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Ragioni E Sentimenti
RAGIONI E SENTIMENTI a cura di MARINA D’AMATO 2016 Università degli Studi Roma Tre Dipartimento di Scienze della Formazione RAGIONI E SENTIMENTI a cura di MARINA D’AMATO 2016 Desidero ringraziare tutti coloro che hanno contribuito con la loro disponibilità e professionalità a quest’opera, in modi diversi, ma tutti indispensabili: Katiuscia Carnà, Francesca Cubeddu, Milena Gammaitoni, Valentina Punzo e, in particolare, Edmondo Grassi che, quotidianamente, ha tenuto i contatti con gli autori e ha effettuato l’editing complessivo dell’opera. “A Gregorio” Coordinamento editoriale: Gruppo di Lavoro Edizioni: © Roma, dicembre 2016 ISBN: 978-88-97524-90-8 http://romatrepress.uniroma3.it Quest’opera è assoggettata alla disciplina Creative Commons attribution 4.0 International Licence (CC BY-NC-ND 4.0) che impone l’attribuzione della paternità dell’opera, proibisce di alterarla, trasformarla o usarla per produrre un’altra opera, e ne esclude l’uso per ricavarne un profitto commerciale. Immagine di copertina: Federico Marcoaldi, Alla ricerca dell’azzurro (2015). Indice MARINA D’AMATO, Introduzione 5 PER UNA TEORIA DEI SENTIMENTI MONIQUE HIRSCHHORN, Quelle place pour l’affectivité en sociologie? 23 MARC-HENRY SOULET, La compassion: un faux ami pour l’analyse sociologique 33 VITTORIO COTESTA, Le Muse di Max Weber 47 ANNA DE STEFANO PERROTTA, Sorokin e i sentimenti dimenticati 65 BERNARDO CATTARINUSSI, Le espressioni dell’eudemonia 75 ADELE BIANCO, Ragioni e regole – sentimenti e capacità. L’attualità di un dualismo costante e problematico nella storia -
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. -
On the Banks of Buck Creek
spring 2009 On The Banks Of Buck Creek Alumnus And Professor Team Up To Transform Springfield Waterway Wittenberg Magazine is published three times a year by Wittenberg University, Office of University Communications. Editor Director of University Communications Karen Saatkamp Gerboth ’93 Graphic Designer Joyce Sutton Bing Design Director of News Services and Sports Information Ryan Maurer Director of New Media and Webmaster Robert Rafferty ’02 Photo Editor Erin Pence ’04 Coordinator of University Communications Phyllis Eberts ’00 Class Notes Editor Charyl Castillo Contributors Gabrielle Antoniadis Ashley Carter ’09 Phyllis Eberts ’00 Robbie Gantt Erik Larkin ’09 Karamagi Rujumba ’02 Brian Schubert ’09 Brad Tucker Address correspondence to: Editor, Wittenberg Magazine Wittenberg University P.O. Box 720 Springfield, Ohio 45501-0720 Phone: (937) 327-6111 Fax: (937) 327-6112 E-mail: [email protected] www.wittenberg.edu Articles are expressly the opinions of the authors and do not necessarily represent official university policy. We reserve the right to edit correspondence for length and accuracy. We appreciate photo submissions, but because of their large number, we cannot return them. Wittenberg University does not discriminate against otherwise qualified persons on the basis of race, creed, color, religion, national or ethnic origin, sex, sexual orientation, age, or disability unrelated to the student’s course of study, in admission or access to the university’s academic programs, activities, and facilities that are generally available to students, or in the administration of its educational policies, admissions policies, scholarship and loan programs, and athletic and other college-administered programs. POSTMASTER: Send address changes to Editor, Wittenberg Magazine Wittenberg University P.O. -
Borrowing Images of Empire: the Contribution of Research on The
Medieval Studies, vol. 22, 2018 / Studia z Dziejów Średniowiecza, tom 22, 2018 Piotr Samól (Gdansk Univeristy of Technology) https://orcid.org/ 0000-0001-6021-1692 Piotr Samól Borrowing Images of Empire: The contribution of research on the artistic influence of the Holy Roman Empire on Polish Romanesque architecture in the eleventh and twelfth centuries1 Borrowing Images of Empire… Keywords: Romanesque architecture, Poland, Ostrów Lednicki, monumental stone buildings Although knowledge concerning Romanesque architecture in Poland has developed over many years, most cathedrals and ducal or royal seats have not been comprehensively examined. Moreover, a substan- tial number of contemporary scholarly works have erased the thin line between material evidence and its interpretation. As a consequence, the architectural remains of Polish Romanesque edifices are often considered the basis for wider comparative research. Meanwhile, fragmentarily preserved structures of Romanesque buildings have allowed scholars to conduct research on their origins and models, but they have rarely provided enough information for spatial recon- structions of them. This means that one might investigate the process of transposing patterns from the Holy Roman Empire to Poland instead of the influence of Polish masons’ lodges on each other. Therefore, this paper has two aims. The first is to look at how imperial pat- terns affected the main stone structures (cathedrals and collegiate 1 Originally, my paper entitled ‘In the Shadow of Salian and Hohenstaufen Cathedrals: The Artistic Influence of the Holy Roman Empire on Polish Romanesque Architecture in the Eleventh and Twelfth Centuries’ was given at the ‘Borrowing Images of Empire’ seminar during the Medieval Congress in Leeds in July 2014. -
The Restoration of Medieval Stained Glass*
The Restoration of Medieval Stained Glass* Gottfried Frenzel The victim ofits own composition and ofmodem air tiny particles. The particles fall out of each panel: thus pollution, Europe's most radiant art is now threat- the window disintegrates. ln England stained-glass windows are exposed to ened ~'ith destruction. The efforts at preservation heavy smog. Canterbury Cathedral displays the re- depend on knowledge of the glass. sults. The cathedral includes the Trinity chapel and its Light bas long served religion as a :symbol. It has ambulatory , or processional aisle, which incorporates signified creation (" Let there be lighlt" was the first the chapel called the Corona, constructed between 1174 and 1220. ln both chapels some of the stained command of the Creator) as weIl as salvation (John glasshas been attacked. Pits have formed, which have the Evangelist saw the Heavenly Jerusalem illumi- nated as if made " of jasper" and its walls " like clear now perforated the panels, leaving them quite porous, so that acid raiD cao reach the ioDer surface of the glass") The earthly reflections of such visions, glass and eat into the paintwork there. achieved throughout the Middle Ages by means of France is the classic repository of stained glass. A light, were the period' s most brilliant works of art: the single cathedral, the one in Chartres, is decorated with stained glass windows of Romanesque and Gothic more than 2,000 square meters of stained glass from chapels, churches, minsters and cathedrals. For al- the 12th and 13th centuries, the period when the art most a millennium, in the caseof the earliest stained- reachedits peak in France. -
Early Medieval Europe
Early Medieval Europe 1 Early Medieval Sites in Europe 2 Figure 16-2 Pair of Merovingian looped fibulae, from Jouy-le-Comte, France, mid-sixth century. Silver gilt worked in filigree, with inlays of garnets and other stones, 4” high. Musée d’Archéologie nationale, Saint-Germain-en-Laye. 3 Heraldic Motifs Figure 16-3 Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and cloisonné garnets, 7 1/2” long. British Museum, London. 4 5 Figure 16-4 Animal-head post, from the Viking ship burial, Oseberg, Norway, ca. 825. Wood, head 5” high. University Museum of National Antiquities, Oslo. 6 Figure 16-5 Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070. 7 Figure 16-6 Man (symbol of Saint Matthew), folio 21 verso of the Book of Durrow, possibly from Iona, Scotland, ca. 660–680. Ink and tempera on parchment, 9 5/8” X 6 1/8”. Trinity College Library, Dublin. 8 Figure 16-1 Cross-inscribed carpet page, folio 26 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London. 9 Figure 16-7 Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London. 10 Figure 16-8 Chi-rho-iota (XPI) page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth century. Tempera on vellum, 1’ 1” X 9 1/2”. -
The Dual Language of Geometry in Gothic Architecture: the Symbolic Message of Euclidian Geometry Versus the Visual Dialogue of Fractal Geometry
Peregrinations: Journal of Medieval Art and Architecture Volume 5 Issue 2 135-172 2015 The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry Nelly Shafik Ramzy Sinai University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Ramzy, Nelly Shafik. "The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry." Peregrinations: Journal of Medieval Art and Architecture 5, 2 (2015): 135-172. https://digital.kenyon.edu/perejournal/vol5/iss2/7 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Ramzy The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry By Nelly Shafik Ramzy, Department of Architectural Engineering, Faculty of Engineering Sciences, Sinai University, El Masaeed, El Arish City, Egypt 1. Introduction When performing geometrical analysis of historical buildings, it is important to keep in mind what were the intentions -
Handreichung Zu Informationszentren Im Welterbe Welterbe Vermitteln Deutsche UNESCO-Kommission Im Welterbe Informationszentren Handreichung Zu Welterbe Vermitteln –
Welterbe vermitteln Hand- reichung zu Informations- zentren im Welterbe Welterbe vermitteln – Handreichung zu Welterbe vermitteln Welterbe Informationszentren im Welterbe Deutsche UNESCO-Kommission Handreichung zu Informationszentren im Welterbe im zu Informationszentren Handreichung 2 3 Inhalt 6 17 vermitteln Welterbe 35 49 Danksagung 2. Erste Schritte vor 3. Hinweise und 4. Hinweise und und zu Beginn Überlegungen zur Überlegungen zur der Planungsphase „Hardware“ „Software“ 7 Abkürzungen 18 36 50 Ausgangspunkt Vermittlungskonzept Die bauliche Gestaltung Vermittlungsinhalte 9 18 37 51 Exkurs Fallbeispiel 5 Fallbeispiel 7 Über diese Museum vs. Besucherzentrum. Erfolgsfaktoren bei der Einrichtung „Erbe der Menschheit“ – Auftaktthema Handreichung Gemeinsamkeiten und Unterschiede von Informations- und Besucherzentren – in der Welterbe-Ausstellung Stralsund, beider Einrichtungen in Verbindung Erfahrungen aus dem UNESCO-Welterbe Teil des UNESCO-Welterbes „Altstädte von mit dem UNESCO-Welterbe „Altstadt von Regensburg mit Stadtamhof“ Stralsund und Wismar“ 11 21 40 53 1. Welterbevermittlung – Fallbeispiel 1 Szenographie, Technik und Ausstellungs- Fallbeispiel 8 Regulatorischer Konzeptstudie Welterbe-Infozentren - mobiliar Welterbe & Globale Geoparks: Vermittlung, Rahmen und Richtlinien Touristische Entwicklung und Inwertsetzung Bildung & Kooperation am Beispiel des flächenhaften Welterbes „Bergwerk 41 des UNESCO-Welterbes „Grube Messel“ Rammelsberg, Altstadt von Goslar und Ober- Leitsysteme – intern und extern 12 harzer Wasserwirtschaft“ 54 UNESCO-Welterbekonvention -
A Different Side of Germany
Classic Tours Goslar - Harz - Dessau 5 After a short drive, you board a train that will take you to the top of Brocken Prices Mountain (1125 m) in the Harz region. Then continue to Dessau with its famous Prices per person in Euro. Prices subject to Bauhaus (UNESCO). Here we find another availability. Single travelers on request! Off the UNESCO site, the Garden Kingdom: over Tracks Beaten 140 km² of beautifully landscaped gardens and lovely castles nestled along the shores of the Elbe and Mulde Rivers. Dessau - Wittenberg - Lübbenau Private Tour (with guide) Departures Private Tour 6 Travel to Wittenberg to visit the largest Travel period: Guaranteed Reformation museum in the world. We will Jan 01, 2021 - Mar 31, 2022 Off the Beaten Track: also visit the Schlosskirche church which Departure dates: daily 7 Days from Frankfurt to Berlin houses the tomb of Martin Luther. With guide | Min. 2 persons No. of 3*** 4**** 4-5***** Lübbenau - Potsdam - Berlin part. This program includes: 7 The Spree River forms a labyrinth Tours Train . Accommodation in the hotel category of 2 3.545,- 3.929,- 4.075,- with more than 300 creeks, perfect for choice 4 2.329,- 2.639,- 2.758,- an unforgettable canoe ride through this . Daily breakfast lovely nature reserve with small villages 6 1.765,- 2.055,- 2.199,- . Transportation by car or minivan during and farms. Afterwards we visit Potsdam Single 295,- 349,- 269,- the entire tour to admire the beautiful park and palace of suppl. English speaking driver-guide during the Sanssouci (UNESCO). In the afternoon we Getaways entire tour arrive in Berlin. -
A Symbol of Global Protec- 7 1 5 4 5 10 10 17 5 4 8 4 7 1 1213 6 JAPAN 3 14 1 6 16 CHINA 33 2 6 18 AF Tion for the Heritage of All Humankind
4 T rom the vast plains of the Serengeti to historic cities such T 7 ICELAND as Vienna, Lima and Kyoto; from the prehistoric rock art 1 5 on the Iberian Peninsula to the Statue of Liberty; from the 2 8 Kasbah of Algiers to the Imperial Palace in Beijing — all 5 2 of these places, as varied as they are, have one thing in common. FINLAND O 3 All are World Heritage sites of outstanding cultural or natural 3 T 15 6 SWEDEN 13 4 value to humanity and are worthy of protection for future 1 5 1 1 14 T 24 NORWAY 11 2 20 generations to know and enjoy. 2 RUSSIAN 23 NIO M O UN IM D 1 R I 3 4 T A FEDERATION A L T • P 7 • W L 1 O 17 A 2 I 5 ESTONIA 6 R D L D N 7 O 7 H E M R 4 I E 3 T IN AG O 18 E • IM 8 PATR Key LATVIA 6 United Nations World 1 Cultural property The designations employed and the presentation 1 T Educational, Scientific and Heritage of material on this map do not imply the expres- 12 Cultural Organization Convention 1 Natural property 28 T sion of any opinion whatsoever on the part of 14 10 1 1 22 DENMARK 9 LITHUANIA Mixed property (cultural and natural) 7 3 N UNESCO and National Geographic Society con- G 1 A UNITED 2 2 Transnational property cerning the legal status of any country, territory, 2 6 5 1 30 X BELARUS 1 city or area or of its authorities, or concerning 1 Property currently inscribed on the KINGDOM 4 1 the delimitation of its frontiers or boundaries. -
Geometric Proportioning Strategies in Gothic Architectural Design Robert Bork*
$UFKLWHFWXUDO Bork, R 2014 Dynamic Unfolding and the Conventions of Procedure: Geometric +LVWRULHV Proportioning Strategies in Gothic Architectural Design. Architectural Histories, 2(1): 14, pp. 1-20, DOI: http://dx.doi.org/10.5334/ah.bq RESEARCH ARTICLE Dynamic Unfolding and the Conventions of Procedure: Geometric Proportioning Strategies in Gothic Architectural Design Robert Bork* This essay explores the proportioning strategies used by Gothic architects. It argues that Gothic design practice involved conventions of procedure, governing the dynamic unfolding of successive geometrical steps. Because this procedure proves difficult to capture in words, and because it produces forms with a qualitatively different kind of architectural order than the more familiar conventions of classical design, which govern the proportions of the final building rather than the logic of the steps used in creating it, Gothic design practice has been widely misunderstood since the Renaissance. Although some authors in the nineteenth and twentieth centuries attempted to sympathetically explain Gothic geometry, much of this work has been dismissed as unreliable, especially in the influential work of Konrad Hecht. This essay seeks to put the study of Gothic proportion onto a new and firmer foundation, by using computer-aided design software to analyze the geometry of carefully measured buildings and original design drawings. Examples under consideration include the parish church towers of Ulm and Freiburg, and the cross sections of the cathedrals of Reims, Prague, and Clermont-Ferrand, and of the Cistercian church at Altenberg. Introduction of historic monuments to be studied with new rigor. It is Discussion of proportion has a curiously vexed status in finally becoming possible, therefore, to speak with reason- the literature on Gothic architecture. -
Broschüre Hilfeschrei Englische Fassung 15.12.14
UNESCO WORLD HERITAGE QUEDLINBURG – COLLEGIATE CHURCH, CASTLE AND OLD TOWN If Houses could cry – A call for help 1 UNESCO WORLD HERITAGE QUEDLINBURG – COLLEGIATE CHURCH, CASTLE AND OLD TOWN Imprint Publisher City of Quedlinburg Markt 1 06484 Quedlinburg Contacts City of Quedlinburg Markt 1 06484 Quedlinburg www.quedlinburg.de Building Department Department head: Herr Malnati [email protected] Phone: +49-(0)3946 / 905 700 City development and renovation section, UNESCO-World Heritage Section leader: Frau Rippich [email protected] Phone: +49-(0)3946 / 905 710 BauBeCon Sanierungsträger GmbH Office in Quedlinburg Word 3 06484 Quedlinburg Contact person: Herr Plate www.baubeconstadtsanierung.de [email protected] Phone: +49-(0)3946 / 779 366 Edit Quedlinburg City and BauBeCon Sanierungsträger GmbH Photos Quedlinburg City Edition July 2014 2 UNESCO WORLD HERITAGE QUEDLINBURG – COLLEGIATE CHURCH, CASTLE AND OLD TOWN How everything began: Situation in 1989: 4% of the buildings were decaying 26% heavily damaged 57 % heavily to fairly damaged 13 % new or renovated buildings (taken from a readily available investigation from 1991) • Favourable conditions for the conservation area and monuments in Quedlinburg until 1989 • No significant destruction by fire or war • Poverty during GDR times prevented improper construction; but also meant catastrophic conditions for the buildings • The 1989 revolution was also a fight against demolition of the conservation area • The cost for renovation was huge: estimated cost more than 250 million Euro • A large part of the population was indifferent to the historical architectural heritage; awareness was growing steadily. • The recognition as a UNESCO World Heritage was the goal; but also an instrument for the protection of the conservation of the area and its monuments.