345 Résultats
Classification:
audio
audio
Titre:
Apophanies.
Apophanies.
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1 online resource.
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Publication:
[Place of publication not identified] : Lateral Addition, 2022.
[Place of publication not identified] : Lateral Addition, 2022.
Classification:
audio
audio
Publication:
[Place of publication not identified] : Lateral Addition, 2022.
[Place of publication not identified] : Lateral Addition, 2022.
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livres
livres
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$39.95
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Résumé:
Architecture has a powerful role in nation building and identity formation. Buildings and monuments not only constitute the built fabric of society, they reflect the intersection of culture, politics, economics, and aesthetics as these forces are played out in distinct social settings and distinct times. This extraordinary anthology traces the interaction between(...)
$39.95
(disponible sur commande)
Résumé:
Architecture has a powerful role in nation building and identity formation. Buildings and monuments not only constitute the built fabric of society, they reflect the intersection of culture, politics, economics, and aesthetics as these forces are played out in distinct social settings and distinct times. This extraordinary anthology traces the interaction between(...)
Titre:
Architecture and the Canadian fabric
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$39.95
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Résumé:
Architecture has a powerful role in nation building and identity formation. Buildings and monuments not only constitute the built fabric of society, they reflect the intersection of culture, politics, economics, and aesthetics as these forces are played out in distinct social settings and distinct times. This extraordinary anthology traces the interaction between culture and politics as reflected in Canadian architecture and the infrastructure of ordinary life, from the first contacts between indigenous peoples and European missionaries to the construction of big-box shopping centres in postmodern cities. Whether focusing on Jesuit perceptions of New France, the construction of Toronto’s St. James Cathedral or Canada’s first Parliament, Brutalism in Canadian architecture, or the ideas of Marshall McLuhan and Arthur Erickson, these essays showcase ways of thinking about the built environment that extend beyond considerations of authorship and style to address the influence of cultural politics and insights from race and gender studies and from postcolonial and spatial theory. By coupling a national focus with a wide historical scope, Architecture and the Canadian Fabric transforms how we see the role of architecture and in doing so radically questions how we continue to live in, interact with, and interpret the fabricated world.
Architecture and the Canadian fabric
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$39.95
(disponible sur commande)
Résumé:
Architecture has a powerful role in nation building and identity formation. Buildings and monuments not only constitute the built fabric of society, they reflect the intersection of culture, politics, economics, and aesthetics as these forces are played out in distinct social settings and distinct times. This extraordinary anthology traces the interaction between culture and politics as reflected in Canadian architecture and the infrastructure of ordinary life, from the first contacts between indigenous peoples and European missionaries to the construction of big-box shopping centres in postmodern cities. Whether focusing on Jesuit perceptions of New France, the construction of Toronto’s St. James Cathedral or Canada’s first Parliament, Brutalism in Canadian architecture, or the ideas of Marshall McLuhan and Arthur Erickson, these essays showcase ways of thinking about the built environment that extend beyond considerations of authorship and style to address the influence of cultural politics and insights from race and gender studies and from postcolonial and spatial theory. By coupling a national focus with a wide historical scope, Architecture and the Canadian Fabric transforms how we see the role of architecture and in doing so radically questions how we continue to live in, interact with, and interpret the fabricated world.
Classification:
livres
livres
Publication:
novembre 2012
novembre 2012
Sujet:
Architecture du Canada
Architecture du Canada
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livres
livres
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$85.00
(disponible en magasin)
Résumé:
From early reports of the invention to its wide application during World War I, the idea of photography created anticipation and participation in the modern world. The first volume of ''A History of Photography in Canada'' captures this phenomenon by looking at hundreds of photographs generated in and about Canada-in-the-making and by listening to the chords they struck(...)
$85.00
(disponible en magasin)
Résumé:
From early reports of the invention to its wide application during World War I, the idea of photography created anticipation and participation in the modern world. The first volume of ''A History of Photography in Canada'' captures this phenomenon by looking at hundreds of photographs generated in and about Canada-in-the-making and by listening to the chords they struck(...)
Titre:
History of photography in Canada, Volume 1
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$85.00
(disponible en magasin)
Résumé:
From early reports of the invention to its wide application during World War I, the idea of photography created anticipation and participation in the modern world. The first volume of ''A History of Photography in Canada'' captures this phenomenon by looking at hundreds of photographs generated in and about Canada-in-the-making and by listening to the chords they struck in the collective imagination. Emphasizing technological readiness and cultural eagerness for the medium, Martha Langford shows how photography served ideals of progress and improvement as Canada’s settler society looked to master the world by seizing its visible traces. The imposition of these programs on Indigenous Peoples and indentured labourers is confronted throughout this volume, which offers both narratives and counternarratives of subjectification. Reproducing images of people, places, events, and objects from the unceded territories of the First Nations, Inuit, and Métis, from British North America, and from the Dominion of Canada and the Dominion of Newfoundland, Langford asks where and when photographs were taken, why, and by whom. How did the making and preservation of a photograph alter the circumstances in which it was produced, and how did this affect individual and collective consciousness? Alongside accomplished portraits, landscapes, still lifes, and their vernacular counterparts, the book draws glimmers of photographic experience from treatises and doggerel, official reports and personal diaries, newspapers, magazines, letters, and travelogues.
History of photography in Canada, Volume 1
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Prix:
$85.00
(disponible en magasin)
Résumé:
From early reports of the invention to its wide application during World War I, the idea of photography created anticipation and participation in the modern world. The first volume of ''A History of Photography in Canada'' captures this phenomenon by looking at hundreds of photographs generated in and about Canada-in-the-making and by listening to the chords they struck in the collective imagination. Emphasizing technological readiness and cultural eagerness for the medium, Martha Langford shows how photography served ideals of progress and improvement as Canada’s settler society looked to master the world by seizing its visible traces. The imposition of these programs on Indigenous Peoples and indentured labourers is confronted throughout this volume, which offers both narratives and counternarratives of subjectification. Reproducing images of people, places, events, and objects from the unceded territories of the First Nations, Inuit, and Métis, from British North America, and from the Dominion of Canada and the Dominion of Newfoundland, Langford asks where and when photographs were taken, why, and by whom. How did the making and preservation of a photograph alter the circumstances in which it was produced, and how did this affect individual and collective consciousness? Alongside accomplished portraits, landscapes, still lifes, and their vernacular counterparts, the book draws glimmers of photographic experience from treatises and doggerel, official reports and personal diaries, newspapers, magazines, letters, and travelogues.
Classification:
livres
livres
Publication:
juillet 2025
juillet 2025
Sujet:
Photographie- collections
Photographie- collections
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livres
livres
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$60.00
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
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Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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$60.00
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Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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Prix:
$60.00
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Classification:
livres
livres
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
Classification:
livres
livres
Actions:
Prix:
$39.95
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
$39.95
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
Publication:
avril 2003, Cambridge / London
avril 2003, Cambridge / London
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
Actions:
Prix:
$39.95
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
Actions:
Prix:
$39.95
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Classification:
livres
livres
Publication:
avril 2003, Cambridge / London
avril 2003, Cambridge / London
