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Walls of Algiers examines the historical processes that transformed Ottoman Algiers, the "Bulwark of Islam," into "Alger la blanche," the colonial urban showpiece - and, after the outbreak of revolution in 1954 - counter-model of France's global empire. In this volume, the city of Algiers serves as a case study for the analysis of the proactive and reactive social, political, technical, and artistic forces that generate a city's form. Visual sources - prints, photographs, paintings, architectural drawings, urban designs, and film - are treated as primary evidence that complements and even challenges textual documents. The contributors' wide-ranging but intersecting essays span the disciplines of art history, social and cultural history, urban studies, and film history. Walls of Algiers presents a multifaceted look at the social use of urban space in a North African city. Its contributors' innovative methodologies allow important insights into often overlooked aspects of life in a city whose name even today conjures up enchantment as well as incomprehensible violence. Contributors include Julia Clancy-Smith, Omar Carlier, Frances Terpak, Zeynep Celik, Eric Breitbart, Isabelle Grangaud, and Patricia M. E. Lorcin.
The essays presented in this volume, first published in 2000, describe a phenomenon so widespread in human time and space that its importance is easily overlooked. City walls shaped the history of warfare; the mobilisation of manpower and resources needed to build them favoured some kinds of polities over others; and their massive strength, appropriately ornamented, created a visual language of authority. Previous collective volumes on the subject have dealt mainly with Europe, but the historians and art historians who collaborate here follow a comparative agenda. The millennial practice of wall building that branched out from the ancient Near East into India, Europe, and North Africa shows continuities and points of contact of which the makers of urban fortifications were scarcely aware; separate traditions in China, sub-Saharan Africa, and North America illustrate universal themes of defensive strategy and the symbolism of power, each time embedded in a distinctive local context.
In the last decade, sleep spindles have attracted steadily increasing attention. This interest is motivated by the many intriguing relationships between spindles and various diseases (e.g., schizophrenia, Parkinson, Alzheimer, autism, mental retardation), recovery processes (e.g., post brain stroke), and cognitive faculties (e.g., memory consolidation, intelligence, dream recall, sleep preservation). Nonetheless, a methodological wall has impeded the study of sleep spindles. Their investigation rests heavily on our ability to reliably and consistently identify spindle patterns from background EEG activity, a task involving many obstacles, including: a fuzzy definition of spindles, low inter-expert agreement on their scoring, lack of consensus on standard techniques for their automated detection, low reproducibility of observed characteristics and correlates, unavailability of large, standardized, high-quality databases, and inconsistencies in the methods used to evaluate the performance of automated detectors. The primary aims of this research topic were to bring together world-class researchers on a project designed to facilitate exchanges on methodological difficulties encountered in assessing sleep spindles and to promote standardized spindle-related resources. In preparing their contributions, authors were encouraged to use existing – or to propose new – publicly available resources for assessing sleep spindles. To allow fair and accurate comparison of reported results, the authors were also encouraged to validate their tools on a common benchmark. A database containing expert spindle scoring (i.e., the Montreal Archive of Sleep Studies) was made publicly available for that purpose.
'Mediterraneans' offers an account of migration from Southern Europe to North Africa during the 19th century, especially to what became Tunisia.
Seeking Bread and Fortune in Port Said probes migrant labor's role in shaping the history of the Suez Canal and modern Egypt. It maps the everyday life of Port Said's residents between 1859, when the town was founded as the Suez Canal's northern harbor, and 1906, when a railway connected it to the rest of Egypt. Through groundbreaking research, Lucia Carminati provides a ground-level perspective on the key processes touching late nineteenth-century Egypt: heightened domestic mobility and immigration, intensified urbanization, changing urban governance, and growing foreign encroachment. By privileging migrants' prosaic lives, Seeking Bread and Fortune in Port Said shows how unevenness and inequality laid the groundwork for the Suez Canal's making.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.