Academic literature on the topic 'Modernismi'
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Journal articles on the topic "Modernismi"
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Korhonen, Kuisma, Martti-Tapio Kuuskoski, Yrjö Varpio, and Outi Pasanen. "Arvostelut." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 2 (June 1, 2008): 65–80. http://dx.doi.org/10.30665/av.74735.
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Kuisma Korhonen Ekokriittisiä esseitä vegaanidandyille ja muille taantumuksellisille Antti Nylén: Vihan ja katkeruuden esseet. Timo Hännikäinen: Taantumuksellisen uskontunnustus. Martti-Tapio Kuuskoski Modernismi ja avantgarde paketissa? Sakari Katajamäki & Harri Veivo (toim.): Kirjallisuuden avantgarde ja kokeellisuus. Peter Gay: Modernism. The Lure of Heresy From Baudelaire to Beckett and Beyond. Yrjö Varpio Suomalaisia talonpoikia vai pohjoisen rodun edustajia? Hana Worthen: Playing “Nordic”: The Women ofNiskavuori, Agri/Culture, and Imagining Finland on the Third Reich Stage. Outi Pasanen ”Schwarze Milch der Frühe”: Celan metaforan tuolla puolen Pajari Räsänen: Counter-figures. An Essay on Anti-Metaphoric Resistance.
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Westerlund, Jasmine. "Modernismi, arki ja Kolme vuorokautta." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 4 (December 1, 2010): 45–57. http://dx.doi.org/10.30665/av.74819.
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Ojam, Indrek. "Modernismi muutuv tähendus eesti kirjanduskultuuris. Rekonstrueerimiskatse." Keel ja Kirjandus 61, no. 7 (July 2018): 541–59. http://dx.doi.org/10.54013/kk728a2.
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Cangiano, Mimmo. "Aspetti del modernismo fascista (Italia, Francia, Germania: 1918-1939)." ENTHYMEMA, no. 28 (January 1, 2022): 125–44. http://dx.doi.org/10.54103/2037-2426/14447.
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La cultura fascista è spesso associata con un’attitudine anti-modernista. In realtà, come questo articolo intende dimostrare, tematiche moderniste attraversano costantemente la cultura di estrema destra in Italia come in Francia e in Germania. Diversamente dal libro ormai canonico di Roger Griffin (Modernism and Fascism, 2007), questo articolo non analizza il mito della ‘rigenerazione’ etnico-nazionale (mito che, sostengo, è presente anche nelle prospettive anti-moderniste), ma focalizza in particolare sulla glorificazione culturale dell’industria e della tecnica, e poi sulla riconciliazione dell’arte con lo scenario industriale. Attraverso un’ampia ricognizione del milieu culturale francese, tedesco e italiano, l’articolo presenta al lettore una prima mappatura concernente la complessa relazione fra modernismo e cultura fascista.
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BURNS, CHELSEA. "Reiterating Hierarchy and the Failed Promise of the Global." Twentieth-Century Music 20, no. 3 (October 2023): 378–401. http://dx.doi.org/10.1017/s147857222300018x.
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AbstractThe idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's shadow’ – the negative counterexample that confirms modernism's progressive image. Global musical modernism suggests that modernism can shed its exclusionary identity and encompass more. But it hides how modernism has always been international, and how composers such as Chávez have been central to its construction. By ignoring modernism's historical realities, global musical modernism shores up existing understandings and maintains the marginal status of whatever is categorized as ‘global’.
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Beleza, Fernando. "Mário Domingues, Race, and the Black Modernist Novel in Portugal ( O preto do Charleston [1929])." Portuguese Studies 40, no. 1 (2024): 30–45. http://dx.doi.org/10.1353/port.00004.
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Abstract: This article explores the novel O preto do Charleston (1929), by the Black Portuguese writer, journalist, anarchist, and anti-racist/anti-colonial activist Mário Domingues (1899–1977), considered against the backdrop of the racial regimes of Portuguese modernism and the transnational currents of the Black Atlantic. It argues that Domingues's political thought and the cultural influences of the Black Atlantic, along with his place as a Black intellectual and artist in early twentieth-century Lisbon, shaped his literary production, whilst the exploration of modernist literary themes and aesthetics in his novel offered the Príncipe-born writer new and original ways of addressing his anti-racist, anti-colonial, and anarchist ideas. More precisely, I propose that, in O preto do Charleston , Domingues challenged Fernando Pessoa's (1888–1935) narrative of aesthetic and national renewal with a Black modernist critique of modernity and its racial hierarchies, claiming a place for his literary production in the context of both Portuguese modernism and the modernisms of the Black Atlantic. Resumo: Este artigo explora a novela O preto do Charleston (1929), do escritor, jornalista, anarquista e activista antirracista/anticolonial português Mário Domingues (1899–1977), considerada no contexto dos regimes raciais do modernismo português e das correntes transnacionais do Atlântico Negro. Argumento que o pensamento político de Domingues e as influências culturais do Atlântico Negro, juntamente com o seu lugar enquanto intelectual e artista negro no início do século XX lisboeta, moldaram a sua produção literária, enquanto o recurso a temas literários e opções estéticas modernistas ofereceram ao escritor nascido na Ilha do Príncipe formas novas e originais de tratamento das suas ideias antirracistas, anticoloniais e anarquistas. Mais precisamente, proponho que, em O preto do Charleston , Domingues desafiou a narrativa de renovação estética e nacional de Fernando Pessoa (1888–1935) através de uma crítica modernista Negra da modernidade e das suas hierarquias raciais, afirmando um lugar para a sua produção literária simultaneamente no contexto do modernismo português e dos modernismos do Atlântico Negro.
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Love, Heather. "Introduction: Modernism at Night." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 744–48. http://dx.doi.org/10.1632/pmla.2009.124.3.744.
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Is Queer modernism simply another name for modernism?As Douglas Mao and Rebecca L. Walkowitz note in their introduction to the 2006 collection Bad Modernisms, “[T]here were numerous ways of being outside in the early twentieth century” (7). Efforts over the past several decades to imagine modernism as an expanded field have been remarkably successful. Female modernism, African American modernism, queer modernism, sentimental modernism, low- and middlebrow modernism, and colonial, postcolonial, and anticolonial modernism have all been integrated into a renewed understanding of modernism (or modernisms, as it is often written). In addition, the rethinking of modernism as a set of aesthetic movements in relation to a larger context of global modernity and modernization has turned the inside out. Since few modernists, on closer inspection, appear to have stayed high or dry, bad modernism, outsider modernism, and marginal modernism begin to look more and more like modernism itself.
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Lopez, Telê Ancona. "Mário de Andrade cronista de São Paulo nos primórdios do modernismo." Remate de Males 33, no. 1-2 (June 17, 2015): 51–89. http://dx.doi.org/10.20396/remate.v33i1-2.8636446.
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O artigo trabalha, no jornalismo de Mário de Andrade, textos de 1920 e 1921, vinculados aos primórdios do modernismo. Palavras-chave: Jornalismo de Mário de Andrade, Modernismo brasileiro, poesia modernista. The article studies in Mario de Andrade's journalism, his contribution concerning to the beginning of Brazilian Modernism in 1920-1921.
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Bira, Alwen. "Pengetahuan Ditinjau dalam Perspektif Posmodernisme." Philoxenia: Jurnal Teologi dan Pendidikan Kristiani 2, no. 1 (December 1, 2023): 45–51. http://dx.doi.org/10.59376/philo.v2i1.24.
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Postmodernism cannot be separated from modernism. Modernism's paradigm that science is absolute and objective means that humans cannot judge it. This is where a new thought called postmodernism was born which became a continuation of modernism which gave a new view of science. This study uses a type of qualitative research with hermeneutic methods, descriptions and comparisons to answer the problem. The conclusion of this study shows that postmodernism is a movement that criticizes science for the tradition of modernism whose influence on rationalism, materialism and capitalism is supported by science and destroys human dignity. Postmodernism emerged due to the failure of modernism which raised human dignity and failed to bring human life to a better direction, free from violence.AbstrakPostmodernisme tidak dapat dipisahkan dari pemikiran modernisme. Pemikiran modernisme menekankan ilmu pengetahuan yang bersifat mutlak dan objektif yang berarti manusia tidak dapat menilainya. Dari sinilah awal mula lahir pemikiran baru yang disebut postmodernisme yang menjadi keberlanjutan dari modernisme yang memberi pandangan baru tentang ilmu pengetahuan. Penelitian ini menggunakan jenis penelitian kualitatif dengan metode penelitian yang digunakan untuk meneliti pada kondisi obyek yang alamiah, deskripsi dan komparasi untuk menjawab masalah. Kesimpulan dari penelitian ini bahwa posmodernisme merupakan gerakan kritik ilmu pengetahuan atas tradisi modernisme yang pengaruhnya pada rasionalisme, materialisme dan kapitalisme yang didukung oleh ilmu pengetahuan dan menghancurkan martabat manusia. Muncul Postmodernisme disebabkan karena gagalnya modernisme yang mengangkat harkat dan martabat manusia
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Birman, Joel. "A genealogia da psicanálise: a problemática da influência na crítica freudiana do dispositivo da hipnose e na constituição do dispositivo da transferência (The psychoanalysis genealogy: the problematic of influence in Freudian critics of the hipnosys ...)." Estudos da Língua(gem) 11, no. 1 (June 30, 2013): 9. http://dx.doi.org/10.22481/el.v11i1.1209.
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A intenção deste ensaio é demonstrar a inscrição do discurso freudiano na tradição do modernismo, mediante a crítica que realizou do dispositivo da hipnose e a constituição do dispositivo da transferência, numa perspectiva genealógica.Palavras-chave: Modernismo. Influência. Transferência.
ABSTRACTThis essay intends to demonstrate the application of the Freudian discourse in modernism’s tradition, through it’s critical reflexion over the hypnosis device and the constitution of a transference device, in a genealogical perspective.Keywords: Modernism. Influence. Transference.
Dissertations / Theses on the topic "Modernismi"
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Toivonen, Pirjo-Maija. "Aila Meriluodon varhaislyriikan modernismi ja sen tausta tekstianalyyttinen tutkimus modernismin estetiikasta ja historiasta /." Jyväskylä : Jyväskylän yliopisto : Jakaja, Jyväskylän yliopiston kirjasto, 1986. http://catalog.hathitrust.org/api/volumes/oclc/16467820.html.
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Bertolazzi, Angelo <1978>. "Modernismi Litici 1922-1942. La pietra nell'Architettura Moderna." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5416/1/bertolazzi_angelo_tesi.pdf.
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Leggere il progetto del Moderno e le sue culture costruttive in relazione alla storia e allo sviluppo della tecnologia, consente di esplorare alcuni aspetti dell’Architettura Moderna in Europa. Oltre alla più famosa, e maggiormente studiata, triade dei materiali ‘moderni’ – l’acciaio, il calcestruzzo e il vetro – la pietra ha svolto un importante ruolo nella definizione sia dello stile che della costruzione moderna.
La costruzione in pietra è stata sempre associata alla tradizione e quindi deliberatamente dimenticata dal Movimento Moderno, durante la fase cruciale della modernizzazione della società e quindi dell’architettura e della costruzione. La pietra tuttavia testimonia la delicata transizione dalla tradizionale arte del costruire alle nuove tecnologie.
La ricerca ha studiato l’evoluzione delle tecniche costruttive in pietra in Francia ed in Italia, durante gli anni ’20 e ’30, in relazione alle nuove tecniche industrializzate e i linguaggi delle avanguardie. La ricerca è partita dallo studio dei manuali, delle riviste e dei progetti presentati sulle loro pagine.
In Italia e in Francia il rivestimento in pietra si afferma come un sistema costruttivo ‘razionale’, dove la costruzione moderna converge lentamente verso nuove soluzioni; questo sistema ha avuto negli anni ’20 e ’30 un ruolo centrale, nel quale è stato possibile un dialogo, senza contraddizioni, tra i materiali ‘moderni’ e la pietra.
L’evoluzione dalle tradizionali tecniche costruttive verso i nuovi sistemi tecnologici, ha determinato una nuova costruzione in pietra che è alla base di una modernità che non rifiuta questo materiale tradizionale, ma lo trasforma secondo i nuoci principi estetici.Reading the project of the Modern and its constructive cultures in relation to the historical conditions and the technology, allows exploring some aspects of Modern Architecture in Europe. Besides the traditional, more studied and known triad of "moderns" materials, steel, concrete and glass, the stone also played an important role, in the definition both of "modern construction and modern style". The construction in stone was always associated with the tradition and then forgotten by the Modern Movement, during the crucial phase of society’s "modernization" and therefore its architecture and construction. The stone however explains this delicate transition from the traditional art of building in stone to the new technologies. The research studies this evolution of construction techniques in stone in France and Italy during the '20s and '30s, related to the new industrialized construction and the avant-garde languages. It begins with the study of technical manuals, the reviews and the projects presented on its pages. The stone cladding, in Italy and France, grows as a model of constructive rationality, where "modern" building techniques slowly converge toward to new solutions. The modern cladding in stone during the '20s '30s has a central role, where the dialogue is possible, without contradiction, between the materials so-called "modern" and the stone. The evolution from traditional techniques to new technological systems determined a new construction in stone that is the basis of modernity and that doesn’t reject this traditional material, but transforms it according to the new aesthetic principles.
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Bertolazzi, Angelo <1978>. "Modernismi Litici 1922-1942. La pietra nell'Architettura Moderna." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5416/.
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Leggere il progetto del Moderno e le sue culture costruttive in relazione alla storia e allo sviluppo della tecnologia, consente di esplorare alcuni aspetti dell’Architettura Moderna in Europa. Oltre alla più famosa, e maggiormente studiata, triade dei materiali ‘moderni’ – l’acciaio, il calcestruzzo e il vetro – la pietra ha svolto un importante ruolo nella definizione sia dello stile che della costruzione moderna.
La costruzione in pietra è stata sempre associata alla tradizione e quindi deliberatamente dimenticata dal Movimento Moderno, durante la fase cruciale della modernizzazione della società e quindi dell’architettura e della costruzione. La pietra tuttavia testimonia la delicata transizione dalla tradizionale arte del costruire alle nuove tecnologie.
La ricerca ha studiato l’evoluzione delle tecniche costruttive in pietra in Francia ed in Italia, durante gli anni ’20 e ’30, in relazione alle nuove tecniche industrializzate e i linguaggi delle avanguardie. La ricerca è partita dallo studio dei manuali, delle riviste e dei progetti presentati sulle loro pagine.
In Italia e in Francia il rivestimento in pietra si afferma come un sistema costruttivo ‘razionale’, dove la costruzione moderna converge lentamente verso nuove soluzioni; questo sistema ha avuto negli anni ’20 e ’30 un ruolo centrale, nel quale è stato possibile un dialogo, senza contraddizioni, tra i materiali ‘moderni’ e la pietra.
L’evoluzione dalle tradizionali tecniche costruttive verso i nuovi sistemi tecnologici, ha determinato una nuova costruzione in pietra che è alla base di una modernità che non rifiuta questo materiale tradizionale, ma lo trasforma secondo i nuoci principi estetici.Reading the project of the Modern and its constructive cultures in relation to the historical conditions and the technology, allows exploring some aspects of Modern Architecture in Europe. Besides the traditional, more studied and known triad of "moderns" materials, steel, concrete and glass, the stone also played an important role, in the definition both of "modern construction and modern style". The construction in stone was always associated with the tradition and then forgotten by the Modern Movement, during the crucial phase of society’s "modernization" and therefore its architecture and construction. The stone however explains this delicate transition from the traditional art of building in stone to the new technologies. The research studies this evolution of construction techniques in stone in France and Italy during the '20s and '30s, related to the new industrialized construction and the avant-garde languages. It begins with the study of technical manuals, the reviews and the projects presented on its pages. The stone cladding, in Italy and France, grows as a model of constructive rationality, where "modern" building techniques slowly converge toward to new solutions. The modern cladding in stone during the '20s '30s has a central role, where the dialogue is possible, without contradiction, between the materials so-called "modern" and the stone. The evolution from traditional techniques to new technological systems determined a new construction in stone that is the basis of modernity and that doesn’t reject this traditional material, but transforms it according to the new aesthetic principles.
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Bertolazzi, Angelo. "Modernismi litici (1922-1942) : la pietra nell' Architettura moderna." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST1047.
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L'architecture moderne des années 20 et 30 est en général caractérisée par un usage des nouveaux matériaux que son l'acier, le béton et le verre. Pourtant la pierre a joué également un rôle important, quoique plus modeste, dans la définition du "style moderne", rôle qui a été peu étudié dans les nombreux travaux qui ont porté sur cette période. Pendant des siècles, la "construction pierre par pierre", a été un aphorisme de la culture occidentale qui renvoyant à l'action archaïque de construire, que ce soit au niveau de bâtiment ou de la ville. C'est la raison pour laquelle elle a toujours été associée à la tradition, et délibérément occultée par le Mouvement Moderne. Cependant elle témoigne bien des transformations en cours de la phase cruciale de la "modernisation" de la société et donc de l'architecture et de la construction. La pierre est aussi un excellent lieu d'analyse de la phase délicate de transition d'un tissu technique et commerciale traditionnel, vers une industrialisation naissante et des nouvelles technologies qui lui sont liéesReading the project of the Modern and its constructive cultures in relation to the historical conditions and the technology, allows exploring some aspects of Modern Architecture in Europe. Besides the traditional, more studied and known triad of "moderns" materials, steel, concrete and glass, the stone also played an important role, in the definition both of "modern construction and modern style". The construction in stone was always associated with the tradition and then forgotten by the Modern Movement, during the crucial phase of society's "modernization" and therefore its architecture and construction. The stone however explains this delicate transition from the traditional art of building in stone to the new technologies
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Vale, Julio. "O modernista no antiquário = Pedro Nava, as Memórias e o modernismo." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270231.
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Orientador: Antonio Arnoni PradoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-17T15:55:00Z (GMT). No. of bitstreams: 1 Vale_Julio_D.pdf: 2239629 bytes, checksum: e925bd3fa69fc1aeb3ede36a5f1f8477 (MD5) Previous issue date: 2011
Resumo: Este estudo pretende compreender as Memorias de Pedro Nava enquanto um produto tardio do movimento modernista. Para isto, investiga especialmente as relações desta obra com o modernismo de Mário de Andrade, de cujas ideias o memorialista julga-se devedor. Progressivamente, a análise encaminha-se de modo a demonstrar as peculiaridades da obra de Nava, notadamente a sua atração pela literatura fin de siècle e, sobretudo, a sua peculiar concepção de tempo - traço mais visível quando comparada à obra de outros colegas de movimento, como Carlos Drummond de Andrade e Murilo Mendes (outros memorialistas tardios) ou ainda Oswald de Andrade. Esta peculiar concepção de tempo colaborará para, na "Conclusão" do trabalho, compor a feição tardia do ciclo naviano, então entendido numa chave saidiana (isto é, de acordo com Edward Said em Estilo Tardio). Com isto, espera-se justificar, mais especificamente, a posição insular das Memórias no contexto do modernismo brasileiro
Abstract: This work examines the Pedro Nava's Memorias as a late product of the Modernist movement. In this sense, we study the relationship of this text with the Modernism conceived by Mario de Andrade (whose ideas have influenced a lot Nava in the 20s). Subsequently, the analysis aims to demonstrate the peculiarities of Nava's Memorias, highlighting the importance of Symbolist-Decadent movement and the peculiar concept of time proposed in this memorial narrative. In the latter case, the Memorias are compared with other modernist works: late memoirists as Carlos Drummond de Andrade and Murilo Mendes (besides, in another chapter, Oswald de Andrade's poems) illustrate this critical path. In the "Conclusion", this peculiar conception of time is important to understand this memories as late work (according to the ideas of Edward Said in his book On Late Style). This is intended to describe the insular position of Nava's Memorias in the context of Brazilian Modernism
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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Duarte, Miguel de Avila. "Leite criôlo: da rede modernista nacional à memória monumental do modernismo." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/ECAP-8J2QJ4.
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O presente trabalho investiga, sob ângulos variados, o periódico modernista brasileiro 'leite criôlo', publicado em Belo Horizonte ao longo do ano de 1929 e dirigido por João Dornas Filho, Aquiles Vivacqua e Guilhermino César. O relativo esquecimento ao qual foi relegado é abordado a partir da noção de 'memória monumental do modernismo'. A sua inserção no meio modernista dos anos 1920, descrito aqui como 'rede modernista nacional', é explorada tanto pela via da crítica biográfica quanto pela comparação com a obras-chave do modernismo daquele momento. Por fim, a face programática do periódico é relacionada com múltiplas leituras das relações entre nacionalidade, raça, cultura e primitivismo presentes naquele contexto, concebidas a partir do conceito clássico de transculturação narrativa.
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Lévy, Marjolaine. "Histoires de modernologues. Formes et significations du retour du modernisme historique dans la création contemporaine." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040093.
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Du Bauhaus à De Stijl, du Constructivisme au Style international ou au Mouvement moderne, le modernisme historique n’aura pas seulement occupé les historiens de l’architecture et du design. Il est en effet devenu, depuis une vingtaine d’années, un objet d’investissement à part entière d'un grand nombre d'artistes de toutes provenances. Au tournant des années 2000, ce phénomène de références, d'évocations, de déplacements, de réappropriations, de mises à distance ou de célébrations, a pris une ampleur telle que de nombreuses expositions en Europe et en Amérique du Nord l'ont interrogé, en le réduisant toutefois le plus souvent à une mouvance ruiniste, empreinte de nostalgie, qui n'est pas confirmée par une étude attentive des œuvres. Loin de toute vaine prétention à l’exhaustivité, notre recherche a opté pour une focale centrée sur les œuvres. Au risque d’un peu de myopie où pourrait sembler se perdre une conscience globale du phénomène historique traité, le parti est ici pris d’analyser individuellement les pratiques. L’étude des divers cas retenus conduit à différentes hypothèses et lectures, qu'on espère inédites. Si tous les travaux analysés ont en commun de se référer au modernisme, de prendre celui-ci pour objet à travers telle ou telle de ses réalisations, on verra qu’il est impossible de conférer un sens unitaire à pareil tropisme. L'indispensable proximité avec les œuvres aura ainsi permis de prendre non pas l’unique mais les mesures plurielles d’un phénomène qui aura indéniablement marqué la création artistique des dernières décennies, et continue de la marquerFrom Bauhaus to De Stijl, from Constructivism to the International Style or the Modern Movement, historical modernism has kept more than architecture and design historians busy. In fact, in the last twenty years, it has become a focus of investment in its own right for a large number of artists from all walks of life. At the turn of the century, this phenomenon of references, evocations, displacements, reappropriations, distancing or celebrations took on such a magnitude that many exhibitions in Europe and North America addressed it. However, it was primarily reduced to a ruinist movement, full of nostalgia, which is not discerned by a careful study of the works. Without pretense of being exhaustive, our research has chosen to focus on the works. At the risk of being slightly myopic, where a global consciousness of the historical phenomenon treated might seem lost, we seek to analyze individual practices. The study of the various cases selected leads to different hypotheses and readings, which we hope are novel. If the common thread of all the analyzed works is to refer to modernism, to take it as object through one or other of its achievements, we will see that it is impossible to confer a unitary meaning on such tropism. The indispensable proximity to the works will thus make it possible to take not the exclusive but the plural measures of a phenomenon that will undoubtedly mark the artistic creation of the last decades, and continues to mark it
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Vizoso, Pedro Jose. "Madrid Modernista: Espacios Urbanos Madrilenos en la Literatura Bohemia del Modernismo Espanol." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195069.
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This study offers an analysis of the interaction between urban spaces and bohemian literature in Madrid around 1900. I argue that bohemianism and bohemian literature are actually part of a very well structured cultural discourse--a discourse of social resistance--and must be studied as such. At the same time, the obvious urban nature of this phenomenon is a deciding aspect of it. In order to know how the bohemian discourse evolved in Madrid from 1850s to 1920s--from Realism to Modernismo--we have to study the core and reciprocal relationship between bohemianism and the city. This issue has not yet been explored within Hispanism, in spite of the fact that it provides a very useful perspective for considering the period as a synthesis of intellectual and artistic matters.In my dissertation I engage the essential aspects of bohemianism in the turn of the twentieth century Spanish literature. I focus on the characterization and use of space in the bohemian discourse of Peninsular Modernismo. My starting point is the description and characterization of such a discourse as it has been constructed, analyzing how it takes form in a variety of different kind of texts. I study the construction and evolution of its "cartographic imaginary" (David Harvey), an image of the city that bohemian literature uses to resist the bourgeois order imposed on Madrid's urban spaces and the capitalistic process that supports it. I argue that bohemianism was taken by the peninsular version of Hispanic Modernismo as its central aesthetic discourse. Consequently, and because of the subaltern and marginal nature of it, Modernismo could never position itself at the central stage of the 1900s Spanish culture.
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Öçal, Huriye Beyhan Şefika Gülin. "Isparta kent kimliğinde modernizmin yansımaları ve modernizm etkisindeki konut mimarisi /." Isparta : SDÜ Fen Bilimleri Enstitüsü, 2008. http://tez.sdu.edu.tr/Tezler/TF01147.pdf.
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Romero, Martínez José María. "Eduard Maria Balcells i Buigas. Un arquitecte de darrera generació modernista al Vallès Occidental." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/385927.
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La tesi “Eduard Maria Balcells Buïgas. Un arquitecte de darrera generació modernista al Vallès Occidental” pretén abordar la producció de l’arquitecte i contextualitzar-la des d’una doble perspectiva. Per una banda destacant la rellevància que va tenir des d’un vessant local i comarcal pel que fa a la difusió del modernisme i dels successius moviments arquitectònics. L’estudi de la seva trajectòria, les obres i diverses tipologies i camps als què es va dedicar han de permetre també definir les possibles aportacions de Balcells, l’interès de la seva producció i el paper que li correspon dins de l’arquitectura catalana. En aquest sentit el vitrall té una gran transcendència i el reconeixement de la seva autoria en obres de gran rellevància és un dels objectius prioritaris d’aquest treball.
Eduard M. Balcells Buïgas (Barcelona 1877-1965) pertany a la darrera generació d’arquitectes modernistes. Obtingué el títol el 1905 i el mateix any guanyava la plaça d’arquitecte municipal a Cerdanyola. Va centrar la seva producció a la ciutat de Barcelona i al Vallès, principalment a Cerdanyola i Sabadell. Balcells és testimoni dels diferents corrents arquitectònics de començaments de segle XX que es van anar imposant a Catalunya. La seva producció es pot dividir en cinc períodes marcats per opcions estilístiques ben diferenciades: la primera etapa modernista (1905-1910), de la desclosa centreuropea a la irrupció del noucentisme (1910-1919), noucentisme regionalisme i modernitat (1920-1936) i monumentalisme i academiscisme eclèctic de postguerra (1939-1959). Si durant l’època modernista Balcells s’havia caracteritzat per la síntesi de models internacionals, el període de maduresa representarà el trencament amb els seus inicis i la recuperació de l’arquitectura vernacla i el classicisme.
El més personal de la seva trajectòria coincideix amb el període modernista on s’integra dins la darrera generació d’aquest moviment. Els primers anys es caracteritzen per una gran originalitat, la profusió de recursos decoratius i un cert orientalisme. Balcells assimilarà el llenguatge dels arquitectes catalans que el precediren, tot incorporant trets molt personals que caracteritzaran la seva producció més destacada. Destaquen obres com la Casa Tosquella, la Casa Mestres, la Casa Gual i la Casa Lluch, la majoria dins la tipologia de torre d’estiueig. Durant la segona dècada del segle XX la producció de Balcells denota una gran influència de models centreuropeus, que el durà a abandonar definitivament la personal interpretació del gòtic per endinsar-se en un modernisme de simplificació geomètrica. Al llarg d’aquesta etapa, i arran del seu matrimoni amb Eugènia Gorina, realitzarà nombrosos edificis industrials i panteons a Sabadell. Destaquen el projecte del Lawn Tennis del Turó, el conjunt de vitralls de la Casa López (actual Museu d’Art de Cerdanyola), la Casa Carles Balcells, la Fàbrica Sampere, la Fàbrica Sallarés Deu, el Despatx Genís i Pont, la Fàbrica “La Pureza”, el Panteó Carol i el Castell de Rocabruna. Cap el 1920 l’obra de Balcells experimentarà un gran canvi amb l’adopció de les propostes classicitzants del noucentisme. Durant els primers anys d’aquesta etapa, Balcells es decanta per un classicisme modern. Per altra banda, entre finals dels anys vint i els primers trenta, la influència del racionalisme i l’art déco, s’evidencien en obres com la Fàbrica Rocalla, el projecte de Biblioteca de la Caixa de Sabadell i els pisos Benages. Per aquells anys, s’afegirà amb el Pavelló de l’Associació dels Ramaders de l'Exposició de Barcelona de 1929 a la recuperació de l’arquitectura tradicional i el regionalisme. A partir de la Guerra Civil abunden els exemples d’una arquitectura eclèctica que mira cap el passat marcada per l’academicisme i l’arquitectura monumental. Balcells, al final de la seva carrera aconsellava al seu fill l’ús d’un classicisme que no passa de moda, alhora que es penedia de les obres més agosarades de la seva joventut.The thesis titled “Eduard Maria Balcells Buïgas. A latest-generation modernist architect in the Vallès Occidental region” intends to approach the architect's production and set it in a context from a double perspective, emphasising the relevance he had both from a local and regional aspect in connection with the spreading of modernism and the subsequent architectural movements. The study of his career, his works, and the various typologies and fields he devoted himself to should also allow to define the possible contributions by Balcells, the interest in his production and his role in Catalan architecture. In this respect, the stained glass window is of great importance and the acknowledgement of Balcells as the author of very relevant works is one of the main aims of this thesis. Eduard M. Balcells Buïgas (Barcelona 1877-1965) belongs to the latest generation of modernist architects. He graduated in 1905, and he got selected by competitive examination for the post of Council Architect in Cerdanyola in the same year. He focused his production on the city of Barcelona and the Vallès region, mainly on the towns of Cerdanyola and Sabadell. Balcells witnessed the different early 20th-century architectural trends that were becoming popular in Catalonia. His production may be divided in five periods marked by well distinguished stylistic options: the first modernist period (1905-1910), from the burst into the Central European scene to the emergence of Noucentisme (1910-1919), Noucentisme, Regionalism and Modernity (1920-1936), and Monumentalism and Post-War Eclectic Academicism (1939-1959). Over the modernist period Balcells was characterised by synthesising international models, and the maturity period represents a break with his beginnings and the recovery of local architecture and classicism. The most personal period of his career coincides with the modernist period, and he integrates within the latest generation of that movement. His first years are distinguished by a great deal of originality, a wealth of decorative resources and a certain orientalism. Balcells assimilates the language used by the Catalan architects that preceded him, adding a series of very personal features that characterise his most outstanding production. Some of his most distinguished works are Casa Tosquella, Casa Mestres, Casa Gual and Casa Lluch, most of them within the summer house typology. Balcells's production over the second decade of the 20th century denotes a great influence of Central European models, which leads him to definitely abandon the personal interpretation of Gothic art in order to go in depth into a modernism based on geometric simplification. Over this period, and as a result of his marriage to Eugènia Gorina, he carries out numerous industrial buildings and mausoleums in Sabadell. We may highlight Lawn Tennis del Turó, the set of stain glass pieces of Casa López (current Cerdanyola Art Museum), Casa Carles Balcells, the Sampere Factory, the Sallarés Deu Factory, the Genís i Pont offices, the “La Pureza” Factory, Carol Mausoleum and Rocabruna Castle. Around 1920, Balcells's works experience a great change due to the adoption of classicising proposals from Noucentisme. Balcells opts for a modern classicism over the first years of this period. Besides, between the late 20s and early 30s, the influence of rationalism and art déco is evident in works such as the Rocalla Factory, the Caixa de Sabadell Library project and the Benages apartments. While making the Cattle-breeders Association Pavilion built for the 1929 Barcelona International Exhibition, he joins the recovery of traditional architecture and regionalism. After the Spanish Civil War he shows plenty of examples of an eclectic architecture that looks back in history and is marked by academicism and monumental architecture. By the end of his career, Balcells recommends his son using a classicism that does not go out of fashion, while regretting his youth's most ground-breaking works.
Books on the topic "Modernismi"
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Colquhoun, Alan. Modernismi, historismi. Helsinki: Suomen Rakennustaiteen Museo, 1989.
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Giovanni, Cianci, ed. Modernismo/modernismi: Dall'avanguardia storica agli anni Trenta e oltre. Milano: Principato, 1991.
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Koho, Timo. Modernismi suomalaisessa arkkitehtuurissa 1900-1960. Helsinki: Rakennustieto, 1999.
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Forselles, C. J. af. Kultakausi ja modernismi Suomessa 1870-1960. [Kerava: Keravan taide- ja kulttuuriyhdistys, 1995.
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1835-1914, Pius X. Pope, and Catholic Church. Congregatio Sancti Officii, eds. Acta Pii PP. X: Modernismi errores reprobantis. Oeniponte [Innsbruck]: Feliciani Rauch, 1985.
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Cippitelli, Lucrezia. Eurocentrismo, modernismi, arte globale, estetiche della resistenza. Roma: Bulzoni, 2013.
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Connah, Roger. Sa[l]vaged modernism: Re-inventing Finnish architecture. Helsinki: Rakennustieto (Building Information), 2000.
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Connah, Roger. Sa[l]vaged modernism: Re-inventing finnish architecture. Helsinki: Rakennustieto Oy (Building Information Ltd), 1999.
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Bertolazzi, Angelo. Modernismi litici: 1920-1940 : il rivestimento in pietra nell'architettura moderna. Milano, Italy: FrancoAngeli, 2015.
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Sassi, Mirja. Modernismi murtuu: Postmoderni kulttuuriasenne muuttaa arkkitehtuuria, kuvataiteita ja muotoilua : miksi ja miten? Helsinki: Rakennuskirja, 1985.
Find full textBook chapters on the topic "Modernismi"
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Livak, Leonid. "Penser la phase perdue du modernisme russe." In Biblioteca di Studi Slavistici, 259–78. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-507-4.19.
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This paper proposes a revision of Russian modernism’s politically-motivated chronology and geography through the integration of two academic subfields – modernist and exilic studies. Such an integrative approach allows us better to position Russian modernist culture vis-à-vis its western counterparts, returning our research subject to its original context in the larger, international modernist field. The paper will subsequently offer a tentative sketch of the aesthetic and philosophical premises of late Russian modernism against the backdrop of western modernist practices in the 1930s.
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Tortora, Massimiliano. "Modernismo e modernisti nelle riviste fasciste." In I modernismi delle riviste, 73–93. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2852.
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Esposito, Edoardo. "Introduzione." In I modernismi delle riviste, 9–11. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2828.
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Thacker, Andrew. "Verso una mappa delle riviste moderniste. Alcune considerazioni di metodo." In I modernismi delle riviste, 13–32. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2831.
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Boschetti, Anna. "Il modernismo a Parigi prima della guerra. Apollinaire & cie, attraverso le riviste." In I modernismi delle riviste, 33–47. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2840.
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Bontempelli, Pier Carlo. "La nascita del moderno in Germania: riflessioni su un concetto controverso." In I modernismi delle riviste, 49–71. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2846.
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Reynes-Delobel, Anne. "«Broom» (1921-1924): poetiche di avanguardia e prospettive transnazionali." In I modernismi delle riviste, 95–113. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2858.
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Ciceri, Martina. "Da Anton Čechov a Virginia Woolf: Free Russia, ovvero un’‘archeologia’ proto-modernista." In I modernismi delle riviste, 115–30. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2864.
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Sisto, Michele. "La letteratura tedesca del «Baretti»: Piero Gobetti e la genesi di un nuovo habitus editoriale (1919-26)." In I modernismi delle riviste, 131–52. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2870.
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Patey, Caroline. "Gita al faro in abiti francesi. Virginia Woolf, Charles Mauron e «Commerce»." In I modernismi delle riviste, 153–66. Ledizioni, 2017. http://dx.doi.org/10.4000/books.ledizioni.2876.
Full textConference papers on the topic "Modernismi"
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Fan, Kerry Sizheng. "Prelude to International Style: The 1927 Machine-Age Exposition." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.31.
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In the mid to late-1920s, European Modernist designs began to appear in New York galleries. These appearances started rather sporadically, but soon evolved into a sensation and were joined by American indigenous Modernist works. Among these displays, the Machine-Age Exposition of 1927 stood out with its wide coverage of Modernist exhibits and a strong theme. Placing the Machine-Age Exposition in historical perspective, this study traces the origins of the Machine-Age Exposition, examines the Modernist exhibits and their accompanying rhetoric, and reviews the contemporary responses of the show. The study also investigates the limitations of the event, as well as the constituents that established the Machine-Age Exposition as the most important event in disseminating Modernism in America in the pre-International Style era.
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Virava, Thiago Gil de Oliveira. "Surrealismo e modernismo: experiências surrealistas na arte brasileira 1920-1940." In Encontro da História da Arte. Universidade Estadual de Campinas, 2010. http://dx.doi.org/10.20396/eha.6.2010.3896.
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O que proponho com este texto é apresentar um panorama das experiências surrealistas realizadas no Brasil, do final dos anos 1920 ao início dos anos 1940, visando sugerir em que direções pode se encaminhar uma pesquisa sobre a repercussão do surrealismo no Brasil modernista. No âmbito das artes visuais, os nomes e as obras variam muito pouco, de modo que é possível afirmar que, nos últimos anos, tem se configurado um consenso sobre o que houve de surrealismo no modernismo brasileiro. Refiro-me fundamentalmente a textos de Robert Ponge, Valentim Facioli, Sérgio Lima, Floriano Martins e Jorge Schwartz. Apresentar uma síntese do que foi levantado por esses autores pode parecer proposta ociosa, mas parto aqui do princípio de que a historiografia oficial e o ensino da arte na universidade ainda ignoram essas experiências surrealistas no Modernismo ou tendem a considerá-las apenas como casualidade, sem examinar com profundidade sua singularidade ou extrair alguma hipótese sobre o modo como os modernistas encaravam as vanguardas européias.
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Fu, Xin. "Study on the Spirit of Modernism Related to Form Formal Aesthetics in Corbusier's Early Modernist Architectural Theory." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.161.
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Couto, Maria de Fátima Morethy. "Novas leituras do modernismo." In Encontro da História da Arte. Universidade Estadual de Campinas, 2005. http://dx.doi.org/10.20396/eha.1.2005.3617.
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Leković, Milica. "Urbanismo del miedo y representacion distópica de las ciudades." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6143.
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El presente artículo explora como se reflejaba el miedo en la cultura popular y como influía en el planeamiento urbano a lo largo de la historia contemporánea. Mediante el análisis de los imaginarios urbanos a lo largo de los siglos XX y XXI, intentaremos averiguar cómo el planteamiento urbano se ha visto afectado por los miedos sobre un futuro incierto y apocalíptico. A través de un acercamiento teórico-conceptual e histórico-formal, abarcaremos algunos sujetos que comparten el planeamiento urbanístico y las representaciones cinematográficas de la ciudad: el modernismo, el paradigma campo-ciudad, antiurbanismo, la fragmentación y segregación espacial, la remodelación urbana y, por último, resiliencia y smart cities. This article explores how fear is reflected in popular culture and the ways it influenced urban planning throughout modern history. By analysing the urban imaginary throughout the XX and XXI centuries, we will try to find out how has urban planning been affected by fears of uncertain and apocalyptic future. Using theoretical-conceptual and historical-formal approaches, we will cover some topics that urban planning and cinematic representations of the city have in common, such as modernism, urban-rural paradigm, anti-urbanism, fragmentation and spatial segregation, urban renewal and finally, resilient and smart cities.
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Bross, Benjamin. "The Taxonomy of Spatial Typologies: A Proposal for an Analytical Language." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.80.
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As the phenomenon of globalization permeates across political and socio-cultural boundaries, one of its major effects is an increasingly homogenized spatial landscape. Lefebvre noted spatial production is “secreted” cultural production, so globalization is tantamount to an increasingly homogenized world culture. Designers who push back on spatial globalization eschew Modernism’s break from the past or Post-Modernism’s poly-narrative but literal u-topic emphasis, utilizing a design approach based on site-specific contextual and historic factors ranging from climate to socio-culturally produced typologies. Spatial typologies are synchronous with spatial production: their emergence, evolution and extinction exemplify a society’s material culture at specific places and times. e.g., nearly 46 centuries ago, Egyptian pyramids emerged as the salient funerary typology; thousands of years later, department stores typified the logic of capital, as the Industrial Revolution produced spaces that addressed the consumer demands of a growing bourgeoisie class. The emergence of Post-Modernism in arts and social sciences in the 1960s signaled a more liberating design approach because it embraced alternative design directions, including the reincorporation of traditional praxes of spatial production such as typologies. Rudofsky, in Architecture without Architects, reminded us that spatial production was not the exclusive domain of the formally trained designer but, more importantly, that vernacular space itself was a legible representation of a society’s values; typologies were once again important and merited documenting. Later, Pevsner noted in A History of Building Types “there is…no history of building types in existence.” Emulating the science of taxonomy, the paper proposes systematic criteria for identifying and categorizing typologies. In this approach, emphasis is placed on tracing changes in spatial morphologies over time, such that spatial relationships are revealed between earlier antecedent typologies and their contemporary iterations. This is possible because, like genetics, typologies reveal qualifying components that may illustrate iterative mutations, revealing “evolutionary drifts” or “selection processes.”
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Liu, Qiong, Libing Liu, Feng Ma, and Xiaying Lv. "Opinion on the Post-modernism." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.204.
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Dankanich, А. S. "DANIEL HAQIQATJOU‘S CRITIQUE OF MODERNISM." In ХХVI СХОДОЗНАВЧІ ЧИТАННЯ А. КРИМСЬКОГО. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-346-3-27.
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Kiely, Joss. "Lights, Camera… Aluminum!: Materiality and Monumentality in Welton Becket’s Masterplan of Century City, CA." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5052p8ncv.
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The scale and ambition of the masterplan doesn’t fit neatly in either architecture or urban planning, and therefore, the history of master planning as a practice, its aesthetics and its ethics have long existed at the margins of both disciplines. In the postwar period, masterplan proposals designed by architects committed to high modernist ideals reimagined cities as orderly and aesthetic agglomerations – but with considerable anticipation of large-scale growth and development – both in the United States and abroad. As architects moved away from solely designing buildings to spearheading larger scale planning projects – straining their disciplinary expertise to the border of urban planning – an important transition took place. This shift might be best understood as a blend of omniscience and naivete, a stance that required architects to suspend specific knowledge to champion broad visionary pursuits. This paper considers an important aspect of everyday life: leisure time. Much touted by the tenets of high modernism, the ability to carve out time to “play” was largely a modern luxury, and this played out in a variety of projects worldwide, from beach resorts in Hawaii and ski resorts in France, to reimagined cities within cities, such as the masterplan for Century City, California in the Los Angeles Basin. Welton Becket’s 1963 urban vision called for the replacement of Hollywood studio lots with a composed entertainment, shopping and living centre focused on the needs of the Southern California entertainment industry. The ultimate buildout includes projects by a wide variety of late modernist architects, including Minoru Yamasaki, Charles Luckman and I. M. Pei, and it joins a long list of projects that champion leisure aesthetically expressed through architecture and planning schemes. Taken together, such projects underscore the increase in leisure, vacation time and conspicuous consumption that occurred after World War II and continues into the present day.
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Rudnicka-Bogusz, Marta. "Standardization and innovation in military housing, leisure homes and public buildings in the interwar period Poland." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002340.
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When after WWI Poland regained its independence, in the need to repair war damage the young state saw an opportunity to modernize and visually unify the country after a century of tripartite partitions. The difficult housing conditions severely affected the officers and non-commissioned officers (NCO’s), as the garrisons were established anew and the personnel did not have lodgings from the pre-war times and did not have the funds to purchase them. In 1925, an act was passed establishing the Military Housing Fund with a budget of 140 million polish zotych. In the years 1927-1934, the Fund built 542 houses. One of the mottos of the organization was: to provide sunlight, water supply, sewage systems and bathrooms in all apartments. This guiding principle about hygienic living and the strict economic requirements naturally put military construction on the path of modernism. Modernism was also deprived of any historic connotations and internationally popular, making it the ultimate tool of Europeanization - reducing the difference between Poland and Western Europe.Due to the rank of the institution and the propagandist significance of its investments, the Ministry of Military Affairs often had prestigious locations at its disposal. Many of the designs for these plots were selected through open competitions, leading to the selection of top-class solutions, thanks to the participation of the most important polish modernist architects of the interwar period: R. Gutt, J. Szanajca and B. Lachert. The campaign of housing construction was concentrated mainly in Warsaw, where the percentage of officers and NCO’s in the garrison was high - due to the tasks performed in the Ministry. Guided by the principle of economics of house construction and space ergonomics in the arrangement of apartments, in Warsaw the Fund built mainly multi-family buildings bearing fruit in the form of solutions that have ever since been cited as the canon of Polish modernism. Adhering to these standards typical layouts were worked out for swift and healthy construction and repeated throughout the country. This way, the best cosmopolitan patterns in the second half of the 1930s, when the construction was booming, were also transferred to smaller garrisons, contributing to the modernization of the deep provinces.Apart from the lack of housing, the military and their families suffered from pulmonary diseases and rickets resulting from poor living conditions. In order to remedy these problems, the Fund also dealt with the construction of sanatoriums, hospitals, physical education centers, as well as holiday homes for military personnel.The emerging democratic structures of the reviving state also wanted to be perceived as forward thinking, ordering designs from the Fund. Modernism was well suited for the design of the remaining garrison and state buildings, as they also needed to be functional, affordable to build, easy in maintenance and ergonomic. The influential period journal “Architecture and Construction” mentions such investments as airports, ministry offices, barracks, commanders' villas, etc. all adding up to an image of army as a forward thinking engine of progress.
Reports on the topic "Modernismi"
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Funk, Kellen, and Lincoln Mullen. Legal Modernism. Roy Rosenzweig Center for History and New Media, 2022. http://dx.doi.org/10.31835/legalmodernism.
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Zakir, Mud. MODERNISASI PENDIDIKAN PESANTREN PERSPEKTIF NURCHOLIS MADJID. Lembaga Kajian Demokrasi dan Pemberdayaan Masyarakat, March 2019. http://dx.doi.org/10.33753/madani.v2i1.38.
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Catlin, Daniel D. The Haunted Inkbottle: Problems of Artistic Communication in Modernism. Fort Belvoir, VA: Defense Technical Information Center, July 1989. http://dx.doi.org/10.21236/ada216263.
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Prihadi, Cahyo. How workforce training is helping Indonesia modernise its economy. East Asia Forum, December 2023. http://dx.doi.org/10.59425/eabc.1702634432.
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Brunner, Attila. Egy eddig ismeretlen Otto Wagner-terv: Mandl Károly bérháza. Budapest Főváros Levéltára, 2024. http://dx.doi.org/10.56045/blm.2024.1.
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A modernista építészet nagy hatású alakja, a bécsi Otto Wagner pályakezdése Magyarországhoz is kötődik. Fiatalkori fő műve, az 1872-ben befejezett pesti Rumbach utcai zsinagóga mellett több épületet is tervezett Pestre 1870 körül, amelyek azonban viszonylag kevésbé közismertek, hiszen az építész idősebb korában megtagadta fiatalkori alkotásait. Az építész magyar állampolgárságával kapcsolatos forrásközlések alapján egy mindeddig ismeretlen műve, a Mandl Károly számára tervezett pesti bérház tervei újonnan kerültek azonosításra.
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Herbert, Siân. Recovery and Reconstruction Lessons for Ukraine. Institute of Development Studies, January 2024. http://dx.doi.org/10.19088/k4dd.2024.022.
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The rapid evidence review provides insights into global lessons applicable to Ukraine’s recovery and reconstruction. It emphasises the need for a holistic approach, considering various concepts like relief, recovery, reconstruction, and the development-humanitarian-peacebuilding nexus. The review suggests that reconstruction can begin during conflict and should involve rebuilding infrastructure and society in an integrated manner. It highlights Ukraine’s unique context, including its EU candidate status and the nature of its conflict. Key messages include ensuring local ownership, addressing corruption, fostering inclusion and equity, and leveraging private sector investment for a modernised economy. Governance of reconstruction should be agile, context-specific, and politically aware.
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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.
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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.
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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_01_11.
Full textAbstract:
The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Goswami, Amlanjyoti, Deepika Jha, Sudeshna Mitra, Sahil Sasidharan, Kaye Lushington, and Mukesh Yadav. Land Records Modernisation in India: Gujarat. Indian Institute for Human Settlements, 2021. http://dx.doi.org/10.24943/9788195489381.
Full textAbstract:
This work provides an institutional, legal and policy review of crucial aspects of land records modernisation systems in Gujarat. Recognising the significance of land and its management for the state economy, Gujarat was among the early states to computerise its land records and processes and integrate them. In 2009, the state introduced resurveys using modern technology, which resulted in promulgation of updated records in more than sixty percent of villages, before being paused in 2018. Apart from political leadership, administrative initiatives such as documenting procedures and operational guidelines, incentivising of regular progress and reporting, and regular capacity building helped the state in making a significant progress. Gujarat is among the most urbanised and industrialised states in the country, and this volume presents case studies on the state of land and property records in urban and industrial areas, and the attempts to modernise them.