DOCSLIB.ORG

Downloaded by [New York University] at 06:09 16 August 2016 Drawing the Unbuildable

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Downloaded by [New York University] at 06:09 16 August 2016 Drawing the Unbuildable Downloaded by [New York University] at 06:09 16 August 2016 Drawing the Unbuildable Architecture is conventionally perceived to be synonymous with building. In contrast, this book introduces and defines a new category – the unbuildable. The unbuildable involves projects that are not just unbuilt but also cannot be built. This distinct form of architectural project plays an important and often surprising role in architectural discourse, work- ing not in opposition to the buildable, but frequently complementing it. Using well-known examples of early Soviet architecture – Tatlin’s Tower in particular – Nerma Prnjavorac Cridge demonstrates the relevance of the unbuildable, how it relates to current notions of seriality, copying, and reproduction, and its implications relative to contempo- rary practice and discourse in the computational age. The unbuildable offers a fresh perspective on our preconceptions and expectations of early Soviet architecture and the Constructivist movement. Nerma Prnjavorac Cridge grew up and began her architectural career in Sarajevo, former Yugoslavia. At the beginning of the Bosnian War she came to the UK, continuing her studies first at Birmingham, and then at the Bartlett, UCL. Nerma was awarded a PhD at the Architectural Association in London in 2011. As well as working for several distinguished architectural practices including Thomas Heatherwick’s Studio and Art2Architecture, Nerma taught at the Universities of Greenwich, Birmingham, London Downloaded by [New York University] at 06:09 16 August 2016 Metropolitan, Central Saint Martins, IVE Hong Kong, and Brighton. A Fellow at the Royal Society of Arts since 2011, Nerma currently divides her time between teaching history and theory at the Architectural Association in London and design at Cambridge School of Art, as well as running her own art and design practice, Drawing Agency. She lives in London with her husband, Mark, and daughter, Marlena. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architec- tural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By making these studies available to the worldwide academic community, the series aims to promote quality architectural research. An Architecture of Parts The Films of Charles and Ray Eames Architects, Building Workers and A Universal Sense of Expectation Industrialisation in Britain 1940–1970 Eric Schuldenfrei Christine Wall Intersections of Space and Ethos Towards an Articulated Phenomeno- Searching for the Unmeasurable logical Interpretation of Architecture Nikolaos-Ion Terzoglou, Kyriaki Phenomenal phenomenology Tsoukala and Charikleia Pantelidou M. Reza Shirazi Ars et Ingenium: The Embodiment of Architectural System Structures Imagination in Francesco di Giorgio Integrating Design Complexity in Martini’s Drawings Industrialised Construction Pari Riahi Kasper Sánchez Vibæk Downloaded by [New York University] at 06:09 16 August 2016 Kahn at Penn Space Unveiled Transformative Teacher of Architecture Invisible Cultures in the Design Studio James Williamson Edited by Carla Jackson Bell Designing the British Post-War Home Architectural Temperance Kenneth Wood, 1948–1968 Spain and Rome, 1700–1759 Fiona Fisher Victor Deupi Drawing the Unbuildable Assembling the Centre: Architecture for Seriality and reproduction in architecture Indigenous Cultures Nerma Prnjavorac Cridge Australia and Beyond Janet McGaw and Anoma Pieris Drawing the Unbuildable Seriality and reproduction in architecture Nerma Prnjavorac Cridge Downloaded by [New York University] at 06:09 16 August 2016 First published 2015 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2015 Nerma Prnjavorac Cridge The right of Nerma Prnjavorac Cridge to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Cridge, Nerma. Drawing the unbuildable: seriality and reproduction in architecture/Nerma Cridge. pages cm. — (Routledge research in architecture) Includes bibliographical references and index. 1. Unbuilt architectural projects. 2. Communication in architectural design. 3. Architecture—Philosophy. I. Title. NA2705.5.C75 2015 720—dc23 Downloaded by [New York University] at 06:09 16 August 2016 2014042472 ISBN: 978-1-138-79006-3 (hbk) ISBN: 978-1-315-76444-3 (ebk) Typeset in Sabon by diacriTech, Chennai Contents List of figures vii Acknowledgements ix Introduction: category of the unbuildable 1 PTAR I The unbuildable monument 21 1 Tatlin’s Tower: an image outside of time 23 2 The unbuildable tomb: the Palace of the Soviets 65 3 Tower and Palace: two faces of the gigantic monument 100 PTAR II The unbuildable series 125 4 Horizontal Skyscraper: series within a series 127 5 The serial series: Iakov Chernikhov 140 6 The pioneering series: Piranesi’s Carceri 160 Downloaded by [New York University] at 06:09 16 August 2016 Conclusion 171 Bibliography 178 Image credits 189 Index 190 This page intentionally left blank Downloaded by [New York University] at 06:09 16 August 2016 List of figures Figure I.1 Hand-written note by Le Corbusier for the lecture proclaiming ‘hatred of drawing’ 3 Figure I.2 ‘Slava Stalinu!’ (Glory to Stalin!) 10 Figure 1.1 Photographs of the original model in St. Petersburg in 1920 36 Figure 1.2 Built towers: Shukhov Tower and London Olympic Tower 43 Figure 1.3 Simplified model in street demonstration photographed from three different angles 51 Figure 1.4 Yuri Avvakumov, Red Tower, 1986 53 Figure 1.5 The first fragment of atlin’sT Tower 58 Figure 2.1 Palace of the Soviets 81 Figure 2.2 Russian Antarctic Base at the Pole of Inaccessibility 87 Figure 2.3 Iofan, Shchuko, and Gelfreikh, Palace of the Soviets, 1934 91 Figure 2.4 The difference between the Tower and the Palace 93 Figure 3.1 El Lissitzky, Tatlin at Work, 1920 116 Figure 4.1 El Lissitzky, Lenin Tribune, PROUN no. 85 128 Figure 4.2 Cloud Iron: Rendered Axonometric 133 Figure 5.1 Drawing size comparison: Palace of the Soviets by Boris Iofan versus Composition No. 28 by Iakov Chernikhov 143 Figure 5.2 Iakov Chernikhov, Composition No. 28, also referred to as Hammer and Sickle Fantasy 144 Downloaded by [New York University] at 06:09 16 August 2016 Figure 5.3 Iakov Chernikhov, 101 Compositions 1925–1933 146 Figure 5.4 Iakov Chernikhov, composition from The Pantheons of the Great Patriotic War sequence, 1942–1945 153 Figure 5.5 Water Tower, Red Carnation Factory 156 Figure 6.1 Giovanni Battista Piranesi, Carceri, The Drawbridge plate 164 This page intentionally left blank Downloaded by [New York University] at 06:09 16 August 2016 Acknowledgements This book is based on my PhD thesis completed in 2011 at the Architectural Association in London. It would not have been possible without the support of my supervisors, Marina Lathouri and Mark Cousins. I also owe my deep gratitude to the director of the Architectural Association, Brett Steele. Anyone who has completed a PhD thesis and then was fortunate to publish it as a book will know how far from straightforward this process is. In my case, a particular difficulty was that the thesis dealt primarily with the visual, and included over 160 drawings, paintings, and photo- graphs. In contrast, this book contains only 20 black-and-white images. Rather than hindering, I hope that this small selection helps to rein- force my main arguments. Since being created, the representations of the unbuildable have often been difficult to verify, were commonly forged, stolen, or simply deteriorated beyond recognition. Even now, most of the time, such material is only accessible through small black-and-white photocopies, making verification of the original size, location, or num- bers of items, extremely difficult, perhapsimpossible. I hope that, similar to the unbuildable itself, this absence of basic information enables the reader to imagine how truly glorious their full scale and colours must have been, as well as to speculate on other real and fictional possibilities. Downloaded by [New York University] at 06:09 16 August 2016 My background informed both my approach to the subject and my access to it. I grew up in Sarajevo, ex-Yugoslavia. At least in part, this book is written for that young girl, who could see and appreciate the kind of country and political system there was, as well as having to flee for her life when the Bosnian War unfolded. However, this is not about nostalgia for what has been lost, but about acknowledging an impor- tant role that these lesser known histories have within an architectural discourse. Accessing Russian archives was extremely difficult, riddled with suspicion, bureaucracy, and many misunderstandings. Some of my experiences in Moscow would not be out of place in a Kafka novel. However, since this book is about perceptions in the West, most of the research comes from Western sources. I aimed to emphasise throughout how ideology and even so-called propaganda are not as clear-cut as they often tend to be perceived. As a consequence, our interpretations of any historical events should not and, in fact, must not be absolutist.
Load more

Recommended publications
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • Why Nations Go to War, 11Th
    Why Nations Go to War ELEVENTH EDITION JOHN G. STOESSINGER Distinguished Professor of Global Diplomacy University of San Diego Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States Copyright 2010 Cengage Learning, Inc. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Why Nations Go to War, © 2011, 2008, 2004 Wadsworth, Cengage Learning Eleventh Edition ALL RIGHTS RESERVED. No part of this work John G. Stoessinger covered by the copyright herein may be reproduced, Senior Publisher: Suzanne Jeans transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including Executive Editor: Carolyn Merrill but not limited to photocopying, recording, scanning, Assistant Editor: Katherine Hayes digitizing, taping, Web distribution, information Editorial Assistant: Angela Hodge networks, or information storage and retrieval systems, except as permitted under Section 107 or Senior Marketing Manager: Amy 108 of the 1976 United States Copyright Act, without Whitaker the prior written permission of the publisher. Marketing Coordinator: Josh Hendrick For product information and technology Marketing Communications assistance, contact us at Manager: Heather Baxley Cengage Learning Customer & Sales Support, 1-800-354-9706 Senior Art Director: Linda Helcher For permission to use material from this text or product, submit all requests online at Senior Print Buyer: Judy Inouye www.cengage.com/permissions. Senior Rights Acquisition Further permissions
    [Show full text]
  • Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 Ryan Gentry Department of History Presen
    Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 Ryan Gentry Department of History Presented for the Partial Requirements Necessary for a Master of Arts Degree (History) at Concordia University Montreal, Quebec March 2018 © Ryan Gentry, 2018 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ryan Gentry Entitled: Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 and submitted in partial fulfillment of the requirements for the degree of Master of Arts, History complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Barbara Lorenzkowski Examiner Dr. Norman Ingram Examiner Dr. Eric H. Reiter Thesis Supervisor Dr. Alison Rowley Approved by Dr. Peter Gossage Chair of Department or Graduate Program Director André Roy Dean, Faculty of Arts and Science Date Gentry iii Abstract Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 Ryan Gentry There have been many scholarly efforts covering the period in the Soviet Union known as the Great Terror; most often these writings tried to contextualize and understand the inner working of the regime or its people. The present work shifts this lens, since it seeks to uncover how Anglo-American audiences grappled with one significant event from that era: the 1936 Trial of the Sixteen, the first of Stalin’s major show trials. As the Old Bolsheviks were led to the slaughter, people in the West received a myriad of information concerning this very public spectacle.
    [Show full text]
  • THE OLD BOYS the American Elite and the Origins of the CIA
    THE OLD B OYS The American Elite and the Origins of the CIA BURTON HERSH Expanded, unexpurgated, and with an updated preface INTRODUCTION THE OLD BOYS The American Elite and the Origins of the CIA In 1961 I was a kid attempting to break into magazine free-lancing. The Bay of Pigs debacle had barely overtaken the Kennedy administration, and through a well-intentioned friend I finagled an audience with the highly regarded progressive Carey McWilliams, long since the rock and senior brain around The Nation of that era. McWilliams’s editorial office was small, I remember, with an ink-blotched, chipped-up desk that looked as if it had been dragged into an alley behind some principal’s office somewhere and rescued by liberals from the Department of Sani- tation. The plaster was grey, and crazed into cracks in a great many places, and smeared with a formless crescent behind where McWilliams tilted back his creaky oak chair and impatiently rubbed his scalp against the wall while hashing up story ideas. Amidst all this atmosphere, McWilliams came right to the point. What with the end of the Eisenhower administration and the Cuban misadventure, the CIA was accessible for the first time. The moment was ripe to dig out a full-length exposé of the Agency, until recently seemingly untouchable. The Allen Dulles era was mani- festly at an end. How about starting in for the magazine with that assignment? There could be no guarantee, but the magazine would probably pay expenses up to thirty dollars. At that time of my life I had no experience of any kind with investigative jour- nalism, a single friend with a couch in the entire D.C.
    [Show full text]
  • "They Are Intent on Demeaning and Misrepresenting Trotsky Himself Because His Ideas Are Still Very Relevant"
    "They are intent on demeaning and misrepresenting Trotsky himself because his ideas are still very relevant" https://internationalviewpoint.org/spip.php?article6122 Marxism "They are intent on demeaning and misrepresenting Trotsky himself because his ideas are still very relevant" - IV Online magazine - 2019 - IV533 - June 2019 - Publication date: Wednesday 19 June 2019 Copyright © International Viewpoint - online socialist magazine - All rights reserved Copyright © International Viewpoint - online socialist magazine Page 1/4 "They are intent on demeaning and misrepresenting Trotsky himself because his ideas are still very relevant" Mexico City is a place that reverberates with history. The cradle of the "Mexica" civilization is a melting pot of cultures and testimony to unique events in the history of the 20th century. The irregular landscape of houses, the result of the devastation caused by successive earthquakes, houses an immense city with suburbs where 20 million people live. It was the refuge of some of the greatest writers, painters and poets of the last century. A place of welcome for thousands of republicans who fled from fascism after the Spanish civil war. And also, the only country on the "planet without a visa" that had the courage to accept Leon Trotsky's request for asylum. That "midnight in the century", in the words of Victor Serge, which was the 1930s and 1940s, saw Frida Kahlo, Diego Rivera, Malcolm Lowry, Andre Breton, Tina Modotti and Trotsky living in Mexico City. President Lázaro Cárdenas made of that time and place a singular meeting point of some of the finest minds of the time. And among all of them, Trotsky stood out, one of the last giants of the 20th century, assassinated by order of Stalin in his own house in the neighbourhood of Coyoacán.
    [Show full text]
  • Indiremi­ Yorsa, Akılla Yüreği Uzlaştuamıyorsa; Şehitlerin Ve Yaralıların Sayısı Kimin Umurunda Olur
    Guido Knopp LANET SAVAŞ "Barbarossa Harekatı" Bu kitabın Yayın haklan Pencere Yayınlarına aittir C. Bertelsmann Verlag GmbH yayınevi, Münih 1991 basımından çevrilmiştir. Birinci Baskı: Şubat 2006 Kapak: Bahri Çakır Baskı: Bayrak Matbası Küçükayasofya Cad. Yabacı Sk. No: 2/1 Sultanahmet-İstanbul Tel: 0212 638 42 02 Yayın Yönetmeni: Muzaffer Erdoğdu ISBN 975- 8460-83-8 PENCERE YAYINLARI: 198 Osmanağa Mah. Pavlonya Sok. No. 10/6 Nuhoğlu İşhanı İ Kadıköy / STANBUL TEL: (021 6) 414 64 41 Guido Knopp LANET SAVAŞ "Barbarossa Harekatı" Çeviren: İsmail Toksoy İÇİNDEKİLER Valentin Falin'in Önsözü 7 Lebensraum Çılgınlığı 20 Ani Hücum 72 Zafer Yanılsaması 138 Leningrad Kuşatması 204 Namlunun Ucundaki Kremlin 240 Sonun Başlangıcı 300 Sonsöz 349 Kronoloji 354 Kaynakça 360 Fotoğraf Kaynakçası 365 5 Önsöz Benim Gözümden Savaşın her Sovyet ailesi üzerindeki etkisi farklıdır. Ama, keder ve acıdan payını almayan kimse kalmamıştır. Savaş kaç insanın yaşamına mal oldu? 26 milyon mu, 27 milyon mu? Kaç insanın yaşamını mahvetti? 20 milyonun mu, 30 milyonun mu? Her derdin ilacı olan zaman bile kayıpların acısını dindiremi­ yorsa, akılla yüreği uzlaştuamıyorsa; şehitlerin ve yaralıların sayısı kimin umurunda olur. Üzerinden yanın yüzyıl geçmiş ol­ masına rağmen, 22 Haziran, Sovyet halkının belleğine çakılıp kalmış durumda. 1941 yılı ise tek başına bir timsal haline geldi. Her dakika, her saat, her gün yazgılarının yeniden yazıldığı bir sıfu noktası ve onlar için çok sevgili ve değerli olan kimselerin karayazısı olmuşsa, başka türlüsü de düşünülemezdi zaten. Benim için de aynen böyle oldu. 1941 ilkyazında tehlike çanları çalmaya başlamıştı. TA SS Haber Ajansı 'nın, Sovyetle­ rin batı sınınnda ortamın sütliman olduğuna yönelik haberleri, insanları ikna etmekten uzaktı.
    [Show full text]
  • Mystery of the Third Trip Or Time Pressure Levanevskogo
    Mystery of the Third trip or time pressure Levanevskogo The author-composer: Kostarev Evgeny . 2007/2008 Part 1. Start "Flying high above, and the farthest the fastest! " Battle cry of the Soviet government. Shortcut In autumn 1934 the Hero of the Soviet Union, the polar marine pilot Sigismund Alexandrovich Levanevskogo enticed by the idea Flight. He was the first in the Soviet Union, who suggested the idea of non-stop flight across the North Pole. The starting point of the route was Moscow; fit to accomplish the same in the U.S. The Soviet government in this project was received with great interest and supported the idea of non-stop transpolar flight. Of course! From Moscow to San Francisco can be reached in three ways - through the pole across the Atlantic or the Pacific Ocean. In this case, the distance will be 9,605 km, 14,000 km and 18,000 respectively. Sigismund Levanevsky Zygmunt A. Levanevsky - a very controversial figure in the history of Soviet aviation. He was born in 1902 in St. Petersburg. Levanevskogo father, a Polish worker, died when he was only 8 years old. In 1916, after graduating from three classes of the district school, Sigismund gave up teaching and went to work in a factory the company "Spring" in order to feed his family. Revolution scattered Levanevskogo the world - Sigismund in 1919, joined the Red Army, and his family moved from Petrograd. During the Civil War Levanevsky managed to get a fighter requisition, party members, eliminate gangs in Dagestan, and assistant warden 4th aeronautic squad in Petrograd.
    [Show full text]
  • Tatlin. New Art for a New World Museum Tinguely, Basel: 6 June – 14 October 2012
    PRESS RELEASE Basel, April 2012 Tatlin. new art for a new world Museum Tinguely, Basel: 6 June – 14 October 2012 This year the Museum Tinguely in Basel is dedicating its large summer exhibition to one of the most important figures of the Russian avant- garde: Vladimir Tatlin (1885–1953). It is now almost twenty years since the last comprehen- sive retrospective to be devoted to this radically innovative artist. The presented works will include early paintings, counter-reliefs that reach out into the surrounding space, reconstructions of his revolutionary tower, and Unknown photographer, Presentation of Vladimir Tatlin’s Letatlin the flying machine Letatlin. The exhibition is at a glider show, in Moscow, 1933, State Tretyakov-Gallery, Moscow rounded off with examples of his work for the theatre. The œuvre of this outstanding artist from the watershed period at the beginning of the twentieth century will be represented in over one hundred masterpieces, mostly on loan from major collections in Moscow and St Petersburg. Vladimir Tatlin began his career as a seaman. Until 1913 his artistic activities were limited exclusively to painting and drawing. Interested in the traditional fields of icon-painting and folk art, he later transferred his attention to the most modern avant-garde trends in Russia and Western Europe, more precisely Paris. His entire later work is founded on painting. The exhibition will show a comprehensive selection of his early paintings with their bold expanses of colour, rhythmic curves, and striking use of dark and light outlines. In these eye-catching works Tatlin achieved a highly original synthesis of the Russian tradition and the French avant-garde.
    [Show full text]
  • «THEY DID IT in SPAIN» La Transformació Del Pensament Estratègic Nord-Americà Davant La Guerra Civil Espanyola I El Perill De Penetració Feixista a L’Amèrica Llatina
    «THEY DID IT IN SPAIN» La transformació del pensament estratègic nord-americà davant la Guerra Civil Espanyola i el perill de penetració feixista a l’Amèrica Llatina Andreu Espasa de la Fuente 1 2 FACULTAT DE FILOSOFIA I LLETRES DEPARTAMENT D’HISTÒRIA MODERNA I CONTEMPORÀNIA DOCTORAT D’HISTÒRIA COMPARADA, POLÍTICA I SOCIAL Tesi doctoral presentada per Andreu Espasa de la Fuente Amb el títol «THEY DID IT IN SPAIN» La transformació del pensament estratègic nord-americà davant la Guerra Civil Espanyola i el perill de penetració feixista a l’Amèrica Llatina Director Borja de Riquer i Permanyer Barcelona, 29 de juny de 2014 3 4 AGRAÏMENTS Com bé deu saber qualsevol persona que hagi passat per un llarg procés d’investigació, és molt difícil resumir en uns pocs paràgrafs tots els deutes personals i intel!lectuals que un ha acumulat en els darrers anys. En primer lloc, he de donar les gràcies al meu tutor, Borja de Riquer i Permanyer, per tot el suport que m’ha donat en l’arriscada aposta per especialitzar- me en la història dels Estats Units i per la seva actitud comprensiva davant les inconveniències de seguir el treball d’algú que ha passat la major part d’aquests anys vivint a l’estranger. Del Departament d’Història Moderna i Contemporània de la Universitat Autònoma de Barcelona, també n’he d’agrair els útils comentaris dels professors Francisco Morente i Javier Rodrigo en la comissió de seguiment de tesi. També estic molt agraït a la professora Aurora Bosch de la Universitat de València per la seva generositat intel!lectual i per la seva gran aportació a l’obertura de camins per a l’estudi i la difusió de la història estatunidenca al nostre país.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Compaoy 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 MODERNISM BETWEEN EAST AND WEST: THE HUNGARIAN JOURNAL MA (1916-1925) AND THE INTERNATIONAL AVANT-GARDE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marian Mazzone, B.A., M.A.
    [Show full text]
  • The Signature of the Nazi-Soviet Pact on 23 August 1939 Has Been Described As
    The Northern Department of the British Foreign Office and the Soviet Union, 1939-1942. Jacqueline Helen Dooley. Submitted in accordance with the requirements for the degree of Doctor of Philosophy. University of Leeds. School of History. September 2014. 1 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. ©2014. The University of Leeds and Jacqueline Helen Dooley. 2 Acknowledgements I would like to thank my supervisor, Dr. Geoff Waddington, for all his help throughout these four years, as well as his continued support, for which I am extremely appreciative. The love and support of my family has been essential throughout my studies. I am eternally indebted to my parents, who have provided me with love, support and guidance, without which I would not be where I am today. I would especially like to thank my late Grandparents, Edward and Joyce Hughes, for their never failing belief in my abilities and their eternal love and support. Finally, I would like to thank my partner and best friend, Gareth Harrop, who has provided me with much-needed love and support. I am forever grateful. 3 Abstract This thesis examines the opinions of, and advice tendered by, members of the Northern Department of the British Foreign Office during the years 1939-1942. Previous works on this era have focussed predominantly on the role of Winston Churchill and Anthony Eden.
    [Show full text]
  • Modernism and the Spiritual in Russian Art New Perspectives
    Modernism and the Spiritual in Russian Art New Perspectives EDITED BY LOUISE HARDIMAN AND NICOLA KOZICHAROW To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/609 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Modernism and the Spiritual in Russian Art New Perspectives Edited by Louise Hardiman and Nicola Kozicharow https://www.openbookpublishers.com © 2017 Louise Hardiman and Nicola Kozicharow. Copyright of each chapter is maintained by the author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Louise Hardiman and Nicola Kozicharow, Modernism and the Spiritual in Russian Art: New Perspectives. Cambridge, UK: Open Book Publishers, 2017, https://doi.org/10.11647/OBP.0115 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/609#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/609#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]