Globalizing heritage: world heritage as a manifestation of modernism and the challenge from the periphery

Government efforts to protect monuments and sites of cultural heritage value have gone on for many centuries. The distinctive new chapter that
the 20th Century brought to cultural heritage protection was the establishment of a globalized effort over and above the work of nation states, This led to a new cultural heritage bureaucracy at the international level, the development of new sets of 'universal' standards, and a new set of places deemed to be of world heritage significance, All of this was done in the spirit of goodwill and optimism that infused the modem movement and that made possible the establishment of the so-called Bretton Woods organizations such as the United Nations as well as the parallel organizations specifically dealing with Cultural Heritage - UNESCO, ICOMOS, ICOM and ICCROM, In recent decades cultural relativists have challenged the drive towards uniformity implicit in the global activities of the modernist organizations, and various parts of the periphery have reacted against aspects of the global cultural heritage approach, The Venice Charter is no longer regarded as the single, universal way to conserve heritage places. It has been replaced or supplemented in large parts of the world by alternatives and modifications such as the Nara Document and Burra Charter. If it is no longer acceptable to provide a universal answer to the question of how do we identify and save heritage, the challenge of the 21st Century is to make the most of the complexity of standards that now exists.

State reform and modernization in Latin America

Includes bibliography

Población y modernización en América Latina = Population and modernization in Latin America

Incluye Bibliografía

Reforma y modernización del Estado = State reform and modernization

Incluye Bibliografía

Modernist Ecology: Modernism and the Reimagination of Nature

Countering the trend in contemporary ecocriticism to advance realism as an environmentally responsible mode of representation, this essay argues that the anti-realist aesthetics of literary modernism were implicitly “ecological.” In order to make this argument I distinguish between contemporary and modernist ecological culture (both of which I differentiate in turn from ecological science); while the former is concerned primarily with the practical reform characteristic of what we now call “environmentalism,” the latter demanded an all-encompassing reimagination of the relationship between humanity and nature. “Modernist ecology,” as I call it, attempted to envision this change, which would be ontological or metaphysical rather than simply social, through thematically and formally experimental works of art. Its radical vision, suggestive in some ways of today’s “deep” ecology, repudiated modern accounts of nature as a congeries of inert objects to be manipulated by a sovereign subject, and instead foregrounded the chiasmic intertexture of the subject/object relationship. In aesthetic modernism we encounter not “objective” nature, but “nature-being” – a blank substratum beneath the solid contours of what philosopher Kate Soper calls “lay nature” – the revelation of which shatters historical constructions of nature and alone allows for radical alternatives. This essay looks specifically at modernist ecology as it appears in the works of W. B. Yeats, D. H. Lawrence, and Samuel Beckett, detailing their attempts to envision revolutionary new ecologies, but also their struggles with the limited capacity of esoteric modernist art to effect significant ecological change on a collective level.

The Postal service act of 1979 [microform] : joint hearings before the Subcommittee on Postal Operations and Services and the Subcommittee on Postal Personnel and Modernization of the Committee on Post Office and Civil Service, House of Representatives, Ninety-sixth Congress, first session, on H.R. 79 ....

Reuse of record except for individual research requires license from Congressional Information Service, Inc.

Occupational safety and health act legislation affecting the United States Postal Service [microform] : hearings before the Subcommittee on Postal Personnel and Modernization of the Committee on Post Office and Civil Service, House of Representatives, Ninety-sixth Congress, first session, on H. R. 826 ... June 6 and 7, 1979.

Reuse of record except for individual research requires license from Congressional Information Service, Inc.

Safety and health within U.S. Postal Service [microform] : joint hearings before the Subcommittee on Postal Personnel and Modernization of the Committee on Post Office and Civil Service and the Subcommittee on Health and Safety of the Committee on Education and Labor, House of Representatives, Ninety-sixth Congress, second session, January 7, 8, March 6, 1980.

Reuse of record except for individual research requires license from Congressional Information Service, Inc.

An analysis of administration strategic arms reduction and modernization proposals.

Item 1005-C

Economic reforms and modernization in Nigeria, 1945-1965

Book review

Modernist Ecology: Modernism and the Reimagination of Nature

Countering the trend in contemporary ecocriticism to advance realism as an environmentally responsible mode of representation, this essay argues that the anti-realist aesthetics of literary modernism were implicitly “ecological.” In order to make this argument I distinguish between contemporary and modernist ecological culture (both of which I differentiate in turn from ecological science); while the former is concerned primarily with the practical reform characteristic of what we now call “environmentalism,” the latter demanded an all-encompassing reimagination of the relationship between humanity and nature. “Modernist ecology,” as I call it, attempted to envision this change, which would be ontological or metaphysical rather than simply social, through thematically and formally experimental works of art. Its radical vision, suggestive in some ways of today’s “deep” ecology, repudiated modern accounts of nature as a congeries of inert objects to be manipulated by a sovereign subject, and instead foregrounded the chiasmic intertexture of the subject/object relationship. In aesthetic modernism we encounter not “objective” nature, but “nature-being” – a blank substratum beneath the solid contours of what philosopher Kate Soper calls “lay nature” – the revelation of which shatters historical constructions of nature and alone allows for radical alternatives. This essay looks specifically at modernist ecology as it appears in the works of W. B. Yeats, D. H. Lawrence, and Samuel Beckett, detailing their attempts to envision revolutionary new ecologies, but also their struggles with the limited capacity of esoteric modernist art to effect significant ecological change on a collective level.

Gombrowicz, Polish Modernism and the Subverison of Form

This book examines the work of Witold Gombrowicz in the context of Polish modernism as well as dealing with issues such as exile, formal experimentaiton and the subversion of stable identities. The book sees Gombroiwcz as a precursor to the post-sturcutralist thought of theorists such as Deleuze and Foucault and positions his work in relation to contemproary developments in aesthetic theory

Interesse e virtude: a sociologia modernista dos anos 30

O objeto de estudo desta tese é a sociologia modernista brasileira da década de 1930. Em primeiro lugar, se adentra nas configurações gerais do termo sociologia modernista em relação à sua inserção na história e desenvolvimento das ciências sociais no Brasil. Em segundo lugar, se discute o suporte de escrita que este tipo de interpretação privilegiou, o ensaio. Em terceiro lugar, se relacionou os mundos da cultura e política no contexto da formação do modernismo brasileiro e sua imbricação direta com as florações da sociologia modernista. E por fim, se estabeleceu uma interpretação dos principais temas e dos argumentos expostos e debatidos pela sociologia modernista dos anos 1930. Nestes termos, este trabalho diz respeito: a constituição de uma tradição sociológica periférica em relação ao sistema-mundo; a proposição da constituição de uma história da sociologia brasileira, múltipla e dinâmica, que leva em conta as diferentes imersões propostas por cada estilo de pensamento; a constituição do ensaio como suporte de escrita e modo de apresentação das ideias conectados à posição e experiência intelectual latino-americana em geral e brasileira em particular; a uma ampliação do conceito de modernismo e sua relação com a teoria social periférica; ao processo de modernização brasileiro e suas íntimas relações com o modernismo; à construção de uma interpretação de segunda ordem, que possibilite interpretar a teoria social advinda da sociologia modernista a partir da dupla perspectiva do cronótopo constituído: o tempo e o espaço; a caracterização da sociologia modernista a partir da concepção de cartografia semântica e figuração, como permeáveis à análise dos textos abordados.