Academic literature on the topic 'Ruines – histoire'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Ruines – histoire.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Ruines – histoire"
1
Cohen, Claudine. "Une histoire universelle des ruines." Pour la Science N° 523 - mai, no. 5 (June 5, 2021): 18a. http://dx.doi.org/10.3917/pls.523.0018a.
Full text
2
Brandys, Aleksandra. "Les pierres d’attente. Les ruines des églises monastiques médiévales, témoins de la promesse." Transversalités 169, no. 2 (April 8, 2024): 87–96. http://dx.doi.org/10.3917/trans.169.0087.
Full textAbstract:
Les paysages du Vieux Continent sont parsemés de ruines des abbayes médiévales, témoins de l’histoire séculaire, de leur patiente construction, de leurs destructions successives et reconstructions. D’abord objet de l’inspiration des peintres et des poètes, les ruines sont aujourd’hui considérées comme une partie intégrante du patrimoine et préservées dans l’état dans lequel leur histoire mouvementée les a laissées. L’expérience d’une église en ruines fait penser à la phrase de l’évangile de Luc : « Je vous le dis, si eux se taisent, les pierres crieront » (Lc 19,40). De la contemplation de ces débris de l’architecture naît une question : que crient ces pierres, qu’attendent-elles ? Quelle est la place des ruines dans l’histoire de l’Église ? Peuvent-elles être un signe paradoxal d’une attente eschatologique ?
3
Hadad, Rémi. "Alain Schnapp, Une histoire universelle des ruines. Des origines aux Lumières." L'Homme, no. 246 (August 22, 2023): 155–59. http://dx.doi.org/10.4000/lhomme.47311.
Full text
4
Hadad, Rémi. "Alain Schnapp, Une histoire universelle des ruines. Des origines aux Lumières." L'Homme, no. 246 (August 22, 2023): 155–59. http://dx.doi.org/10.4000/lhomme.47174.
Full text
5
Lyon-Caen, Judith. "Voir le passé dans les ruines romantiques : une histoire politique et littéraire." Sociétés & Représentations 45, no. 1 (2018): 233. http://dx.doi.org/10.3917/sr.045.0233.
Full text
6
Lamoureux, Johanne. "De la peinture de ruines à la ruine de la peinture. Hubert Robert et le Louvre." Protée 27, no. 3 (April 12, 2005): 56–69. http://dx.doi.org/10.7202/030571ar.
Full textAbstract:
Il semblerait que le discours historique et critique sur l’art en Occident, avant même l’iconoclasme et l’aniconisme de tableaux modernes, ait d’entrée de jeu été travaillé par le ressassement de la mort imminente de la peinture. Cet article veut montrer comment cette problématique – l’impossible survivance de la peinture – a pu être aussi formulée par la peinture même. Il s’y emploie en s’attardant à deux oeuvres d’Hubert Robert (1733-1808) où des conceptions opposées de l’histoire, progressiste ou cyclique, sont traduites spatialement : Le Projet d’aménagement de la Grande Galerie du Louvre et son pendant La Vue imaginaire de la Grande Galerie du Louvre en ruines (1796). Ce dernier tableau relève l’échec de la fonction de conservation du musée puisque la peinture en a disparu sans laisser d’autres traces que sculpturales, pointant peut-être ainsi l’incurable destin moderne de ce medium. Mais déjà le premier tableau de la paire, par le pivotement de l’axe latéral du récit sur la profondeur de l’axe discursif et énonciatif des tableaux, substituait à la peinture d’histoire une histoire de la peinture dont cette nouvelle invisibilité des oeuvres semble avoir été le prix à payer.
7
Paré, François. "Hélène Dorion, hors champ." Dossier 24, no. 2 (August 28, 2006): 337–47. http://dx.doi.org/10.7202/201432ar.
Full textAbstract:
Résumé L'oeuvre poétique d'Hélène Dorion permet de poser le problème de l'histoire littéraire au point de chute dans un certain présent-passé où elle se constitue pour nous en tant que récit et corpus d'oeuvres. Or l'oeuvre de Dorion ne fait pas encore partie de l'histoire littéraire québécoise; pourtant, tout empreinte de négativité, elle interroge justement, dans l'extrait tiré ici d'Un visage appuyé contre le monde, le regard absent du sujet culturel devant les ruines de son histoire.
8
Musset, Alain. "De Tlaloc a Hippocrate L'Eau et L'Organisation de L'Espace dans le Bassin de Mexico (XVIe-XVIIIe Siècle)." Annales. Histoire, Sciences Sociales 46, no. 2 (April 1991): 261–98. http://dx.doi.org/10.3406/ahess.1991.278946.
Full textAbstract:
L'histoire du drainage des lacs du bassin de Mexico est sans aucun doute l'exemple parfait d'une catastrophe écologique soigneusement préparée et menée à terme par une société désireuse de résoudre à sa manière un conflit sans issue entre elle et son milieu. C'est une histoire longue, qui débute en 1521, quand les Espagnols décident d'installer leur capitale sur les ruines de l'ancienne Tenochtitlan, et qui se poursuit de nos jours avec les problèmes croissants rencontrés par la plus grande ville du monde, peuplée de plus de 20 millions d'habitants : pollution chronique, manque d'eau potable, défaillance des systèmes de drainage, érosion des sols, déforestation, inondations en saison des pluies, tempêtes de poussières alcalines en saison sèche.
9
Xinyu, Lü. "Les ruines du futur [Histoire et conscience de classe dans le film A l'ouest des rails de Wang Bing]." Communications 79, no. 1 (2006): 271–83. http://dx.doi.org/10.3406/comm.2006.2424.
Full text
10
Pavy-Guilbert, Élise, and Martial Poirson. "Alain Schnapp , Une histoire universelle des ruines. Des origines aux Lumières , Paris, Seuil, coll. « La Librairie du 21 e siècle », 2020." Dix-huitième siècle 53, no. 1 (June 28, 2021): LXVII. http://dx.doi.org/10.3917/dhs.053.0729bo.
Full textDissertations / Theses on the topic "Ruines – histoire"
1
Jurado, Barroso Pauline. "Photographier des ruines modernes, en témoin d'une histoire de l'urbanisme récent." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES041.
Full textAbstract:
La « défonctionnalisation » d’une architecture transforme intégralement la lecture de l’objet: les traces d’usure ont une charge symbolique et expressive qui en modifient sa réception. Les «ruines modernes» renvoient à une obsolescence précoce qui caractérise une époque dans laquelle l’industrialisation des procédés de construction incite au remplacement de l’ancien par le nouveau et multiplie les destructions. Elles sont étroitement liées au progrès et à l’accélération du renouvellement des constructions urbaines. Les architectures des grands ensembles sont les derniers symboles de l’ère moderne menacés par la destruction ; elles intriguent et fascinent par leur fragilité et leur monumentalité. La photographie artistique peut-elle proposer une contribution critique qui invite à porter un autre regard tout en cherchant à susciter un questionnement sur les ruines comme composantes du paysage urbain actuel ? Il semble que la reconsidération des ruines par la création est possible. L’objet de recherche de cette thèse n’est pas la ruine en elle-même, mais ses représentations par la photographie. Il ne s’agit pas de proposer une méthodologie, ni un guide pour photographier les ruines, mais de présenter les questionnements émergeant de pratiques photographiques des espaces en déshérence, en tant qu’expériences spatiales, culturelles et sensiblesThe « Defunctionalization » of architecture completely transforms the reading of the object : traces of erosion have a symbolic and expressive charge that modifies its interpretation. «Modern ruins» refer to early obsolescence, characteristic of the industrialization of building process which encourages the substitution of old things by new ones and increase destructions. They are closely linked to progress and the acceleration of urban renewal. Tower blocks of social housing appear to be the ultimate symbols of modern structures threatened by destruction; their monumentality and weakness intrigue and fascinate. How could artistic photography offer a critical contribution that changes the way we gaze at ruins as a component of actual urban landscape? It seems that reconsidering ruins through creation is possible. The subject matter of this thesis is not the ruin itself but its representations through photography. It’s not about proposing a methodology neither a guide to photograph ruins, but to present some questions that arises from photographic practices of derelict spaces as spatial, cultural and sensitive experiences
2
Forero-Mendoza, Sabine. "Le temps des ruines : le goût des ruines et les formes de la conscience historique à la Renaissance." Paris, EHESS, 2000. http://www.theses.fr/2000EHESA002.
Full textAbstract:
Le gout des ruines n'a pas toujours existe en occident, et, lorsqu'il a existe, il a pris des formes tres diverses, ainsi que l'attestent de nombreux temoignages litteraires et artistiques. Il semble que les differentes transformations de l'interet pour les ruines peuvent etre interpretees comme l'expression de changements plus profonds des conceptions du temps et de l'histoire. Plus encore, le gout des ruines parait se manifester de maniere particulierement aigue a des epoques de mutation de la pensee historique. L'etude s'attache a l'examen de l'apparition et des premiers developpements du gout des ruines, du xiveme siecle a la fin du xvieme siecle, et vise a les mettre en relation avec l'emergence et la definition d'une nouvelle forme de conscience historique. A cette fin, il est fait appel a une pluralite de sources documentaires : representations picturales et graphiques, descriptions litteraires et archeologiques, textes philosophiques, litteraires et historiques. L'evolution du traitement poetique, philosophique et pictural du motif des ruines apparait comme un indice privilegie pour saisir le passage d'une approche theologique et allegorique de l'histoire a une conception seculiere, se conformant au modele biologique du cycle naturel du developpement et du declin. La recherche se situe a la croisee de l'histoire de l'art, de l'histoire de la litterature, de la philosophie de l'histoire et de l'esthetique.
3
Charafeddine, Bulamah Rodrigo. "Ruínas circulares : vida e história no norte do Haiti." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH212.
Full textAbstract:
Cette thèse est consacrée à la problématique de l’histoire en Haïti contemporain. Basée sur un total de un an et demi de recherche de terrain dans la commune de Milot, au nord d’Haïti, ainsi que des investigations dans des archives en France, en Haïti et aux États-Unis, nous proposons une anthropologie de l’histoire ou, plus spécifiquement une anthropologie des connaissances, des pratiques et des représentations qui font du passé quelque chose de significatifThis thesis is an investigation about the problem of history in contemporary Haiti. Drawing from a total of one year and a half of fieldwork in the commune of Milot, Norther Haiti, as well as archival research in France, Haiti and the United States, I propose an anthropology of history or, more specifically, an anthropology of knowledge, practice and representations that assert different meanings to the past
4
Fortini, Marcel. "L'esthétique des ruines dans la photographie de guerre : Beyrouth un cas exemplaire." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3083.
Full textAbstract:
Cette étude s'attache au statut des ruines dans la photographie de guerre et en dresse l'inventaire de leurs aspects esthétiques. Le cas de la ville de Beyrouth, défigurée par les bombardements pendant la guerre civile (1975-1990), est à bien des égards exemplaire puisqu'elle a fait l'objet d'une commande photographique confiée à des photographes prestigieux, en 1991, qui avaient pour mission de conserver la mémoire d'un immense champ de ruines. Cette commande photographique est donc, pour cette raison, au centre de notre recherche. Pour saisir pleinement les enjeux des choix effectués par les photographes au cours de cette commande, il était nécessaire dans un premier temps, d'analyser la mise en place de la constitution d'une esthétique des ruines dans l'histoire de la photographie de guerre de 1853 à 1945, à travers des exemples célèbres sur les champs de bataille. Dans un deuxième temps, il était important de considérer les motivations et les objectifs de chacun des photographes dans le contexte de la commande, en les mettant en résonance avec d'autres expériences photographiques menées à Beyrouth pendant et après le conflit, mais aussi en filiation avec les cas étudiés dans la première partie. La troisième partie de cette thèse constitue un compendium des aspects esthétiques dans le traitement photographique des ruines de guerre à Beyrouth qui permet d'affirmer aujourd'hui que, la ruine de guerre est un genre à part entière en photographieThe present study explores the status of ruins in war photography and draws up the inventory of their aesthetic features. Disfigured by bombing and shelling during the civil war (1975-1990), the city of Beirut is in many respects an examplary case since it was the subject of a photographic commission entrusted to prestigious photographers in 1991, the mission of which was to preserve the memory of an immense field of ruins. For this very reason, this photographic commission is at the core of our research project. Firstly, in order to understand fully what was at stake in the choices made by the photographers within the framework of this commission, we had to analyze how the aesthetics of ruins has been elaborated in the history of war photography from 1853 to 1945, using famous examples from battlefields. Secondly, it was important to consider the motivations and objectives of each of the photographers within the context of the commission. For this purpose we made these elements echo other photographic experiences conducted in Beirut during and after the conflict, then we related them to the cases studied in the first part. The third part of the present thesis forms a compendium of aesthetic aspects in the photographic vision of war ruins in Beirut that makes it possible to assert that war ruins form a fully fledged genre in photography
5
Fournier, Éric. "Paris en ruines (1851-1882) : entre flânerie et apocalypse : regards, acteurs, pratiques." Paris 1, 2005. http://www.theses.fr/2005PA010568.
Full textAbstract:
Dans la seconde moitié du XIXe siècle, Paris s'affirme comme le creuset d'une modernité urbaine et culturelle. Mais, la ville se couvre aussi de ruines éphémères lors des travaux haussmanniens, puis pendant " l'année terrible". A travers le prisme des destructions et des ruines, les différents acteurs révèlent leur rapport à la ville, leur géographie sensible de la capitale. L'étude des destructions de la ville, essentiellement lors du bombardement prussien de 1870 et pendant la Commune, révèle comment Paris et les Parisiens supportent le paroxysme de la guerre. Le XIXe siècle est le siècle des ruines. Leur surgissement dans le bâti parisien met en scène la confrontation entre la culture érudite et l'incongruité d'une catastrophe inédite. Mais, par les ruines, entre fascination et volonté d'élision, les Parisiens montrent par leurs pratiques leur attachement à la cité. Poétique des ruines et poésie de Paris rentrent en résonance et consacrent, après 1871, le Paris haussmannien.
6
Davoine, Charles. "Recherches sur les ruines dans le monde romain : gestion et perception des bâtiments détruits dans la cité romaine (Ier siècle av. J.-C. – IVe siècle ap. J.-C.)." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080097.
Full textAbstract:
Bâtiments partiellement détruits mais dont les vestiges n’ont pas disparu, les ruines étaient une réalité présente dans les villes du monde romain. Ce travail de recherche se propose d’étudier la manière dont les populations de l’empire, les autorités municipales ou le pouvoir romain percevaient et géraient les édifices vétustes aussi bien que les amas de décombres résultant des destructions. On s’intéressera au quotidien des villes confrontées au délabrement du bâti ainsi qu’aux dévastations exceptionnelles entraînées par des catastrophes, de l’époque augustéenne jusqu’à la fin du IVe siècle. À travers un examen approfondi des sources littéraires et de la documentation juridique et épigraphique, l’objectif est d’analyser les pratiques liées aux ruines, les normes qui les encadraient et les représentations qui permettent de les comprendre. On montrera que les ruines n’ont pas leur place dans la cité : les démolitions doivent toujours être évitées tandis que les bâtiments dégradés doivent être restaurés. L’esthétique des ruines mais aussi leur valorisation comme objet de mémoire sont absentes des textes littéraires et documentaires latins. Au contraire, les bâtiments délabrés et les villes détruites sont associés à la laideur et à la mort et donnent l’image d’un temps de troubles. Les ruines forment alors un contre-modèle, qui permet de révéler, par contraste, l’idéal d’une architecture qui participe à l’ornementation de la cité et contribue à l’âge d’or garanti par l’empereur: Partially destroyed buildings, the remains of which persist in time, ruins were part of the reality of Ancient Rome. This research aims at investigating the way the populations of the Empire, the local magistrates or the Roman central power perceived and managed dilapidated buildings as well as the piles of debris resulting from destructions. This study will focus on the everyday life of cities faced with the dilapidation of buildings as well as with exceptional devastations caused by catastrophes, from the Augustinian age to the end of the fourth century A.D. Through a thorough study of literary, legal and epigraphic sources, the purpose is to analyze how ruins were dealt with, taking into account the rules and norms which applied to them, as well as the mental representations which enabled their understanding. We shall demonstrate that ruins have no place in the city. Demolitions should always be avoided, and dilapidated building should be restored. Any aesthetic aspect of the ruins, or their use as places of memory, are absent from Latin texts. On the contrary, dilapidated buildings and destroyed cities are associated with death and unsightliness and reflect a troubled era. Ruins constitute a counter-model which enables the revelation, by contrast, of an ideal architecture which contributes to the ornamentation of the city and to the elaboration of the Golden Age announced by the Emperor
7
Houcke, Anne-violaine. "L'invention de l'antique dans le cinéma italien moderne : la poétique des ruines chez Federico Fellini et Pier Paolo Pasolini." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100170.
Full textAbstract:
Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mettre en évidence l’existence d’un horizon commun, qui trouve son origine dans deux réalités historiques : d’un côté le rejet de l’Antiquité fasciste, de l’autre la résistance à la fuite en avant contemporaine. L’« antique », entendu conceptuellement comme matrice de résistance (donc non limité aux bornes historiques assignées à l’Antiquité), est ici pris dans un jeu dialectique et dynamique avec l’idée de modernité, puisqu’il s’agit de déterminer comment une modernité esthétique a pu s’inventer et s’expérimenter contre, ou tout contre, une autre modernité – sociale, économique, politique. Fellini plonge dans l’univers chaotique et placentaire de la création en studio. Pasolini, à l’inverse, se déplace toujours plus loin du centre, à la rencontre de nouveaux corps, et de nouvelles terres à arpenter. Dans les deux cas pourtant, il s’agit d’en passer, de manière poétique, par deux disciplines que l’après-guerre n’accepte pas plus que le fascisme – la psychanalyse et l’ethno-anthropologie – pour mettre au jour des survivances, pour porter à la lumière ce que la modernité refoule, et « fictionner » à partir de ces fragments. L’invention sera donc d’abord entendue au sens archéologique du terme (impliquant repérages, découverte, mise au jour). Elle sera aussi entendue au sens poétique de l’« œuvrement » à partir des fragments, mettant en évidence des affinités électives entre l’Antiquité et le cinémaNeorealism in general, and Roberto Rossellini’s works in particular, portray post-WW2 Italy as a country in ruins, both literally and metaphorically. Fascist theatricality and the pompous rhetoric of the romanità are abandoned, and a new focus is given to humilis – “loving reality” in the words of Pasolini commenting on Rosselini’s and Fellini’s works – and the new film practices that stem from it. In this dissertation, I compare two film makers who are usually put in systematic opposition to each other, and show how their works actually have common characteristics when analysed from the perspective of what I call “the invention of Antiquity”. From two distinct points in history, they not only reject the fascist interpretation of Antiquity, but also resist modern Italy’s race to progress. Here the concept of “Antiquity” is defined as a form of resistance, which as such transcends its traditional historical boundaries. It is involved in a dynamic dialogue with the idea of modernity, so as to show how a form of aesthetic modernity gets invented and put into practice as a reaction against a different form of social, economic and political modernity. Fellini delves into the chaotic and womb-like world of film studios, while Pasolini moves further and further away from the centre, in search of new bodies to discover and new lands to walk. Yet they must both find a poetic way of dealing with disciplines that post-WW2 Italy rejects as much as fascism – psychoanalysis and ethno-anthropology. For both of them, the aim is to uncover relics of the past, to shed light on those elements repressed by modernity, and create fictions” out of these fragments. The term invention is thus first intended in its archaeological meaning (i.e. locating, discovering, uncovering). It is then used in a more poetic sense, as an act of “crafting” out of fragments, which highlights specific connexions between the world of antiquity and the world of films
8
Davoine, Charles. "Recherches sur les ruines dans le monde romain : gestion et perception des bâtiments détruits dans la cité romaine (Ier siècle av. J.-C. – IVe siècle ap. J.-C.)." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080097.
Full textAbstract:
Bâtiments partiellement détruits mais dont les vestiges n’ont pas disparu, les ruines étaient une réalité présente dans les villes du monde romain. Ce travail de recherche se propose d’étudier la manière dont les populations de l’empire, les autorités municipales ou le pouvoir romain percevaient et géraient les édifices vétustes aussi bien que les amas de décombres résultant des destructions. On s’intéressera au quotidien des villes confrontées au délabrement du bâti ainsi qu’aux dévastations exceptionnelles entraînées par des catastrophes, de l’époque augustéenne jusqu’à la fin du IVe siècle. À travers un examen approfondi des sources littéraires et de la documentation juridique et épigraphique, l’objectif est d’analyser les pratiques liées aux ruines, les normes qui les encadraient et les représentations qui permettent de les comprendre. On montrera que les ruines n’ont pas leur place dans la cité : les démolitions doivent toujours être évitées tandis que les bâtiments dégradés doivent être restaurés. L’esthétique des ruines mais aussi leur valorisation comme objet de mémoire sont absentes des textes littéraires et documentaires latins. Au contraire, les bâtiments délabrés et les villes détruites sont associés à la laideur et à la mort et donnent l’image d’un temps de troubles. Les ruines forment alors un contre-modèle, qui permet de révéler, par contraste, l’idéal d’une architecture qui participe à l’ornementation de la cité et contribue à l’âge d’or garanti par l’empereur: Partially destroyed buildings, the remains of which persist in time, ruins were part of the reality of Ancient Rome. This research aims at investigating the way the populations of the Empire, the local magistrates or the Roman central power perceived and managed dilapidated buildings as well as the piles of debris resulting from destructions. This study will focus on the everyday life of cities faced with the dilapidation of buildings as well as with exceptional devastations caused by catastrophes, from the Augustinian age to the end of the fourth century A.D. Through a thorough study of literary, legal and epigraphic sources, the purpose is to analyze how ruins were dealt with, taking into account the rules and norms which applied to them, as well as the mental representations which enabled their understanding. We shall demonstrate that ruins have no place in the city. Demolitions should always be avoided, and dilapidated building should be restored. Any aesthetic aspect of the ruins, or their use as places of memory, are absent from Latin texts. On the contrary, dilapidated buildings and destroyed cities are associated with death and unsightliness and reflect a troubled era. Ruins constitute a counter-model which enables the revelation, by contrast, of an ideal architecture which contributes to the ornamentation of the city and to the elaboration of the Golden Age announced by the Emperor
9
Sviezeny, Grevin Michaëla. "Crise et [dé]constructions de la Havane dans la nouvelle cubaine de 1991 à nos jours." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030117/document.
Full textAbstract:
Au début des années 1990, avec le décret de la « Période Spéciale », Cuba connaît une crise sans précédent qui remet en question, pour la première fois de son histoire, les fondements mêmes de la Révolution. La littérature cubaine, marquée matériellement par ce contexte, se fait l’écho des bouleversements survenus dans l’Ile. Ce dialogue qui s’instaure entre fiction et réalités sociales est au cœur de notre réflexion. A travers l’étude des nouvelles publiées depuis le début de cette période, nous avons essayé de saisir l’esprit d’une époque. Nous retraçons ainsi le destin littéraire de La Havane, en ces temps troublés, depuis les représentations de la destruction de la ville jusqu’aux images de sa dispersion. Ceux qui ont choisi d’écrire La Havane en crise s’exposent au chaos et au néant. La décadence physique et morale de la capitale et de ses habitants s’impose comme un thème artistique majeur. Face à une réalité en pleine décomposition, les écrivains cubains deviennent les artisans d’une possible restauration de la ville. Ils invoquent l’écriture pour sauver une Havane qui est entrée dans une phase accélérée de destruction. Métaphore d’une société et d’une nation en crise, la ville, détruite sur le plan matériel, se reconstruit, peu à peu, sur le plan littéraireAt the beginning of the 1990’s, with the “Special Period” decree, Cuba knows an unsurpassed crisis which questions, for the first time in its history, the foundations of the Revolution. The Cuban literature, marked materially by this context, echoes the turnovers that arose on the Island. This dialogue, established between fiction and social realities, is at the heart of our reflection. Throughout the study of the short stories published since the beginning of this period, we have attempted to seize the spirit of this era. In thus doing, we recount the literary destiny of Havana, in these flustered times, from the representations of the destruction of the city until the images of its dispersal. The authors who chose to write Havana in crisis run the risk of chaos and nonexistence. The physical and moral decline of the capital and of its people stands out as a major artistic subject. Facing a reality in full decomposition, the Cuban writers have become the artisans of the city’s possible restoration. They call upon writing to save Havana which has entered a hastened destructive stage. Metaphor of a society and of a nation in crisis, the city, destroyed on a material level, rises again, little by little, on a literary level
10
Goupil, Chantal. "Rome et l'Étrurie méridionale aux Ve et IVe siècles : les modes de contacts." Master's thesis, Université Laval, 1995. http://hdl.handle.net/20.500.11794/24480.
Full textBooks on the topic "Ruines – histoire"
1
Claude, Aziza, ed. Pompei: Le rêve sous les ruines. Paris: Presses de la Cité, 1992.
Find full text
2
Saint-Léons, Dominique de. Pauvres ruines!: Histoire de Sévérac-le-Château : son origine, sa grandeur, sa décadence. Nìmes: Lacour-Ollé, 2010.
Find full text
3
editor, Simpore Lassina, ed. Lieux de mémoire, patrimoine et histoire en Afrique de l'Ouest: Aux origines des ruines de Loropéni, Burkina Faso. Paris (France): Éditions des Archives contemporaines, 2013.
Find full text
4
Hamard, Bruno. Budapest pendant l'entre-deux-guerres: Histoire de la reconstruction de la ville-capitale d'un Etat successeur, sur les ruines de l'Autriche-Hontrie. Paris: APRHC, 1995.
Find full text
6
Ron, Brown. Ghost towns of Ontario: A field guide. Toronto, Ont: Cannonbooks, 1990.
Find full text
7
González, Manuel Gregorio. Las ruinas: Una historia cultural. Sevilla (España): Athenaica Ediciones, 2022.
Find full text
8
1955-, Lyons Claire L., and J. Paul Getty Museum, eds. Antiquity & photography: Early views of ancient Mediterranean sites. Los Angeles: The J. Paul Getty Museum, 2005.
Find full text
10
1946-, Schnapp Alain, and Schnapp Alain 1946-, eds. Einai dynatē mia synkritikē historia tōn ereipiōn?: Une histoire comparée des ruins est-elle possible? Athēna: Tomeas Neoellēnikōn Ereunōn, Institouto Historikōn Ereunōn / EIE, 2014.
Find full textBook chapters on the topic "Ruines – histoire"
1
Gassner, Günter. "History." In Ruined Skylines, 138–65. New York : Routledge, 2019. | Series: Routledge research inarchitecture: Routledge, 2019. http://dx.doi.org/10.4324/9781315105895-7.
Full text
2
Nelson, N. C. "Chronology of the Tano Ruins, New Mexico." In Americanist Culture History, 45–53. Boston, MA: Springer US, 1997. http://dx.doi.org/10.1007/978-1-4615-5911-5_6.
Full text
3
Avelar, Idelber. "History, Neurosis, and Subjectivity: Gustavo Ferreyra’s Rewriting of Neoliberal Ruins." In Telling Ruins in Latin America, 183–93. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230623279_16.
Full text
4
Spier, Leslie. "From An Outline for a Chronology of Zuñi Ruins." In Americanist Culture History, 58–90. Boston, MA: Springer US, 1997. http://dx.doi.org/10.1007/978-1-4615-5911-5_8.
Full text
5
Sayer, Derek. "How We Remember and What We Forget: Art History and the Czech Avant-garde." In The Inhabited Ruins of Central Europe, 148–77. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137305862_9.
Full text
6
Höglund, Johan. "Concurrences and the Planetary Emergency: Ursula K. Le Guin in the Capitalocene." In History and Speculative Fiction, 29–44. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_2.
Full textAbstract:
AbstractUrsula Le Guin’s prescient 1971 novel The Lathe of Heaven envisions a multitude of utopian or dystopian futures made real by dreams its protagonist is made to have by a manipulating psychologist. The chapter analyzes these layered futures with the help of Gunlög Fur’s concept concurrences (2017) and Kyle Whyte’s observation that Western speculative writing frequently leaves humanity in dystopian and postapocalyptic futures “that erase Indigenous peoples’ perspectives” (2017, 225). The chapter argues that LeGuin’s vision resists the simplistic and single dystopian vision common in normative climate narratives while at the same time centering the ongoing history of colonialism. The ending of the novel thus envisions a radically multifaceted, concurrent, and imperfect future lived in a world made up as much of hope as of ruins.
7
Manoukian, Setrag. "The Ruins of the Others: History and Modernity in Iran." In Transcultural Research – Heidelberg Studies on Asia and Europe in a Global Context, 211–30. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33071-1_10.
Full text
8
Del Chamberlain, Von. "Native American Astronomy: Traditions, Symbols, Ceremonies, Calendars, And Ruins." In Science Across Cultures: The History of Non-Western Science, 269–301. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4179-6_9.
Full text
9
Dokou, Christina. "Springtime for Defaults: The Producers as the Ruin of History and the Triumph of Hystery." In Ruins in the Literary and Cultural Imagination, 199–212. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26905-0_12.
Full text
10
Elcheikh, Zeina. "Palmyra: Bridging Past and Future." In 50 Years World Heritage Convention: Shared Responsibility – Conflict & Reconciliation, 163–73. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05660-4_13.
Full textAbstract:
AbstractTargeting and destroying Syria’s cultural heritage have become a common concern, especially in the case of Palmyra. The ruined city enjoyed a significant position in the country’s history and bore a large share of the violence in Syria’s protracted tragedy. Since 2014, militants of ISIS (Islamic State in Iraq and Syria) have committed many acts of terrorism, claiming thousands of lives and shattering others, looting antiquities and destroying historic sites, including World Heritage sites. In 2015, ISIS extremists destroyed Palmyra’s major monuments, and, since then, this destruction has been the focus of debates on the academic and professional levels and in the media. This chapter has two parts. The first part briefly reviews Palmyra’s long history, in which monuments have been subject to selective narratives and official instrumentalisation. The second part looks at the current debates on Palmyra’s heritage loss in the light of the actual conflict, in which the local community has been unheeded. This chapter suggests that future efforts need to (re)consider the role of local communities in heritage debates and the right(s) to their heritage to bridge the discontinuity between the past and the future caused by the terrorism and conflict.
Conference papers on the topic "Ruines – histoire"
1
Pancorbo, Luis. "Detroit Living Amid Ruins." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.43.
Full textAbstract:
Public spaces and monuments act as the material representatives of historic memory of traditional cities. There is an international consensus to value, catalog and preservation of these spaces and buildings, both for their heritage, as well as their cultural and historic value. In contrast, certain American urban agglomerations, like Detroit, which has a clear industrial origin, the historic memory of the city is materialized not in its public spaces, which it lacks, but in its productive spaces. Instead of a relatively more normative risk of terrorist attacks to public spaces, these productive spaces risk abandonment, and progressive deterioration. They suffer this fate due to the lack of awareness, both by citizens and institutions, to their importance as carriers of the foundational DNA of these societies. This is leading to their disappearance in the not too distant future.
2
Rodrigues, Mara Regina Pagliuso, Lucas Rodrigo Nora, and Evandro Fiorin. "Temporary interventions in historic ruins: a sustainable solution in Florianópolis/SC." In ENSUS2023 - XI Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/2596-237x.ensus2023.v11.n3.p183-193.
Full textAbstract:
In another phase, we would rely on the idea of participation in self-construction; a viable alternative for its implementation, approaching a human sense of a technical-scientific basis. In this way, populations in situations of social vulnerability who inhabit these unused spaces could participate in the process of temporary intervention and understand the importance of preserving the history of the city.
3
Marcenac, Valeria, María José Ballester Bordes, Luis Bosch Roig, Carlos Campos Gonzalez, and Ignacio Bosh Reig. "RUINE AND CITY. Procedure suggestion for the Imperial Forums of Rome." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6220.
Full textAbstract:
The actual area of the Imperial Forums is presented as a big urban void in which the scale of the city has been lost. A "no man's land", inhospitable, to which you could assign the qualifying of "non-place". A huge and fragmented "archaeological park" in which the observer is not able of relate the rests and recognise the trace of the ancient forums. This problems have been adressed within the framework of the "Workshop of Conservation and Intervention" of the MCPA Master of the UPV, in which have been suggested differente strategies, both of search of the sewn of the city, and of the recognition of the different historical stratums existing on the place. To the same extent, this topic has been an international contest object, on which the proposal we have presented comes from a “modern” attitude, that helps us going beyond the evocative power of the ruin, or from its value as a referent from the past. An attitude which seeks to inhabit the ruin, occupy and settle it with architectures that renew its value, they are commited with the past and the present, and they guarantee their future presence. In this sense, the wanted and searched condition of "presence", is not as supported by the recovery of what have existed as it is by the ability of the intervention by accepting the transformations which have happened throughout history, introducing in turn a new stratum that besides answering the current needs, strengthen its statement as architecture. And all of that, urban regeneration is searched through the recuperation of the city’s scale loss. KEY WORDS: ruin, urban void, urban regeneration, scale of the city, presence. REFERENCES: Bosch, I. “La ruina como valor añadido en el patrimonio. El non finito”. Journal: Ingeniería y Territorio, 2011; Bosch, I. “Interventi sui ponti storici Trinidad e Serranos a Valencia Work on the historic Trinidad and Serranos bridges in Valencia”. Disegnare, Idee immagini. Nº42, 2011 that besides answering the current needs, strengthen its statement as architecture.
4
Marková, Jana, Petr Pokorný, and Pavel Marek. "Rehabilitation of Historic Farmstead near Klecany." In INTERNATIONAL CONFERENCE ON REHABILITATION AND RECONSTRUCTION OF BUILDINGS 2021. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-tdr25c.
Full textAbstract:
Rehabilitation of a historic farmstead originated from 17-18th century is focused on the strengthening and preservation of structures including masonry vaults in existing agricultural buildings and underground corridor near Prague. For specification of the actual strength of masonry and also for the determination of material characteristics, the physically-chemical analysis of mortar was prepared. The estimation of actual masonry strength makes it easier to rebuilt two masonry vaults and also to strengthen existing historical corridor which leaded in the past to the ruins of castle. Principles of ISO 13822 for the assessment of existing structures and CSN 73 0038 is applied for the verification of the reliability level of historical masonry vaults which represent an important aspect of the culture of its period and could be considered to have some heritage value.
5
Martin, Shelley F. "Removal of History." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.27.
Full textAbstract:
In regarding history as a concept, the foundation of both the critical and the cultural historian relies on the metaphor selected to order the world. The acquisition of knowledge by inquiry, as in the Greek “historia”, is related to the Latin “videre” ( to see), and develops an historical sense which includes the perception of the past, the present, and the future simultaneously. These relationships of time usually move either horizontally as a chronological time line with clear regulations and overlaps; or vertically with the direct impact of a cut or incision that both divides and links at the same time. A ruin is a state of time where, for a moment, all three tenses collide as the past and the future crash into the present. In a ruin both the productions and the destructions of history reveal themselves as an opportunity to recognize the significance and signatures of events and the boundaries enclosing them.
6
Accetta, Cinzia. "Gibellina and the identity of community. Brandi, Burri and the conserva-tion of the 'ruins'." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15618.
Full textAbstract:
The construction of the new Gibellina is the starting point to reflect on the importance of memory and the rites of passage between the past and the future of a people. The construction of the city resulted from the destruction of the Belice earthquake of 1968 which wiped out the old town and forced the inhabitants to look for a new, safer place. What remains of the old city destroyed by the earthquake, with its painful heritage of ruins and rubble, has been transformed from a pour of concrete into a work of art: the "Cretto" by Alberto Burri. The new site arose from the design of Marcello Fabbri was the result of experimentation for the city of the future, designed for a significant increase in housing flows which later proved to be overestimated, creating a sense of alienation and out of scale. In the following years, the emotional and social clamor about the community was dramatic, due to the loss of the historical memory of the territory. The citizens of Gibellina had lost their place of origin, their "sacred pole". The contribution aims to highlight the links between past and future in the history of a place that pass through the relationships between the urban and social fabric in the transmission of the memories and identity of a people. After several decades, it is possible to evaluate the emotional effects of the choices made and reflect on the strategies that can be applied to heal the obvious gap between design and actual use of a place. The comparison between the settlement rituals of the nomadic tribe of the Omaha people based on the continuity of a symbolic object, the sacred pole, and the loss of the “genius loci” of Gibellina caused by the occultation of the macere, allows to identify an interesting and unprecedented parallelism in the re-foundation symbolic of the settlement principle which is at the basis of the rebirth of a community. As Torsello and Boscarino suggests, the memory of a people passes through its monuments. Etymologically it can be traced back to the Latin verb “monere” that is to remember, emphasizing the act of admonishing, warning, remembering the history imprinted in the voluntary action of building for the community.
7
Margineanu, Virgiliu. "The trend of the film industry in the Republic of Moldova during the 30 years of independence." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.25.
Full textAbstract:
In the 90s, with the collapse of the Soviet Empire, the systems by which certain artistic fields functioned were also ruined. Heavy names of Moldovan cinema became legends. The few new names seemed devoid of the prospect of a bright future, and the film, as the seventh art, turned off the light and drew the curtain. By taking a look at the past, on the one hand, Moldovan cinematography has a path with high-impact achievements, with a rich history, but at the same time, it is the least developed field, if we relate it to the rise which other arts have experienced since our independence.
8
Seglins, Valdis, and Agnese Kukela. "THE PLOCHATA DOLMEN NEAR ZLATOSEL, BULGARIA." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s04.05.
Full textAbstract:
Bulgaria is extremely rich in prehistoric and historic monuments. Among Bulgaria�s outstanding monuments there are not only the well-known Varna Necropolis and Provadia-Solnitsata ancient salt mining and urban center, but also numerous other megalithic prehistoric monuments. Until now, they have been identified and recognized mainly as alone - standing objects. Current paper focuses on the study carried out in the vicinity of Zlatosel village on the prehistoric site of the Plochata Dolmen. The study indicates that this large area consists of a complex of ancient buildings� ruins and fragments of megalithic structures. The most notable fragment of an ancient complex structure is so-called portal dolmen, which has been adapted for sun observation during much later times, when the monuments of the megalithic culture had already lost their significance. This ancient culture is evidenced not only by numerous ruins of megalithic monuments easily recognizable in a large area (including the northern shore of the lake Dondukovo), but also by many signs and symbols still visible on the exposed surfaces of the natural rock walls and several man-made natural rock formations and their groups. The study reveals that closer attention should be paid also to the shapes given to the individual stone material monoliths and the quality of the surface treatment. This is an important indication not only of the quality of the tools used by the ancient craftsmen, but also of their skills and ability to do their job with sufficient precision.
9
Clua Uceda, Álvaro. "Slussen 1935-2015: diagnóstico de una ruina moderna." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6160.
Full textAbstract:
El proyecto del Slussen en Estocolmo es hoy una ruina del movimiento moderno. Aquella visión optimista y eterna de la arquitectura funcionalista se presenta incierta y desproporcionada tras menos de un siglo de pervivencia. Paredes desconchadas, metales oxidados por el salitre, azulejos rotos, tiendas en decadencia y paseantes en sombra muestran un espacio hoy muy distinto de aquella “elegancia” que pregonara en 1935 el periódico Svenska Dagbladet ante el proyecto de Tage William-Olsson. ¿Cuáles son las causas de la decadencia de ese intersticio urbano? ¿Es en origen un proyecto erróneo, una historia malograda? Las respuestas se argumentan desde un recorrido intencionado por algunos momentos clave de su transformación: en el rastro de esbozos nunca realizados, en las vacilaciones del proyecto original, en las instantáneas de su inauguración, en sus detalles de acabados y comercio o finalmente en las imágenes presentadas al concurso internacional de 2008. Quizás puedan argumentarse ahí las futuras intervenciones que se ciernen sobre el Slussen moribundo: ¿mirada nostálgica, oportunismo, tabula rasa? The Slussen project in Stockholm is today a ruin of the modern movement. After less than a century of life, the place appears in an uncertain and disproportionate way, far from the optimistic and eternal vision of functionalist architecture. Flaking walls, oxidized metals, broken tiles, decadent shops and pedestrians lost in the shadow of the infrastructure show a very different space of that "elegant" prototype declared by the Svenska Dagbladet in 1935 on the built project of Tage William-Olsson. Which are the reasons for the decadence of this urban interstice? Is the original Slussen designed by Tage William-Olsson a wrong project, a failed story? In this article, answers are argued following an intentional trip through some key episodes of its existence: through the traces of sketches ever executed and the variations of the original project, through some images of its inauguration and the subtle details in the bright shopping stores and, finally, through the reading of the proposals presented to the recent international competition in 2008. Perhaps the future transformation of the dying Slussen could learn some arguments from the experience of its own past. ¿Nostalgic view, opportunism, tabula rasa?
10
Gümüşay, Mehtap, and Sevgül Limoncu. "Vernacular: Emergence to Disasters." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021271n8.
Full textAbstract:
Nowadays, as some buildings differ from the others, known as local or traditional architecture; creates proximity to the modern building systems, we are used to today are called, vernacular architecture. We also called the similar style of building design, architecture without architects or rural architecture. Modern architectural buildings have changed the way of life, have aimed to a better living condition. In the recent history, we have experienced disasters like earthquakes, flooding, tsunamis, landslides. The ruins have emerged health and safety regulation changes in the policies. The emergence of the health and safety in the building life as the prime aim, closeness to the environment degradation have created theoretical concepts of ecological building styles and how local traditions have answered the emergency. In this study, it is studied the differences between countries how the cultural practices juxtaposed or override the modern technologies.
Reports on the topic "Ruines – histoire"
1
Khomenko, Tetiana, and Yuriy Kolisnyk. Втрати української культури у російсько-українській війні: культурно-інформаційний спротив. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.
Full textAbstract:
The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, namely: fixation of losses, propaganda of the Ukrainian culture in the world, expert evaluation of the restitution possibilities, and filling of the culture material with patriotic sense. The full-scale invasion of Russia into Ukraine on the 24th of February 2022 led to the numerous loss of life, ruination of the military, civil and infrastructure objects. But the state-aggressor destroys and robs our culture in this war. Since the beginning of the war mass media have been actively informing about the situation in the regions, which happened to be at the line of the Russian troops attack. The information was in particular about the fact that different educational establishments, libraries and their funds, museums with valuable collections, theatres, religious buildings and historic buildings had been ruined. To tell the truth the information was incomplete due to the limited opportunities to monitor the situation. However, later it has been systematized. The work of journalists and experts contributed to this since they stated the criminal acts of Russia, informing about the ruination facts of historic, sacral, cultural monuments, devastation of many museum collections, destruction of library and archive funds. Digitalization of the Russian war crimes against Ukrainian culture became one more important work aimed at preservation of the Ukrainian cultural heritage. It was done by means of interactive maps of the Ukrainian cultural losses and it enables documenting crimes of the occupant army and spreading this information at the international level. Key words: culture, cultural front, cultural losses, cultural values, cultural heritage, war, media.
2
Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.
Full textAbstract:
In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
3
Henderson, Tim, Vincent Santucci, Tim Connors, and Justin Tweet. National Park Service geologic type section inventory: Sonoran Desert Inventory & Monitoring Network. National Park Service, September 2022. http://dx.doi.org/10.36967/2294374.
Full textAbstract:
Type sections are one of several kinds of stratotype. A stratotype is the standard (original or subsequently designated), accessible, and specific sequence of rock for a named geologic unit that forms the basis for the definition, recognition, and comparison of that unit elsewhere. Geologists designate stratotypes for rock exposures that are illustrative and representative of the map unit being defined. Stratotypes ideally should remain accessible for examination and study by others. In this sense, geologic stratotypes are similar in concept to biological type specimens; however, they remain in situ as rock exposures rather than curated in a repository. Therefore, managing stratotypes requires inventory and monitoring like other geologic heritage resources in parks. In addition to type sections, stratotypes also include type localities, type areas, reference sections, and lithodemes, all of which are defined in this report. The goal of this project is to consolidate information pertaining to stratotypes that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic heritage resources. This effort identified six stratotypes designated within four park units of the Sonoran Desert Inventory & Monitoring Network (SODN): Chiricahua National Monument (CHIR) has three type areas; Coronado National Memorial (CORO) has one type area; Gila Cliff Dwellings National Monument (GICL) has one type area; and Saguaro National Park (SAGU) has one type area. Table 1 provides information regarding the six stratotypes currently identified within SODN parks. There are currently no designated stratotypes within Casa Grande Ruins National Monument (CAGR), Fort Bowie National Historic Site (FOBO), Montezuma Castle National Monument (MOCA), Organ Pipe Cactus National Monument (ORPI), Tonto National Monument (TONT), Tumacácori National Historical Park (TUMA), or Tuzigoot National Monument (TUZI). However, CHIR, MOCA, SAGU, and TUZI contain important rock exposures that could be considered for formal stratotype designation as discussed in the “Recommendations” section. The inventory of geologic stratotypes across the NPS is an important effort in documenting these locations so that NPS staff may recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS has centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks and was therefore adopted for the stratotype inventory. The Greater Yellowstone I&M Network (GRYN) was the pilot network for initiating this project (Henderson et al. 2020). Methodologies and reporting strategies adopted for the GRYN have been used in the development of this report for the SODN. This report includes a recommendation section that addresses outstanding issues and future steps regarding park unit stratotypes. These recommendations will hopefully guide decision-making and help ensure that these geoheritage resources are properly protected and that proposed park activities or development will not adversely impact the stability and condition of these geologic exposures.