Relevant bibliographies by topics / Desert Modernism

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Desert Modernism'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Desert Modernism"

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Korvenmaa, Pekka. "Modernism in Finnish Furniture Design and Production." Designing Modern Life, no. 46 (2012): 32–35. http://dx.doi.org/10.52200/46.a.jxxtsxni.

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When looking at the development of Modernism in Finnish furniture design from abroad the conventional image is Alvar Aalto´s Paimio chair descending in 1931 into a desert of traditionalism and starting a new, bright era of Modernity. This cliché is partly, but only partly true. In the following I will outline some major trends in design, use of materials and techniques of production in Finnish furniture before World War II.
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Rudnick, Lois. "Modernism in the High Desert: The Multivocal Ecology of Alice Corbin Henderson’s Red Earth." Western American Literature 39, no. 1 (2004): 37–53. http://dx.doi.org/10.1353/wal.2004.0041.

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Abubaker.Alkhazmi, Hamza Mohamed, and Nur Esin. "Investigating the Impact of Modernism on Indoor Privacy Satisfaction in Desert House by using Space Syntax Analysis Case study- Ghadames City- Libya." International Journal of Engineering Trends and Technology 40, no. 7 (October 25, 2016): 384–93. http://dx.doi.org/10.14445/22315381/ijett-v40p263.

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Morrison, Paul. "Garbo Laughs!" Modernist Cultures 2, no. 2 (October 2006): 153–69. http://dx.doi.org/10.3366/e2041102209000252.

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Through a witty close reading of Ernst Lubitsch's film “Ninotchka” (1939) - a Greta Garbo comedy explicitly marketed through the promise that in it the infamously impassive ‘face of the century’ would, in fact, laugh - Paul Morrison (Brandeis University) reads Lubitsch's film as a parable of the descent of Garbo's gestural excess to bourgeois intelligibility, and thus, of the domestication of her very modernism.
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Levitas, Ben. "댄서와 가슴의 욕망: W.B. 예이츠와 현대극." Yeats Journal of Korea 56 (August 31, 2018): 111–28. http://dx.doi.org/10.14354/yjk.2018.56.111.

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Maszkiewicz, Magdalena. "Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu „Deset soneta nerođenoj kćeri" Ivana V. Lalicia." Adeptus, no. 6 (December 24, 2015): 1–10. http://dx.doi.org/10.11649/a.2015.009.

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Hermeneutics and the theory of intertextuality as a method of researching modernism in Serbian poetry of the second half of the 20th century on the example of poetic cycle Deset soneta nerođenoj kćeri by Ivan V. LalićThe aim of this paper is to show that hermeneutics and the theory of intertextuality provide useful tools for the research in post-war Serbian modernism in poetry. The argumentation takes two steps. Firstly, the use of these methods is being legitimized in the context of general characteristics of the literature under consideration. Secondly, the functioning of such tools is presented in the example of a particular text, which in this case is Deset sonata nerođenoj kćeri ['Ten Sonnets for The Unborn Daughter'], a poetic cycle by Ivan V. Lalić. The kind of poetry researched in this paper is strongly influenced by the ideas of T. S. Eliot who said that an original literary work is the result of the author’s awareness of his place in tradition. For this reason such poetry contains numerous cultural and literary references which are an inevitable context of its interpretation. A hermeneutic and intertextual approach helps to expose such references and make them part of the process of understanding the poetry in question. Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu Deset soneta nerođenoj kćeri Ivana V. LaliciaZadaniem pracy jest wykazanie, że hermeneutyka i teoria intertekstualności dostarczają narzędzi do badania poezji powojennego modernizmu serbskiego. Argumentacja opiera się na uzasadnieniu użycia tych metod najpierw w świetle ogólnej charakterystyki omawianej twórczości, a następnie na podstawie ich funkcjonowania w interpretacji konkretnego tekstu będącego jej typowym przykładem (cykl Ivana V. Lalicia Deset soneta nerođenoj kćeri). Poezja będąca przedmiotem zainteresowania tej pracy pozostaje pod silnym wpływem poglądów Thomasa S. Eliota, według którego oryginalna twórczość powinna wynikać ze zrozumienia przez autora swojego miejsca w tradycji. To powód występowania w omawianych utworach licznych nawiązań kulturowych i literackich, które stanowią kontekst niezbędny do interpretacji tej twórczości. Podejście hermeneutyczne i metody teorii intertekstualności pozwalają te elementy wydobyć i uwzględnić w rozumieniu sensu tekstu.
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Bloch. "Alice Notley's Descent: Modernist Genealogies and Gendered Literary Inheritance." Journal of Modern Literature 35, no. 3 (2012): 1. http://dx.doi.org/10.2979/jmodelite.35.3.1.

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Kerr, William. "The descent of nations: social evolutionary theory, modernism and ethno‐symbolism." Nations and Nationalism 25, no. 1 (January 2019): 104–23. http://dx.doi.org/10.1111/nana.12426.

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Maszkiewicz, Magdalena. "Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu „Deset soneta nerođenoj kćeri" Ivana V. Lalicia." Adeptus, no. 6 (December 24, 2015): 1–10. http://dx.doi.org/10.11649/sn.2015.009.

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<p><strong>Hermeneutics and the theory of intertextuality as a method of researching modernism in Serbian poetry of the second half of the 20th century on the example of poetic cycle <em>Deset soneta nerođenoj kćeri</em> by Ivan V. Lalić</strong></p><p>The aim of this paper is to show that hermeneutics and the theory of intertextuality provide useful tools for the research in post-war Serbian modernism in poetry. The argumentation takes two steps. Firstly, the use of these methods is being legitimized in the context of general characteristics of the literature under consideration. Secondly, the functioning of such tools is presented in the example of a particular text, which in this case is <em>Deset sonata nerođenoj kćeri</em> ['Ten Sonnets for The Unborn Daughter'], a poetic cycle by Ivan V. Lalić. The kind of poetry researched in this paper is strongly influenced by the ideas of T. S. Eliot who said that an original literary work is the result of the author’s awareness of his place in tradition. For this reason such poetry contains numerous cultural and literary references which are an inevitable context of its interpretation. A hermeneutic and intertextual approach helps to expose such references and make them part of the process of understanding the poetry in question.</p><p> </p><p><strong>Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu Deset soneta nerođenoj kćeri Ivana V. Lalicia</strong></p><p>Zadaniem pracy jest wykazanie, że hermeneutyka i teoria intertekstualności dostarczają narzędzi do badania poezji powojennego modernizmu serbskiego. Argumentacja opiera się na uzasadnieniu użycia tych metod najpierw w świetle ogólnej charakterystyki omawianej twórczości, a następnie na podstawie ich funkcjonowania w interpretacji konkretnego tekstu będącego jej typowym przykładem (cykl Ivana V. Lalicia Deset soneta nerođenoj kćeri). Poezja będąca przedmiotem zainteresowania tej pracy pozostaje pod silnym wpływem poglądów Thomasa S. Eliota, według którego oryginalna twórczość powinna wynikać ze zrozumienia przez autora swojego miejsca w tradycji. To powód występowania w omawianych utworach licznych nawiązań kulturowych i literackich, które stanowią kontekst niezbędny do interpretacji tej twórczości. Podejście hermeneutyczne i metody teorii intertekstualności pozwalają te elementy wydobyć i uwzględnić w rozumieniu sensu tekstu.</p>
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Monte, Carlos Eduardo. "O DESERTO DOS TÁRTAROS SOB A ÓTICA DO FANTÁSTICO HUMANO, DE JEAN-PAUL SARTRE." Sapere Aude 7, no. 14 (December 26, 2016): 627. http://dx.doi.org/10.5752/p.2177-6342.2016v7n14p627.

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<p>Este artigo analisa o romance do italiano, Dino Buzzati, <em>O deserto dos tártaros</em> (1940), a partir do <em>fantástico humano, </em>base teórico-ensaística desenvolvida por Jean-Paul Sartre no texto, <em>Aminadab, ou o fantástico considerado como uma linguagem </em>(1947)<em>. </em>O estudo busca demonstrar que os vetores ensaiados pelo filósofo, ora nominados: <em>expressão inversa, inversão relacional </em>e <em>moral de resistência</em>,<em> </em>descrevem com bastante precisão uma categoria do fantástico que está colocada como ponto de virada dentro do gênero, referindo-se à obras de autores como Blanchot, Kafka e Buzzati. A <em>hesitação</em> deixa de ser um momento lancinante para se tornar o pano de fundo da narrativa, dando-nos, por definição crítica, o <em>mundo às avessas, </em>e o protagonista se revela como um <em>índice de resistência</em>, pondo em xeque valores sedimentados pelo modernismo, através de seu comportamento de contraste. Na obra de Buzzati, seguimos Giovanni Drogo, aos vinte anos, nomeado oficial para servir no forte Bastiani, situado na fronteira norte do país, em cujos limites encontra-se o lendário e enigmático deserto dos tártaros. Do castelo gótico de antanho a um dos símbolos bélicos do modernismo, o forte se reveste pela atmosfera de claustro, solidão e melancolia, enredando sutil e gradativamente aos que a ele se submetem.</p>
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Dissertations / Theses on the topic "Desert Modernism"

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Willis, Glenn Robert. "Drive all Blames into One: Rhetorics of 'Self-Blame' and Refuge in Tibetan Buddhist Lojong, Nietzsche, and the Desert Fathers." Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104051.

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Thesis advisor: John J. Makransky
The purpose of this work is to differentiate the autonomous `self-compassion' of therapeutic modernist Buddhism from pre-therapeutic Mahâyâna Buddhist practices of refuge, so that refuge itself is not obscured as a fundamental Buddhist orientation that empowers the possibility of compassion for self and other in the first place. The work begins by situating issues of shame and self-aversion sociologically, in order to understand how and why self-aversion became a significant topic of concern during the final quarter of the twentieth century. This discussion allows for a further investigation of shame as it has been addressed first by psychologists, for whom shame is often understood as a form of isolating self-aversion, and then by philosophers such as Bernard Williams and Emmanuel Levinas, for whom shame attunes the person to the moral expectations of a community, and therefore to ethical commands that arise from beyond the individual self. Both psychologists and philosophers are ultimately concerned with problems and possibilities of relationship. These discussions prepare the reader to understand the importance of Buddhist refuge as a form of relationship that structures an integrative rather than destructive self-evaluation. The second chapter of the dissertation closely examines Friedrich Nietzsche's work on shame. In a late note, Nietzsche wrote that "man has lost the faith in his own value when no infinitely valuable whole works through him"; the second chapter argues that Nietzsche's vision of a relatively autonomous will to power cannot fully incorporate this important Nietzschean insight, and helps to drive the kind of self-evaluation typical of modernist `personality culture,' which is likely to become harsh. The third chapter first discusses contemporary therapeutic Buddhist responses to self-aversion, particularly practices of `self-compassion' that claim to be rooted in early Pali canonical and commentarial sources, before developing a commentary on the medieval Tibetan lojong teaching Drive all blames into one. Drive all blames into one, though often discussed in contemporary commentaries as a form of self-blame, should be understood more thoroughly as a simultaneous process of refuge and critique--a process that drives further access to compassion not only for self, but for others as well. Chapter Four discusses mourning and self-reproach in the apophthegmata of the Desert Fathers, showing how `self-hatred' in this context is in a form of irony: the self that is denigrated is not an ultimate reality, and the process of mourning depends upon both an access to love and a clear recognition of our many turns away from that love. In conclusion, I draw attention to the irony of modernist rejections of religious self-critique as supposedly harmful forms of mere shaming, even as the modernist emphasis on autonomy is what enables self-critique to become harsh and damaging
Thesis (PhD) — Boston College, 2014
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Theology
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Thiban, Amina Khalifa. "Transformation and modernity in the desert : tribal saga in 'Cities of salt'." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416929.

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Marticorena, Enrique Bruce. "Mujeres fatales y desviados: nuevos deseos al asalto en el desfiladero de la literatura modernista." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/101890.

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Este ensayo expone los puentes comunicantes entre la estilística de las obras de dos autores modernistas: Julián del Casal y Delmira Agustini, y el contexto cultural y los mores sexuales de fines del siglo XIX. Las  dinámicas sociales de la vida nocturna expansiva, el sensacionalismo pandémico de la prensa amarilla, el creciente interés sobre la homosexualidad y la incursión de la mirada femenina en las letras, todo confluirá con ciertos preceptos del romanticismo tardío y el simbolismo para darle voz y formas de expresión inéditas a sexualidades alternativas de la época. El alejamiento del sentimentalismo y la pose “malditista” de los modernistas empalma con nuevas representaciones del deseo; el enrarecimiento del objeto como axioma simbolista inspirará el enrarecimiento de un objeto emergente: el del cuerpo masculino, y la insinuación de una nueva mirada: la de la mujer y la del desviado.
This essay shed light over the connection between the literary style from the works of two “modernistas” authors: Julián del Casal and Delmira Agustini, and the cultural contexts and sexual mores at the end of the 19th century. The social dynamics of the ever expansive night life, the lurid and ubiquitous tabloids of the time and the growing interests towards deviant sexual behaviors and women’s perspective in books, everything will align with certain guideline of the late Romanticism and Symbolism to shape new voices and expressions of desire. The Modernistas’ retraction from sentimentalism and their maudit pose suit the remodeling of the sexual; the rarified object from the symbolist axiom dictates an evermore rarified new object: the one of the male body and its locus in the nascent representation of women’s and deviants’ libidos.
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Souza, Iracy Conceição de. "Desejo ou renúncia: eis a questão." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1029.

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Nosso trabalho realiza a interpretação de três contos de Eça de Queirós Singularidade de uma rapariga loura (1874), No Moinho (1880), e José Matias (1897) visando abordar as diferentes relações entre sujeito e desejo. O campo teórico que norteia nossa leitura é a psicanálise, na vertente de seu criador e do projeto de retorno à obra freudiana empreendido por Jacques Lacan. Em cada conto, teremos uma história de amor, que coloca em cena o drama crucial do homem, dividido entre o desejo e o dever. A escolha pelo dever, implicando a renúncia do desejo, faz com que as personagens masculinas sejam massacradas pela imposição moral do superego e pelo medo das mulheres, as quais, como representantes do Outro sexo, permanecem enigmas sem decifração
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Rau, Petra-Utta. "Moving dangerously : desire and narrative structure in the fiction of Elizabeth Bowen, Rosamond Lehmann and Sylvia Townsend Warner." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327523.

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This thesis explores how constructs of gender and sexual identity in both psychoanalytic and fictional writing between the wars affect the fonn and structure of a text. The keen interest Bowen, Lehmann and Townsend Warner show in mental processes and patterns of sexual development, allows us to read across psychoanalytic and fictional discourses and rigid genres. While the psychoanalytic texts utilise elements of the Bildungsroman, the fictional narrative often enacts the pathologies of the story in an erotics of fonn. The intersection of scientific and narrative discourses coincides with a modernist debate about the limitations of conventional modes of representation in Edwardian and realist texts. The shifts between earlier modernist gestures of moving away from realist modes and structures and a later return to a more conciliatory approach of utilising them for modernist agendas, can be interpreted as a specific anxiety of origins. Shifting between modernist and realist modes of writing, and between nineteenth-century and early twentieth-century concepts of sexuality and gender produces peculiarly hybrid texts which negotiate this anxiety in various fonns of ambivalence and in-between-ness. Through the examination of six novels by Rosamond Lehmann, Elizabeth Bowen and Sylvia Townsend Warner, the thesis examines this anxiety in the difficulties psychoanalytic and fictional texts have in talking about the maternal, placing them in the context of socio-cultural ambiguities about femininity and motherhood during the interwar period. The thesis opens with a discussion of the possibilities and limitations of crossing between post-structuralist, psychoanalytic and historicist readings of modernist texts and provides a brief biographical framework for the three women writers in so far as it relates to gender, sexuality and the maternal. The following six chapters are divided into two parts grouping the first novels against the mature work in order to trace changes in the ways of representing sexuality, gender and maternal ambivalences through form, plot and structure. The first part discusses Rosamond Lehmann's Dusty Answer (1927), Elizabeth Bowen's The Hotel (1927) and Sylvia Townsend Warner's Lolly Will owes (1926), while the second part examines The Weather in the Streets (1936), The Death of the Heart (1938) and Summer Will Show (1936) retaining the order of authors. The conclusion summarises the findings, contemplates its implications for the discourse on modernism and broaches the divergencies of Bowen's, Lehmann's and Warner's fictions in the 1940s.
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Bennett, Linda Rae. "Dialectics of desire and danger : maidenhood, sexuality and modernity in Mataram, Eastern Indonesia /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16340.pdf.

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Stubbs, Tara M. C. "'Irish by descent' : Marianne Moore, Irish writers and the American-Irish Inheritance." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:bf87b5ea-4baa-4a46-9509-2c59e738e2a1.

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Despite having a rather weak family connection to Ireland, the American modernist poet Marianne Moore (1887-1972) described herself in a letter to Ezra Pound in 1919 as ‘Irish by descent’. This thesis relates Moore’s claim of Irish descent to her career as a publisher, poet and playwright, and argues that her decision to shape an Irish inheritance for herself was linked with her self-identification as an American poet. Chapter 1 discusses Moore’s self-confessed susceptibility to ‘Irish magic’ in relation to the increase in contributions from Irish writers during her editorship of The Dial magazine from 1925 to 1929. Moore’s 1915 poems to the Irish writers George Moore, W. B. Yeats and George Bernard Shaw, which reveal a paradoxical desire for affiliation to, and disassociation from, Irish literary traditions, are scrutinized in Chapter 2. Chapters 3a and b discuss Moore’s ‘Irish’ poems ‘Sojourn in the Whale’ (1917) and ‘Spenser’s Ireland’ (1941). In both poems political events in Ireland – the ‘Easter Rising’ of 1916 and Ireland’s policy of neutrality during World War II – become a backdrop for Moore’s personal anxieties as an American poet of ‘Irish’ descent coming to terms with her political and cultural inheritance. Expanding upon previous chapters’ discussion of the interrelation of poetics and politics, Chapter 4 shows how Moore’s use of Irish sources in ‘Spenser’s Ireland’ and other poems including ‘Silence’ and the ‘Student’ reflects her quixotic attitude to Irish culture as alternately an inspiration and a tool for manipulation. The final chapter discusses Moore’s adaptation of the Anglo-Irish novelist Maria Edgeworth’s 1812 novel The Absentee as a play in 1954. Through this last piece of ‘Irish’ writing, Moore adopts a sentimentality that befits the later stages of her career and illustrates how Irish literature, rather than Irish politics, has emerged as her ultimate source of inspiration.
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FRANCO, GUSTAVO NAVES. "THE GESTURES OF DESIRE: PLAY, LONGING, MODERNITY AND FORM IN JULIO CORTÁZAR`S SHORT STORIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7744@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Trata-se de uma análise das narrativas curtas do escritor argentino Julio Cortázar (1914-1984), como alternativas à criação literária diante de determinados impasses colocados pelo mundo moderno. Pressupondo a dificuldade de delimitação da experiência em inícios e fins - ou seja, da representação dos propósitos finais das ações humanas -, num primeiro momento os contos de Cortázar surgem como totalidades cerradas que proporcionam o alcance de uma meta no território do jogo. O que se dá em um gesto contundente e preciso: um nocaute, uma estocada, um assassinato. Tais configurações, porém, são incapazes de satisfazer plenamente o desejo de unidade que alimentam; e assim são enfocados, numa segunda etapa, relatos que reconhecem a impossibilidade de cessação da vontade, manifestando uma cisão interna do discurso, mas ainda assim seguem em busca da criação de formas como espaço do diálogo e tentativa de um contato. Inscritos sobre as superfícies móveis do mundo moderno, estes contos trabalhariam cuidadosamente a matéria informe da linguagem para que, em gestos sutis, às vezes hesitantes - um olhar, um toque, um traço - manifeste-se a procura de um encontro e uma fugaz iminência de sentido.
The objective of this work is to analyse the short stories by the Argentine writer Julio Cortázar (1914-1984), as alternatives to literary creation in front of certains impasses placed by the modern world. Pressuposing the dificulty in delimitating experience in begginings and ends - that is, the representation of human action`s final purposes -, in a first moment Cortázar`s narratives appear as enclosured totalitys which provide the reach of a goal, in the territory of play, with a contusing, precise gesture: a knock-out, a thrust, a murder. These configurations, however, are incapable to satisfact the desire of unity they nourish; and so, in a second moment, the dissertation focuses stories which recognize the impossibility of ceasing desire, and then keep the the search of form as a dialogical space and attempt of contact. Inscribed on modernity`s unstable surfaces, these short stories work carefully the matter of language, so as to, in subtile, sometimes hesitating gestures - a look, a touch, a trace - they manifest the will of a gathering and an imminence of sense.
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Magri, Mailce. "Juntos mais desiguais: um desejo de "nação" paulista não-realizado." Universidade Federal de São Carlos, 2011. https://repositorio.ufscar.br/handle/ufscar/6731.

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Made available in DSpace on 2016-06-02T20:39:15Z (GMT). No. of bitstreams: 1 3985.pdf: 534165 bytes, checksum: bc850d12c643c658d0d1463a1229dcad (MD5) Previous issue date: 2011-09-21
Assuming that every nation is an imagined community concept created by Benedict Anderson in his book Imagined Communities I propose a discussion about the existence of different projects for the construction of a Brazilian nation, paying special attention to a "Sao Paulo state project". As guideline, I use the subaltern studies, which question the hegemonic centers' theoretical colonialism and the modernity dominant conceptions. This dissertation is based on the subaltern studies literature and on the selection of texts from the period chosen for this study: the years between 1870-1922. These analyses intend to show the existence of a "Sao Paulo project" for the nation, which demonstrates a "admiration" for the North- American racial segregation. This "admiration" was a common theme in many papers written after such project failed.
Partindo do pressuposto de que toda nação é uma comunidade imaginada , conceito cunhado por Benedict Anderson em sua obra Comunidades Imaginadas, proponho, nesta dissertação, versar sobre a existência de diferentes projetos para a construção da nação brasileira ressaltando, o que entendo ser, um projeto paulista para a nação. A referência utilizada encontra-se nos Estudos Subalternos, perspectiva que questiona o colonialismo teórico dos grandes centros hegemônicos e as concepções dominantes de modernidade. A fundamentação material deste trabalho está na literatura alusiva ao referencial teórico adotado e na seleção de alguns textos produzidos dentro do período que delimita o estudo proposto: os anos de 1870 a 1922. Buscamos com as análises aqui desenvolvidas acenar para a existência de um projeto paulista para a nação que, não sendo bem sucedido, deixará transparecer certa "nostalgia da segregação racial norte-americana presente em obras publicadas posteriormente.
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Castro, Andreia Alves Monteiro de. "Amor, desejo e transgressão as cartas de amor na novela camiliana." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2013.

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O propósito desta dissertação é analisar as várias funções exercidas pelo discurso epistolar, em especial as cartas de amor, nas novelas camilianas do período de 1860 a 1870, de cujo conjunto destacamos Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). Nestas obras, as cartas têm presença bastante relevante, ligada à forma e, por conseguinte, à elaboração de conceitos e significados de dimensão social e íntima. Muito em voga à época, as cartas se fazem presentes em outros romances oitocentistas: em Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) e O Primo Basílio (de Eça de Queirós). As cartas trocadas pelos casais enamorados revelam muito mais do que uma história de amor contrariado, que seguiria os moldes da escola romântica. Retratam antes de tudo os anseios pessoais, os conflitos e as tensões sociais do Portugal do século XIX. O discurso epistolar acaba sendo um modo de dar dimensão intimista aos dramas maiores da sociedade. Ao olhar perspicaz, inquieto e, até mesmo, desesperançado de Camilo Castelo Branco, que critica os valores da sociedade na qual está inserido, sem muitas das vezes avistar uma saída possível, as cartas tornam-se um modo de trazer novas vozes ao romance. Assim, Camilo fala pelos narradores, pelos seus personagens em diálogo, mas também por aquilo que naquele mundo não se diz, mas se escreve (nas cartas)
The purpose of this dissertation is to analyze the several functions exercised by the epistolary discourse, specially the love letters, in the camilian novels in the period of 1860 to 1870, from what collection we point out Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). In these works, the letters have a very strong presence, linked to the shape and, in consequence, the elaboration of concepts and meanings of social and intimate dimension. Very popular in that time, the letters are present at another eighties romances: at Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) and O Primo Basílio (de Eça de Queirós).The letters changed by the couples in love reveals much more than one annoyed love story which would follow the patterns of the romantic school. They portray before all the personal desires, conflicts and social tensions lived in Portugal of 19th century. The epistolary discourse is a manner of giving an intimate dimension for the main dramas of the society. To the perceptive, anxious and, unhopeful look of Camilo Castelo Branco, that criticizes the values of the society in which he is inserted, many times without seeing a possible solution, the letters become a way to bring new voices to the romance. Therefore, Camilo speaks for the narrators, for his characters in dialogue, but also for what in that world is not said, but it is written (in the letters)
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Books on the topic "Desert Modernism"

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Boyle, Tish. Grand finales: A modernist view of plated desserts. New York: Van Nostrand Reinhold, 1998.

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Smith, Evans Lansing. Rape and revelation: The descent to the underworld in modernism. Lanham: University Press of America, 1990.

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Crossroads modernism : descent and emergence in African-American literary culture. Minneapolis: University of Minnesota Press, 2002.

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Schlossman, Beryl. Objects of desire: The madonnas of modernism. Ithaca: Cornell University Press, 1999.

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Carnal rhetoric: Milton's iconoclasm and the poetics of desire. Durham: Duke University Press, 1995.

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Rucellai, Bernardo. "De bello italico". La guerra d'Italia. Edited by Donatella Coppini. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6453-228-8.

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«In such confusion of affairs, likely to lead to new disturbances, began the year one thousand four hundred and ninety-four […], a most unhappy year for Italy and in truth the beginning of the years of misfortune, because it opened the door to innumerable, horrible calamities.». This is the opening of the sixth chapter in the first book of the famous History of Italy by Francesco Guicciardini which, for the events of that unhappy year and those that immediately followed, draws extensively on the incomparably less well-known and popular De bello italico by Bernardo Rucellai, as demonstrated by his autograph summary of the Latin work and certain coincidences. In many ways a forerunner of the later great historical works, traversed by a line of thought and by reflections of undeniable modernity, the story of the descent into Italy of the 'monster' Charles VIII, seen through the eyes of a Florentine oligarch nostalgic for the regime of Lorenzo and hostile towards Piero de' Medici and his insane politics, deserves to be rediscovered. Based on the only existing manuscript, Rucellai's work is presented here for the first time in a modern edition, representing the very first Italian translation.
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American tantalus: Horizons, happiness, and the impossible pursuits of US literature and culture. New York: Bloomsbury Academic, 2014.

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The Bacon House at Desert Mountain: An Homage to Early Modernism. White River Press, 2019.

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The Bacon House at Desert Mountain: An Homage to Early Modernism. White River Press, 2019.

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Rosenberg, Joseph Elkanah. Wastepaper Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852445.001.0001.

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At the same time that writers were becoming infatuated with new technologies like the cinema and the radio, they were also being haunted by their own pages. From Henry James’s fascination with burnt manuscripts to destroyed books in the fiction of the Blitz, from junk mail in the work of Elizabeth Bowen to bureaucratic paperwork in Vladimir Nabokov, modern fiction is littered with images of tattered and useless paper that reveal an increasingly uneasy relationship between literature and its own materials over the course of the twentieth century. Wastepaper Modernism argues that these images are vital to our understanding of modernism, disclosing an anxiety about textual matter that lurks behind the desire for radically different modes of communication. Having its roots in the late nineteenth century, but finding its fullest constellation in the wake of the high modernist experimentation with novelistic form, “wastepaper modernism” arises when fiction imagines its own processes of transmission and representation breaking down. When the descriptive capabilities of the novel exhaust themselves, the wastepaper modernists picture instead the physical decay of the book’s own primary matter. Bringing together book history and media theory with detailed close reading, Wastepaper Modernism reveals modernist literature’s dark sense of itself as a ruin in the making.
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Book chapters on the topic "Desert Modernism"

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Nicholls, Peter. "Death and Desire: The Surrealist Adventure." In Modernisms, 301–24. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-11492-1_14.

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Nicholls, Peter. "Death and Desire: The Surrealist Adventure." In Modernisms, 301–24. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-24055-5_14.

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Duncan, Ian. "‘Reactionary Desire’: Ruskin and the Work of Fiction." In Ruskin and Modernism, 67–81. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9781403913609_5.

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Enderwitz, Anne. "Desire, Loss and Storytelling in The Good Soldier." In Modernist Melancholia, 104–45. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137444325_4.

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Blackell, Mark, John Duncan, and Simon Kow. "Introduction: Rousseau, Desire, and Modernity." In Rousseau and Desire, edited by Mark Blackell, John Duncan, and Simon Kow, 1–14. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442685376-002.

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Levenson, Michael. "Habit, Labour, Need and Desire." In Philosophy in the Condition of Modernism, 31–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77078-9_2.

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Banwell, Cathy, Dorothy Broom, Anna Davies, and Jane Dixon. "How Convenience Is Shaping Australian Diets: The Disappearing Dessert." In Weight of Modernity, 41–58. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-90-481-8957-1_4.

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Sorensen, Leif. "1 Thwarted Desire." In Ethnic Modernism and the Making of US Literary Multiculturalism, 31–52. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57019-2_2.

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Nair, Sashi. "Introduction: Screening desire in the Sapphic modernist roman à clef." In Secrecy and Sapphic Modernism, 1–35. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230356184_1.

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Staub, Alexandra. "Selling Desire." In The Routledge Companion to Modernity, Space and Gender, 100–118. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.1201/9781315180472-9.

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Conference papers on the topic "Desert Modernism"

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Barros, Ana Paula Borba Gonçalves, Luis Miguel Martínez, and José Manuel Viegas. "How urban morphology influences the walkability?" In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6091.

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It is known that the Modernism greatly influenced the way people use spaces, the car use was prioritized, changing the function of the street from a meeting space (human scale – Gehl, 2010) to a passage space (motor scale). It is in this context that this paper aims to present the aspects that interfere in the walkability with focus on different urban morphologies. For this purpose, the study was applied to three neighbourhoods of Lisbon (Portugal) with different morphological characteristics: Graça (organic mesh), Campo de Ourique (regular mesh) and Telheiras (contemporary mesh) and then for the analysis methodological were applied their respective axial maps – derived from the Space Syntax Theory (Hillier and Hanson, 1984). The findings show that, as some authors (Hillier and Hanson, 1984; Handy, 1996; Holanda, 2002; Medeiros, 2013) state, there are differences in performance between different urban forms. According to Jacobs (2000) and Gehl (2010), modern spaces or those that suffer the influence of modernism have morphological elements that repel people, which make the space almost desert, without life. Therefore, it is concluded that depending on the morphological characteristics present in the space there will be more or less life. In other words, the greater segregation between the morphological elements, lower the presence of people in public space.
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MAASRI, Zeina, Tom WILSON, and Elli Michaela YOUNG. "Modernisms’ locations II: Transnational exchange through design." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_015.

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Efrem, Rafael. "Modernity and Regionalism in Pernambuco’s Design: Lula Cardoso Ayres." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0026.

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Bártolo, Carlos. "Being modern while rejecting modernism, being traditional while dismissing tradition: a brief study of the Portuguese first seven Pousadas (1942-1948)." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0025.

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ARMSTRONG, Leah, Tania MESSELL, and Harriet ATKINSON. "Modernisms’ locations I: "Forging a bridge of understanding"? The emergence of national and transnational design organisations, 1930–1970." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_014.

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Cabral, Maria Izabel Rêgo, Virgínia Pereira Cavalcanti, and Evandro Alves Barbosa Filho. "O MODERNISMO ITALIANO E O DEBATE SOBRE A CASA SIMPLES A PARTIR DO PENSAMENTO DE LINA BO BARDI." In 12º Congresso Brasileiro de Pesquisa e Desenvolvimento em Design. São Paulo: Editora Blucher, 2016. http://dx.doi.org/10.5151/despro-ped2016-0043.

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Florio, Wilson, and Ana Tagliari. "Investigação sobre os Espaços Internos de Residências Modernas a partir de Simulações Digitais de Ambientes." In XVIII Conference of the Iberoamerican Society of Digital Graphics - SIGraDi: Design in Freedom. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-sigradi2014-0115.

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Aglieri Rinella, Tiziano. "Le Corbusier’s uncanny interiors." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.708.

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Abstract: The reception of Le Corbusier’s early buildings in Paris provoked an astonishing sensation of shock and estrangement in the public of the time. This troubling sensation of wonder is still alive today, after almost a century from their construction, and it is particularly vivid in some of the interiors, as we can notice from the photographic documentation of the time. Sigmund Freud, in his book “The interpretation of dreams”, underlined the direct relation existing between the interior of the human psyche and the interior of the house a subject lives in. He defined the interior of each man’s home as a sort of “diagnostic box” of the human mind, able to disclose the psyche of the individual, expressing his dreams, desires and obsessions. In his purist houses, Le Corbusier seems to have imposed his overwhelming personality on the clients, somehow expressing his own idealistic dream of the city of the future and foreseeing the visionary scenarios of a modernist utopia. This paper’s goal is to present a psychoanalytic reading of Le Corbusier’s buildings of the time, analyzing a number of significant examples in order to identify their uncanny effects, disclosing the hidden relations between cause and effect, and decoding the related composing technics used in the interior design. Resumen: La recepción de los primeros edificios de Le Corbusier en París provocó una sensación asombrosa de shock y extrañamiento en el público de la época. Esta sensación inquietante de asombro sigue vivo hasta hoy, después de casi un siglo de su construcción, y es particularmente viva en algunos interiores, como podemos observar en la documentación fotográfica de la época. Sigmund Freud, en su libro "La interpretación de los sueños", subrayó la relación directa existente entre el interior de la psique humana y el interior de la casa donde un sujeto vive. Él definió el interior de la casa de cada hombre como una especie de "caja diagnóstica"de la mente humana, capaz de revelar la psique del individuo, expresando sus sueños, deseos y obsesiones. En sus casas puristas, Le Corbusier parece haber impuesto su personalidad arrolladora en los clientes, expresando de alguna manera su propio sueño idealista de la ciudad del futuro y previendo los escenarios visionarios de una utopía modernista. El objetivo de este trabajo es de presentar una lectura psicoanalítica de los edificios de Le Corbusier de la época, analizando una serie de ejemplos significativos con el fin de identificar sus efectos extraños, revelar las relaciones ocultas entre causa y efecto, y decodificando las relativas técnicas compositivas utilizadas en el diseño de los interiores. Keywords: Le Corbusier; Interiors; Architecture; Uncanny; Freud; Surrealism. Palabras clave: Le Corbusier; Interiores; Arquitectura; Perturbador; Freud; Surrealismo DOI: http://dx.doi.org/10.4995/LC2015.2015.708
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Jacobus, Frank, and Marc Manack. "Remote Control: The Natural Language of Architecture." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.30.

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The architectural design process is a means of translating information into form, and has long relied on indirect (“remote”) control mechanisms for communicating and translating the architect’s authorial intent into a built work. These methods have generally evolved from a more direct, physical basis, as both technology and the discipline have evolved. To communicate design ideas, architects have relied on methodologies that range from an extreme desire for control, to models that attempt to relinquish many controls entirely. Early communication models, in part due to lack of material, form, and program diversity, allowed for a less systematic and complex descriptive method; inscriptions in the earth, physical detail models along with a set of instructions, or simple scale models of the intention were all that was required.2 As cultures and their technologies advanced, communication methods such as scaled orthographic drawings, specifications and other forms of written instructions, and now fully realized Building Information Models, have become normative practice in a profession that looks for total control of the built work before it is physically realized. Apart from the communicative control models mentioned above, there are authorial models which have also progressed in complexity and abstraction alongside societal advancements. In the discipline’s infancy, authorship involved subtle evolutions of proportion and order within a well-established typological system. In modernism, the authorial models evolved as architects experimented with increased typological invention in response to a radically changing technological and social environment. Advancing to the contemporary “digital” moment, architects continue to develop systems to control complexities within the work, mapping strategies that deal with collecting and spatializing data, while others see contemporary design tools as a means to relinquish some design control to outside forces whose unexpected potential is compelling. This paper gives examples of remote communicative and authorial controls, and posits a new theory of the potential meaningful effects of leveraging these control mechanisms in new ways using three projects by SILO AR+D.
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