentos en la investigación de edificios modernos en general, ya que la modernidad, al tener nuevos esquemas que daban respuesta a nuevas necesidades, no podía encajarse en el concepto de tipología (Piñon, 2007). El tipo en el clasicismo era una manera de clasificar los edificios por la función. En la modernidad la clasificación de los tipos desde la función no es correcta, en su lugar, procuraba una clasificación de los edificios por la forma (estructura de orden interna del edificio). Para poder llegar a identificar valores formales en la Arquitectura Moderna ecuatoriana, es necesario entender que estos valores deben aspirar a ser universales, con criterios de forma y basados en la experiencia. En este sentido, una herramienta en este proceso podría ser la noción del arquetipo, noción que debe ser validada en la construcción de la forma, siendo la forma el resultado de relacionar el lugar, el programa arquitectónico y la construcción tal como sugiere (Gastón Guirao & Rovira Llobera, 2007). Entendiendo al arquetipo como un episodio de forma o la forma del tipo más allá de su función y construcción, su finalidad no es pretender reconocer el orden interno de un proyecto en particular, sino identificar valores comparativos en la construcción de forma en varias obras, diferenciando claramente que se deben reconocer relaciones, mas no identificar rasgos estilísticos e impositivos. Una vez comprendida esta noción, esta investigación se centrará en dar herramientas para reconocer e identificar arquetipos o episodios de forma en la Arquitectura Moderna a través del análisis de los edificios académicos realizados por el arquitecto quiteño Mario Arias Salazar. Palabras clave: Arquetipo, valores formales, arquitectura. AbstractIn classicism, the way of making architecture followed established parameters, in contrast to modernity, which, as a result of new materials and new needs due to industrialization, sought new ways of organizing form. In this way, changes were generated in the formal criteria, resulting in modern architecture leaving aside the use of fixed rules as occurred in classicism. Terms such as architectural order, classicist type, model, among others, have been used throughout history to analyze an architectural work and have contributed to determining criteria for its analysis and study; however, they should be exempted in the investigation of modern buildings in general, since modernity, having new schemes that responded to new needs, could not fit into the concept of typology (Piñon, 2007). The type in classicism was a way of classifying buildings by function. In modern times, the classification of types from the function is not correct, instead, it sought classification of buildings by form (internal structure of the building). In order to identify formal values in Ecuadorian Modern Architecture, it is necessary to understand that these values should aspire to be universal, with criteria of form and based on experience. In this sense, a tool in this process could be the notion of the archetype, a notion that must be validated in the construction of the form, the form being the result of relating the place, the architectural program, and the construction as suggested (Gastón Guirao & Rovira Llobera, 2007). Understanding the archetype as an episode of form or the form of the type beyond its function and construction, its purpose is not to pretend to recognize the internal order of a particular project, but to identify comparative values in the construction of form in various works, differentiating clearly that relationships must be recognized, but not identifying stylistic and imposing features. Once this notion is understood, this research will focus on providing tools to recognize and identify archetypes or episodes of form in Modern Architecture through the analysis of academic buildings carried out by Quito’s architect Mario Arias Salazar. Keywords: Archetype, formal values, architecture.

Master Plan for the Loughborough University of Technology: An Endless Campus?

The Master Plan for the Loughborough University of Technology is a 143-page document that gathers the work undertaken by the institution to become a university, thus benefiting from the educational policies derived from the 1963 Robbins report in Britain. Arup Associates authored in 1966 a proposal whose main characteristic is its ascription to an infinite grid strategy and a systematized project. The different diagrams and growth schemes represent the geometric synthesis of some compositional and constructive rules: three grids overlap to produce a germ drawing to which a growth pattern is added for its territorial extension. For the sake of flexibility and adaptability, the project tries to avoid architectural obsolescence through the achievement of a “universal space unit”. Hence, a “discipline” is established whose definition turns out to be a succession of limitations. Through the reconstruction of the design process for the Loughborough University, the multiple meanings of the limit concept are portrayed in parallel to its idea of ​​a continuous and endless campus. A strict internal order, an intentionally open reading of the territory and a constructive standardization produce a kind of visual exhaustion of the whole that could be understood as a limit of spatial nature.

The topology of the external activity complex of a matroid

International audience We prove that the external activity complex Act<(M) of a matroid is shellable. In fact, we show that every linear extension of Las Vergnas's external/internal order <ext/int on M provides a shelling of Act<(M). We also show that every linear extension of Las Vergnas's internal order <int on M provides a shelling of the independence complex IN(M). As a corollary, Act<(M) and M have the same h-vector. We prove that, after removing its cone points, the external activity complex is contractible if M contains U3,1 as a minor, and a sphere otherwise.

Challenges in Strategy-Making

This chapter describes how state leaders encounter five difficulties while crafting strategies for governing. The first is conflict between the goals identified in Chapter 5. A familiar conflict of goals is that between internal order and human rights. Another conflict among goals arises between external security and internal order. Moreover, the desire to promote economic growth may collide with several other goals, such as national security, internal order, and human rights. A second challenge in crafting governance strategies is uncertainty about the techniques to use to achieve goals. Even when leaders are clear about their priorities, they may be unsure about the most effective ways to pursue them. A third challenge in crafting governance strategies is managing cultural and institutional inheritances, while the fourth challenge derives from turbulence in the governing environment. Some aspects of the environment may remain relatively constant, but other aspects change quickly. This can throw a leader's calculations into disarray. The final challenge is analytic complexity—that is, the difficulty of absorbing knowledge and making judgments about large and complicated questions.

On The Problem Of Transformation Of Philosophical And Aesthetic Representations Of The Author

This article presents the first systematic scientific reflection of the poetics of the eight fables by I. A. Krylov, that he did not include in the corpus of his Nine Books of Fables. The great Russian poet wrote these texts at various stages of his life and the development of his self-consciousness as a fabulist,. It is significant that the removal of these texts off the Nine Books occurred during a dynamic change of literary trends in the Russian written culture —the shift from classicism to realism. This change could not but affect the destabilization of the author’s relations with a democratic reader, undermining the stability of the value-didactic canon of the fable. The purpose of this article is to identify and describe the factors and reasons that prompted Krylov not to include each of the eight fables under study into the corpus of his Nine Books, which became canonical in the history of national literature. The results show a significant difference between the factors and causes of both external and internal order. The external causes and factors include the discrepancy between the poetics of texts and the readers’ expectations in the framework of the concepts of a sensitive and romantic hero, as well as complicity in the conflict between aristocratic and non-aristocratic parties within the Russian elite of the first half of the 19th century. Internal causes and factors are associated with thematic structural outline of specific texts that do not ensure the dialogical unity of the author, subject, and readers’ horizons within the framework of the value-didactic layer of the whole artistic work.