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National Memory and Sacred Space in the Twentieth Century
This book examines the creation of Czech nationalism through monuments, buildings, festivals, and protests in the public spaces of the city during the twentieth century. These “sites of memory” were attempts by civic, religious, cultural, and political forces to create a cohesive sense of self for a country and a people torn by war, foreign occupation, and internal strife. The Czechs struggled to define their national identity throughout the modern era. Prague, the capital of a diverse area comprising Czechs, Slovaks, Germans, Poles, Ruthenians, and Romany as well as various religious groups including Catholics, Protestants, and Jews, became central to the Czech domination of the region and its identity. These struggles have often played out in violent acts, such as the destruction of religious monuments, or the forced segregation and near extermination of Jews. During the twentieth century, Prague grew increasingly secular, yet leaders continued to look to religious figures such as Jan Hus and Saint Wenceslas as symbols of Czech heritage. Hus, in particular, became a paladin in the struggle for Czech independence from the Habsburg Empire and Austrian Catholicism. Cynthia Paces offers a panoramic view of Prague as the cradle of Czech national identity, seen through a vast array of memory sites and objects. From the Gothic Saint Vitus Cathedral, to the Communist Party's reconstruction of Jan Hus's Bethlehem Chapel, to the 1969 self-immolation of student Jan Palach in protest of Soviet occupation, to the Hosková plaque commemorating the deportation of Jews from Josefov during the Holocaust, Paces reveals the iconography intrinsic to forming a collective memory and the meaning of being a Czech.
During the mid-twentieth century, Brazil as a country seemed to be fascinated with modernism. Middle-class people would read about it in popular newspapers and journals, then go about designing their own homes in the modernist style, using distinctive layouts and façades. In other words, modernist architecture was the popular architecture of Brazil.
Fernando Luiz Lara investigates how and why modern architecture became so popular in his native country, tracking the path of the dissemination as well as the economic, cultural, and political conditions that made it possible. He views it as a direct extension of the optimism and relative stability that spread throughout the country beginning in the 1950s.
This original and significant contribution to the field counters the traditional historiography of modernist architecture, and has broad applicability in examining the importance of the style throughout Latin America.
Connecting Technology, Aesthetics, and a Process Philosophy of Time
An original consideration of the temporal in digital art and aesthetics Eschewing the traditional focus on object/viewer spatial relationships, Timothy Scott Barker’s Time and the Digital stresses the role of the temporal in digital art and media. The connectivity of contemporary digital interfaces has not only expanded the relationships between once separate spaces but has increased the complexity of the temporal in nearly unimagined ways. Invoking the process philosophy of Whitehead and Deleuze, Barker strives for nothing less than a new philosophy of time in digital encounters, aesthetics, and interactivity. Of interest to scholars in the fields of art and media theory and philosophy of technology, as well as new media artists, this study contributes to an understanding of the new temporal experiences emergent in our interactions with digital technologies.
Vol. 35 (2011) through current issue
Devoted to all aspects of the poetry and life of American modernist poet Wallace Stevens, The Wallace Stevens Journal has been publishing scholarly articles, poems, book reviews, news, and bibliographies since 1977. The Journal regularly features previously unpublished primary or archival material and photographs, as well as interpretive criticism of the writerâs poetry and essays, theoretical reflections, biographical and contextual studies, comparisons with other writers, and original art work. Increasingly international in orientation, this double-blind peer-reviewed journal welcomes a diversity of approaches and perspectives. Sponsored by The Wallace Stevens Society.