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Saint-Maurice d'Agaune - Gudme - Vistula - Francia - Maastricht - Aachen - Gaul - Cordoba.
This book investigates the function of topographical names and descriptions in a variety of narratives, poems, and philosophical or theoretical texts, primarily from the 19th and 20th centuries, but including also Plato and the Bible. Topics include the initiating efficacy of speech acts, ethical responsibility, political or legislative power, the translation of theory from one topographical location to another, the way topographical delineations can function as parable or allegory, and the relation of personification to landscape.
How have Jews experienced their environments and how have they engaged with specific places? How do Jewish spaces emerge, how are they contested, performed and used? With these questions in mind, this anthology focuses on the production of Jewish space and lived Jewish spaces and sheds light on their diversity, inter-connectedness and multi-dimensionality. By exploring historical and contemporary case studies from around the world, the essays collected here shift the temporal focus generally applied to Jewish civilization to a spatially oriented perspective. The reader encounters sites such as the gardens cultivated in the Ghettos during World War II, the Israeli development town of Netivot, Thornhill, an Orthodox suburb of Toronto, or new virtual sites of Jewish (Second) Life on the Internet, and learns about the Jewish landkentenish movement in Interwar Poland, the Jewish connection to the sea and the culinary landscapes of Russian Jews in New York. Employing an interdisciplinary approach, with a strong foothold in cultural history and cultural anthropology, this anthology introduces new methodological and conceptual approaches to the study of the spatial aspects of Jewish civilization.
Topographies of Fascism offers the first comprehensive exploration of how Spanish fascist writing – essays, speeches, articles, propaganda materials, poems, novels, and memoirs – represented and created space from the early 1920s until the late 1950s. Nil Santiáñez contends that fascism expressed its views on the state, the nation, and the society in spatial terms (for example, the state as a “building,” the nation as an “organic unity,” and society as the “people's community”), just as its adherents celebrated fascism in its architecture, public spectacles, and military rituals. While Topographies of Fascism centres on Spain, a nation that produced a large number of fascist texts focused on space, it also draws on works written by key German, Italian, and French fascist politicians and intellectuals. Ultimately, it provides an innovative model for analyzing the comparable yet often overlooked strategies of symbolic representation and production of space in fascist political and cultural discourse.
Architectural Topographies is a critical dictionary for architects and landscape architects in which the graphic lexicon can be read from a beginning, the ground, to a conclusion, the specific case studies. Meant as a tool to help you recognise, analyse, choose, and invent solutions, the book's key words refer to the physical and material relationship between construction and ground; to where and how the link is built; to the criteria, methods, and tools used to know and transform the ground; and to the possible approaches to the place and their implications on the way the earth is touched. Fifty case studies by forty-six of the greatest architects of the previous hundred years are represented throughout in sectional drawings which place the buildings along the same ground plane to illustrate how the key words might be combined and to show each architect's position on their built work in relation to all the others. Includes projects by Alvar Aalto; Tadao Ando; Gunnar Asplund; Atelier Bow-Wow; João Batista Vilanova Artigas; Patrick Berger; Mario Botta; Marcel Breuer; Erik Bryggman; Gonçalo Byrne; David Chipperfield; Le Corbusier; Sverre Fehn; Aurelio Galfetti, Flora Ruchat, and Ivo Trumpy; Dick Van Gameren; Herzog and De Meuron; Steven Holl; Arne Jacobsen; Kengo Kuma; Anne Lacaton and Jean Philippe Vassal; Adalberto Libera; Frank Lloyd Wright; Paulo Mendes da Rocha; Ludwig Mies van der Rohe; Enric Miralles and Carme Pinos; Glenn Murcutt; Juan Navarro Baldeweg; Sheila O’Donnell and John Tuomey; Jan Olav Jensen and Børre Skodvin; John Pawson; Giuseppe Perugini, Mario Fiorentino, and Nello Aprile; Renzo Piano; Georges-Henry Pingusson; Rudolph Schindler; Roland Simounet; Alvaro Siza; Luigi Snozzi; Alejandro de la Sota; Eduardo Souto de Moura; Alison Smithson and Peter Smithson; Fernando Tavora; Jørn Utzon; Livio Vacchini; Francesco Venezia, Roberto Collovà, and Marcella Aprile; Amancho Williams; and Peter Zumthor.
Sad Topographies is an illustrated guide for the melancholic among us. Dispirited travellers rejoice as Damien Rudd journeys across continents in search of the world’s most joyless place names and their fascinating etymologies. Behind each lugubrious place name exists a story, a richly interwoven narrative of mythology, history, landscape, misadventure and tragedy. From Disappointment Island in the Southern Ocean to Misery in Germany, across to Lonely Island in Russia, or, if you’re feeling more intrepid, pay a visit to Mount Hopeless in Australia – all from the comfort of your armchair. With hand drawn maps by illustrator Kateryna Didyk, Sad Topographies will steer you along paths that lead to strange and obscure places, navigating the terrains of historical fact and imaginative fiction. At turns poetic and dark-humoured, this is a travel guide quite like no other. Damien Rudd is the founder of the hugely popular Instagram account @sadtopographies.
"Provides critical accounts of LIS history, exploring the legacies and current formations of whiteness, from whiteness and technology to whiteness and library pedagogy"--
Although the British romantic poets - notably, Blake, Wordsworth, and Byron - have been the subjects of previous ecocritical examinations, this text compares English and German literary models of romanticism.
This book explores the metaphor of topography as a mechanism for the inscription of gender roles in Arthurian romance.
Since Unification and the end of the Cold War, Berlin has witnessed a series of uncommonly intense social, political, and cultural transformations. While positioning itself as a creative center populated by young and cosmopolitan global citizens, the “New Berlin” is at the same time a rich site of historical memory, defined inescapably by its past even as it articulates German and European hopes for the future. Cultural Topographies of the New Berlin presents a fascinating cross-section of life in Germany’s largest city, revealing the complex ways in which globalization, ethnicity, economics, memory, and national identity inflect how its urban spaces are inhabited and depicted.