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La présence juive à Paris est très ancienne (on en trouve des attestations dès le Moyen Âge) mais intermittente, car les communautés ont connu des expulsions et des persécutions. C’est au XIXe siècle que les grandes synagogues parisiennes sont construites, qu’un patrimoine monumental se constitue. Mais les pierres ne sauraient, à elles seules, résumer la culture juive(...)
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La présence juive à Paris est très ancienne (on en trouve des attestations dès le Moyen Âge) mais intermittente, car les communautés ont connu des expulsions et des persécutions. C’est au XIXe siècle que les grandes synagogues parisiennes sont construites, qu’un patrimoine monumental se constitue. Mais les pierres ne sauraient, à elles seules, résumer la culture juive(...)
Titre:
Guide du patrimoine juif Parisien
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La présence juive à Paris est très ancienne (on en trouve des attestations dès le Moyen Âge) mais intermittente, car les communautés ont connu des expulsions et des persécutions. C’est au XIXe siècle que les grandes synagogues parisiennes sont construites, qu’un patrimoine monumental se constitue. Mais les pierres ne sauraient, à elles seules, résumer la culture juive parisienne qui s’est tout autant forgée dans l’émancipation gagnée pendant la Révolution, dans les affrontements de l’affaire Dreyfus, dans l’épanouissement de la yiddichkeit de l’entre-deux-guerres, ou dans la tragédie de la Choa. Elle s’incarne également dans l’œuvre des mécènes et des philanthropes qui financèrent des fondations, des dispensaires, des logements à bon marché et firent de considérables donations aux grands musées parisiens. Elle s’illustre encore avec des écrivains majeurs, de Henri Heine à Walter Benjamin ou plane entre Montparnasse et Montmartre, en compagnie de Chagall, Soutine, Kisling, Modigliani… Ce guide présente ainsi le patrimoine, mais aussi les lieux de mémoire du judaïsme parisien.
Guide du patrimoine juif Parisien
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La présence juive à Paris est très ancienne (on en trouve des attestations dès le Moyen Âge) mais intermittente, car les communautés ont connu des expulsions et des persécutions. C’est au XIXe siècle que les grandes synagogues parisiennes sont construites, qu’un patrimoine monumental se constitue. Mais les pierres ne sauraient, à elles seules, résumer la culture juive parisienne qui s’est tout autant forgée dans l’émancipation gagnée pendant la Révolution, dans les affrontements de l’affaire Dreyfus, dans l’épanouissement de la yiddichkeit de l’entre-deux-guerres, ou dans la tragédie de la Choa. Elle s’incarne également dans l’œuvre des mécènes et des philanthropes qui financèrent des fondations, des dispensaires, des logements à bon marché et firent de considérables donations aux grands musées parisiens. Elle s’illustre encore avec des écrivains majeurs, de Henri Heine à Walter Benjamin ou plane entre Montparnasse et Montmartre, en compagnie de Chagall, Soutine, Kisling, Modigliani… Ce guide présente ainsi le patrimoine, mais aussi les lieux de mémoire du judaïsme parisien.
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livres
livres
Publication:
septembre 2003, Paris
septembre 2003, Paris
Sujet:
Histoire jusqu’à 1900
Histoire jusqu’à 1900
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livres
livres
Titre:
The postconceptual condition
The postconceptual condition
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political(...)
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political(...)
Titre:
The postconceptual condition
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political forms, and technologies of image production. Contemporary art, Osborne maintains, expresses this condition through its distinctively postconceptual form. These essays—extending the scope and arguments of Osborne’s Anywhere or Not At All: Philosophy of Contemporary Art—move from a philosophical consideration of the changing temporal conditions of capitalist modernity, via problems of formalism, the politics of art and the changing shape of art institutions, to interpretation and analysis of particular works by Akram Zaatari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.
The postconceptual condition
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political forms, and technologies of image production. Contemporary art, Osborne maintains, expresses this condition through its distinctively postconceptual form. These essays—extending the scope and arguments of Osborne’s Anywhere or Not At All: Philosophy of Contemporary Art—move from a philosophical consideration of the changing temporal conditions of capitalist modernity, via problems of formalism, the politics of art and the changing shape of art institutions, to interpretation and analysis of particular works by Akram Zaatari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.
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livres
livres
Publication:
janvier 2018
janvier 2018
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Aesthetics of standstill
Aesthetics of standstill
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“Standstill” could be the name for the exact kind of experience that is the hiatus between social expectations and real possibilities of agency. Standstill may also be the name of an aesthetic strategy to instill a non-linear time of resistance and experience into the political protocol of progress. Finally, standstill can be the name for the temporal fissure in the midst(...)
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“Standstill” could be the name for the exact kind of experience that is the hiatus between social expectations and real possibilities of agency. Standstill may also be the name of an aesthetic strategy to instill a non-linear time of resistance and experience into the political protocol of progress. Finally, standstill can be the name for the temporal fissure in the midst(...)
Sujet:
Théorie/ philosophie
Théorie/ philosophie
Publication:
juillet 2019
juillet 2019
Titre:
Aesthetics of standstill
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“Standstill” could be the name for the exact kind of experience that is the hiatus between social expectations and real possibilities of agency. Standstill may also be the name of an aesthetic strategy to instill a non-linear time of resistance and experience into the political protocol of progress. Finally, standstill can be the name for the temporal fissure in the midst of the subject, for the lapse between the subject of the enunciation and the subject of a statement, the limit that is the border between the inside and the outside. It can be the name for the mode of potentiality, for the moment of gesture, or, with Walter Benjamin, the medium of the dialectical image. The essays of this book transverse these dimensions of standstill as an in-between of time. The book includes essays by Georges Didi-Huberman, David Lapoujade, Peter Osborne, Jacques Rancière, Christine Ross, and others as well as conversations with Via Lewandowsky, Aernout Mik and Marcel Odenbach.
Aesthetics of standstill
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“Standstill” could be the name for the exact kind of experience that is the hiatus between social expectations and real possibilities of agency. Standstill may also be the name of an aesthetic strategy to instill a non-linear time of resistance and experience into the political protocol of progress. Finally, standstill can be the name for the temporal fissure in the midst of the subject, for the lapse between the subject of the enunciation and the subject of a statement, the limit that is the border between the inside and the outside. It can be the name for the mode of potentiality, for the moment of gesture, or, with Walter Benjamin, the medium of the dialectical image. The essays of this book transverse these dimensions of standstill as an in-between of time. The book includes essays by Georges Didi-Huberman, David Lapoujade, Peter Osborne, Jacques Rancière, Christine Ross, and others as well as conversations with Via Lewandowsky, Aernout Mik and Marcel Odenbach.
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livres
livres
Publication:
juillet 2019
juillet 2019
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
livres
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$27.50
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Los Angeles is a city that has long thrived on the continual re-creation of its own myth. In this extraordinary work, Norman Klein examines the process of memory erasure in LA. Using a provocative mixture of fact and fiction, the book takes us on an "anti-tour" of downtown LA, examines life for Vietnamese immigrants in the City of Dreams, imagines Walter Benjamin as a Los(...)
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Los Angeles is a city that has long thrived on the continual re-creation of its own myth. In this extraordinary work, Norman Klein examines the process of memory erasure in LA. Using a provocative mixture of fact and fiction, the book takes us on an "anti-tour" of downtown LA, examines life for Vietnamese immigrants in the City of Dreams, imagines Walter Benjamin as a Los(...)
Titre:
The history of forgetting: Los Angeles and the erasure of the memory
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Los Angeles is a city that has long thrived on the continual re-creation of its own myth. In this extraordinary work, Norman Klein examines the process of memory erasure in LA. Using a provocative mixture of fact and fiction, the book takes us on an "anti-tour" of downtown LA, examines life for Vietnamese immigrants in the City of Dreams, imagines Walter Benjamin as a Los Angeleno, and finally looks at the way information technology has recreated the city, turning cyberspace into the last suburb. In this new edition, Norman Klein explores the evolution of the Latino majority, how the Pacific economy is changing the structure of urban life, the impact of collapsing infrastructure in the city, and the restructuring of those very districts that had been "forgotten." Norman M. Klein is a critic and historian of mass culture, author of most recently, The Vatican to Vegas: The History of Special Effects. He teaches at the California Institute of the Arts in Los Angeles.
The history of forgetting: Los Angeles and the erasure of the memory
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Los Angeles is a city that has long thrived on the continual re-creation of its own myth. In this extraordinary work, Norman Klein examines the process of memory erasure in LA. Using a provocative mixture of fact and fiction, the book takes us on an "anti-tour" of downtown LA, examines life for Vietnamese immigrants in the City of Dreams, imagines Walter Benjamin as a Los Angeleno, and finally looks at the way information technology has recreated the city, turning cyberspace into the last suburb. In this new edition, Norman Klein explores the evolution of the Latino majority, how the Pacific economy is changing the structure of urban life, the impact of collapsing infrastructure in the city, and the restructuring of those very districts that had been "forgotten." Norman M. Klein is a critic and historian of mass culture, author of most recently, The Vatican to Vegas: The History of Special Effects. He teaches at the California Institute of the Arts in Los Angeles.
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livres
livres
Publication:
août 2008, London, New York
août 2008, London, New York
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
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$35.00
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In this short, intentionally polemical book, Neil Leach draws on the ideas of philosophers and cultural theorists such as Walter Benjamin and Jean Baudrillard to develop a novel and highly incisive critique of the consequences of the growing (...)
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In this short, intentionally polemical book, Neil Leach draws on the ideas of philosophers and cultural theorists such as Walter Benjamin and Jean Baudrillard to develop a novel and highly incisive critique of the consequences of the growing (...)
Titre:
The anaesthetics of architecture
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In this short, intentionally polemical book, Neil Leach draws on the ideas of philosophers and cultural theorists such as Walter Benjamin and Jean Baudrillard to develop a novel and highly incisive critique of the consequences of the growing preoccupation with images and image-making in contemporary architectural culture. The problem with this preoccupation, Leach argues, is that it can induce a sort of numbness, as the saturation of images floods the senses and obscures deeper concerns. This problem is particularly acute for a discipline such as architecture, which relies heavily on visual representation. As a result, architects can become anaesthetized from the social and political realities of everyday life. In the intoxicating world of the image, the aesthetics of architecture threaten to become the anaesthetics of architecture. In this culture of aesthetic consumption, this "culture of the cocktail," meaningful discourse gives way to strategies of seduction, and architectural design is reduced to the superficial play of empty, seductive forms.
The anaesthetics of architecture
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In this short, intentionally polemical book, Neil Leach draws on the ideas of philosophers and cultural theorists such as Walter Benjamin and Jean Baudrillard to develop a novel and highly incisive critique of the consequences of the growing preoccupation with images and image-making in contemporary architectural culture. The problem with this preoccupation, Leach argues, is that it can induce a sort of numbness, as the saturation of images floods the senses and obscures deeper concerns. This problem is particularly acute for a discipline such as architecture, which relies heavily on visual representation. As a result, architects can become anaesthetized from the social and political realities of everyday life. In the intoxicating world of the image, the aesthetics of architecture threaten to become the anaesthetics of architecture. In this culture of aesthetic consumption, this "culture of the cocktail," meaningful discourse gives way to strategies of seduction, and architectural design is reduced to the superficial play of empty, seductive forms.
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livres
livres
Publication:
mai 1999, Cambridge, Mass.
mai 1999, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$28.95
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Résumé:
Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul(...)
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Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul(...)
Titre:
Colour: Documents on comtemporary art
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Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread. Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude Lévi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein. About the Editor: David Batchelor is an artist and writer who has exhibited widely in Europe and America. Senior Tutor in Critical Theory in the Department of Curating Contemporary Art at the Royal College of Art, London, he is a frequent contributor to such journals as Artforum and Frieze and the author of Minimalism and Chromophobia.
Colour: Documents on comtemporary art
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Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread. Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude Lévi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein. About the Editor: David Batchelor is an artist and writer who has exhibited widely in Europe and America. Senior Tutor in Critical Theory in the Department of Curating Contemporary Art at the Royal College of Art, London, he is a frequent contributor to such journals as Artforum and Frieze and the author of Minimalism and Chromophobia.
Classification:
livres
livres
Publication:
mars 2008, London/Massachusetts
mars 2008, London/Massachusetts
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$56.00
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Résumé:
"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex(...)
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"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex(...)
Publication:
décembre 2002, Ostfildern
décembre 2002, Ostfildern
Titre:
Shopping : a century of art and consumer culture
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$56.00
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"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex interchanges between consumer culture and art have become an issue worthy of discussion, and the book Shopping is the first extensive publication to be dedicated to this topic. It documents and analyses the fascination of fine artists, architects, film makers with the more and more sophisticated means of seduction in shop windows, department stores and shopping arcades. Extensive pictorial material serves to illustrate the interaction between art and the consumption of goods using works by Eugène Atget, Berenice Abbott, Walker Evans, Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Christo, Duane Hanson, Barbara Kruger, Jeff Koons, Andreas Gursky, and many more. The book is edited by Christoph Grunenberg and Max Hollein and includes contributions by internationally renowned authors.
Shopping : a century of art and consumer culture
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$56.00
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"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex interchanges between consumer culture and art have become an issue worthy of discussion, and the book Shopping is the first extensive publication to be dedicated to this topic. It documents and analyses the fascination of fine artists, architects, film makers with the more and more sophisticated means of seduction in shop windows, department stores and shopping arcades. Extensive pictorial material serves to illustrate the interaction between art and the consumption of goods using works by Eugène Atget, Berenice Abbott, Walker Evans, Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Christo, Duane Hanson, Barbara Kruger, Jeff Koons, Andreas Gursky, and many more. The book is edited by Christoph Grunenberg and Max Hollein and includes contributions by internationally renowned authors.
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livres
livres
Publication:
décembre 2002, Ostfildern
décembre 2002, Ostfildern
Classification:
livres
livres
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of (...)
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of (...)
Titre:
Architecture and modernity : a critique
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of this rich tradition, appear naive and unbalanced in comparison. In this exploration of the relationship between modernity, dwelling, and architecture, Hilde Heynen attempts to bridge this gap between the discourse of the modern movement and cultural theories of modernity. On one hand, she discusses architecture from the perspective of critical theory, and on the other she modifies positions within critical theory by linking them with architecture. She assesses architecture as a cultural field that structures daily life and that embodies major contradictions inherent in modernity, arguing that architecture nonetheless has a certain capacity to adopt a critical stance vis-à-vis modernity. The book provides architectural students with an introduction to the discourse of critical theory. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice School (Tafuri, Dal Co, Cacciari) can be studied independently.
Architecture and modernity : a critique
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$35.50
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of this rich tradition, appear naive and unbalanced in comparison. In this exploration of the relationship between modernity, dwelling, and architecture, Hilde Heynen attempts to bridge this gap between the discourse of the modern movement and cultural theories of modernity. On one hand, she discusses architecture from the perspective of critical theory, and on the other she modifies positions within critical theory by linking them with architecture. She assesses architecture as a cultural field that structures daily life and that embodies major contradictions inherent in modernity, arguing that architecture nonetheless has a certain capacity to adopt a critical stance vis-à-vis modernity. The book provides architectural students with an introduction to the discourse of critical theory. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice School (Tafuri, Dal Co, Cacciari) can be studied independently.
Classification:
livres
livres
Publication:
avril 2000, Cambridge, Mass.
avril 2000, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Classification:
livres
livres
Titre:
After-images of the city
After-images of the city
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Résumé:
Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written(...)
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Résumé:
Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written(...)
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
Publication:
février 2003, Ithaca, N.Y.
février 2003, Ithaca, N.Y.
Titre:
After-images of the city
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Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written for this volume, scholars of literary and visual studies, the history of architecture, cultural theory, and urban geography explore the ways perceptual or conceptual paradigms of the city supersede or replace others, while at the same time retaining the "after-image" of what went before. The writers touch on a wide variety of issues related to contemporary urban cultures as they journey through cities including New York, Barcelona, Madrid, Paris, Tijuana, Berlin, and London. Drawing on the work of Roland Barthes, Walter Benjamin, Camilo José Cela, Honoré de Balzac, and Alfred Stieglitz, their approach is broadly cultural rather than technical. "After-images of the city" takes into account the intrinsic instability of the image and reveals that representations of the modern metropolis cannot be fixed in time and history.
After-images of the city
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Criticism on the textual and iconographic construction of the city is extensive, yet the problem of historical change in representations of "the urban" has received little attention. Believing traditional accounts are limited by their reflection of a specific historical moment, Joan Ramon Resina and Dieter Ingenschay focus, by contrast, on transition. In essays written for this volume, scholars of literary and visual studies, the history of architecture, cultural theory, and urban geography explore the ways perceptual or conceptual paradigms of the city supersede or replace others, while at the same time retaining the "after-image" of what went before. The writers touch on a wide variety of issues related to contemporary urban cultures as they journey through cities including New York, Barcelona, Madrid, Paris, Tijuana, Berlin, and London. Drawing on the work of Roland Barthes, Walter Benjamin, Camilo José Cela, Honoré de Balzac, and Alfred Stieglitz, their approach is broadly cultural rather than technical. "After-images of the city" takes into account the intrinsic instability of the image and reveals that representations of the modern metropolis cannot be fixed in time and history.
Classification:
livres
livres
Publication:
février 2003, Ithaca, N.Y.
février 2003, Ithaca, N.Y.
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
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$60.00
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Résumé:
Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of (...)
$60.00
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Résumé:
Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of (...)
Titre:
Architecture and modernity : a critique
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Prix:
$60.00
(disponible sur commande)
Résumé:
Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of this rich tradition, appear naive and unbalanced in comparison. In this exploration of the relationship between modernity, dwelling, and architecture, Hilde Heynen attempts to bridge this gap between the discourse of the modern movement and cultural theories of modernity. On one hand, she discusses architecture from the perspective of critical theory, and on the other she modifies positions within critical theory by linking them with architecture. She assesses architecture as a cultural field that structures daily life and that embodies major contradictions inherent in modernity, arguing that architecture nonetheless has a certain capacity to adopt a critical stance vis-à-vis modernity. The book provides architectural students with an introduction to the discourse of critical theory. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice School (Tafuri, Dal Co, Cacciari) can be studied independently.
Architecture and modernity : a critique
Actions:
Prix:
$60.00
(disponible sur commande)
Résumé:
Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of this rich tradition, appear naive and unbalanced in comparison. In this exploration of the relationship between modernity, dwelling, and architecture, Hilde Heynen attempts to bridge this gap between the discourse of the modern movement and cultural theories of modernity. On one hand, she discusses architecture from the perspective of critical theory, and on the other she modifies positions within critical theory by linking them with architecture. She assesses architecture as a cultural field that structures daily life and that embodies major contradictions inherent in modernity, arguing that architecture nonetheless has a certain capacity to adopt a critical stance vis-à-vis modernity. The book provides architectural students with an introduction to the discourse of critical theory. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice School (Tafuri, Dal Co, Cacciari) can be studied independently.
Classification:
livres
livres
Publication:
novembre 1998, Cambridge, Mass.
novembre 1998, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
