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Composición Arquitectónica 1: Historia y análisis del proyecto arquitectónico: de Grecia a la Edad Media. Composición Arquitectónica 2: Historia y análisis del proyecto arquitectónico: del Renacimiento al siglo de las revoluciones. Composición Arquitectónica 3: Historia y análisis del proyecto arquitectónico: de la gestación de las vanguardias a la Primera Guerra Mundial. Composición Arquitectónica 4: Historia y análisis del proyecto arquitectónico: de las revisiones de la Modernidad a las últimas tendencias. Arquitectura e Ingeniería del siglo xx: Representación y construcción de una Modernidad intermedia. Paisajes Culturales: Desarrollo del programa europeo Teruel Life+.
First Published in 1999. This title is the third volume in the ten-volume set titled the Selected Works of Frances Yates. Greyscale illustrations and figures are included throughout - alongside the related descriptive work where applicable. The art in this volume seeks to memorise through a technique of impressing 'places' and 'images' on memory. It has usually been classed as 'mnemotechnics', which appears an unimportant branch of human activity. However, the author discusses in this title that the manipulation of images in memory must always, to some extent, involve the psyche.
WINNER OF THE 2022 NOBEL PRIZE IN LITERATURE A Frozen Woman charts Ernaux's teenage awakening, and then the parallel progression of her desire to be desirable and her ambition to fulfill herself in her chosen profession - with the inevitable conflict between the two. And then she is 30 years old, a teacher married to an executive, mother of two infant sons. She looks after their nice apartment, raises her children. And yet, like millions of other women, she has felt her enthusiasm and curiosity, her strength and her happiness, slowly ebb under the weight of her daily routine. The very condition that everyone around her seems to consider normal and admirable for a woman is killing her. While each of Ernaux's books contain an autobiographical element, A Frozen Woman, one of Ernaux's early works, concentrates the spotlight piercingly on Annie herself. Mixing affection, rage and bitterness, A Frozen Woman shows us Ernaux's developing art when she still relied on traditional narrative, before the shortened form emerged that has since become her trademark.
Uncovers the ways in which the spectator's memory informs theatrical reception
From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti
Delving into a tumultuous year’s impact on art, culture, and politics, this book “illuminates the often-overlooked histories of 1968” (The Journal of American History). From the mid-1960s to the early 1970s, revolutions in theory, politics, and cultural experimentation swept around the world. These changes had as great a transformative impact on the right as on the left. A touchstone for activists, artists, and theorists of all stripes, the year 1968 has taken on new significance for the present moment, which bears certain uncanny resemblances to that time. The Long 1968 explores the wide-ranging impact of the year and its aftermath in politics, theory, the arts, and international relations—and its uses today.
This volume presents both an analysis of how identities are built, represented and negotiated in narrative, as well as a theoretical reflection on the links between narrative discourse and identity construction. The data for the book are Mexican immigrants' personal experience narratives and chronicles of their border crossings into the United States. Embracing a view of identity as a construct firmly grounded in discourse and interaction, the author examines and illustrates the multiple threads that connect the local expression and negotiation of identity to the wider social contexts that frame the experience of migration, from material conditions of life in the United States to mainstream discourses about race and color. The analysis reveals how identities emerge in discourse through the interplay of different levels of expression, from implicit adherence to narrative styles and ways of telling, to explicit negotiation of membership categories.
The central figure of this novel is a young man whose parents were executed for conspiring to steal atomic secrets for Russia. His name is Daniel Isaacson, and as the story opens, his parents have been dead for many years. He has had a long time to adjust to their deaths. He has not adjusted. Out of the shambles of his childhood, he has constructed a new life—marriage to an adoring girl who gives him a son of his own, and a career in scholarship. It is a life that enrages him. In the silence of the library at Columbia University, where he is supposedly writing a Ph.D. dissertation, Daniel composes something quite different. It is a confession of his most intimate relationships—with his wife, his foster parents, and his kid sister Susan, whose own radicalism so reproaches him. It is a book of memories: riding a bus with his parents to the ill-fated Paul Robeson concert in Peekskill; watching the FBI take his father away; appearing with Susan at rallies protesting their parents’ innocence; visiting his mother and father in the Death House. It is a book of investigation: transcribing Daniel’s interviews with people who knew his parents, or who knew about them; and logging his strange researches and discoveries in the library stacks. It is a book of judgments of everyone involved in the case—lawyers, police, informers, friends, and the Isaacson family itself. It is a book rich in characters, from elderly grand- mothers of immigrant culture, to covert radicals of the McCarthy era, to hippie marchers on the Pen-tagon. It is a book that spans the quarter-century of American life since World War II. It is a book about the nature of Left politics in this country—its sacrificial rites, its peculiar cruelties, its humility, its bitterness. It is a book about some of the beautiful and terrible feelings of childhood. It is about the nature of guilt and innocence, and about the relations of people to nations. It is The Book of Daniel.