University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Digital image only of blue ink sketch on tracing paper, initialed

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Blue ink sketch on tracing paper, with orange and blue marker coloring, 18 x 25 1/4 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Blue ink sketch on tracing paper, 12 x 23 1/2 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Blue ink sketch on tracing paper, 18x23 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Digital image only of ink sketch on tracing paper

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Digital image only of ink sketch on tracing paper

Saarinen's Music School

Eero Saarinen, architect. The building, located in a park-like setting on the university's North Campus was named for Earl V. Moore, dean from 1923-1960, and completed in 1964. In 1985, the Margaret Dow Towsley Center, a significant addition to the Moore building, was dedicated.

School of Music Building on North Campus

Eero Saarinen, architect. The building, located in a park-like setting on the university's North Campus was named for Earl V. Moore, dean from 1923-1960, and completed in 1964. In 1985, the Margaret Dow Towsley Center, a significant addition to the Moore building, was dedicated.

Latinoamericanismo y modernidad en la obra ensayistica de Arturo Uslar Pietri

This dissertation follows the political and literary ideas of the late Venezuelan writer Arturo Úslar Pietri. Analysis of his essayistic production focuses on his reflections on three major topics: universality, Latin Americanism, and Venezuelan national identity. By "universality" I refer to Úslar's reflections on general human culture and the way in which the crises of many ethical, philosophical, and scientific postulates of modernity are felt and expressed by this author through his critical appraisal of 20th-century history and culture. His most extensive and controversial reflections are those on Latin American identity, historical, socio-cultural and political processes, and philosophical thought, configuring what might be called a Latin American "rationality." National reflections follow the author's ideas on three topics: oil and its (mostly negative) impact on all aspects of Venezuelan life, the rescue of national history as a means to construct a Venezuelan identity, and the quest to identify/configure a national "subject" akin to the new rationality. My conclusion examines the essay-novel relationship as a compendium of Úslar's ideas and public political practices, as illustrated in his novels, where changing global realities are reflected in the most concrete aspects of Venezuelan daily life.^

Parameters of Reform and Unification in Modern Japanese Buddhist Thought: Murakami Senshō and Critical Buddhism

Reform is a word that, one might easily say, characterizes more than any other the history and development of Buddhism. Yet, it must also be said that reform movements in East Asian Buddhism have often taken on another goal—harmony or unification; that is, a desire not only to reconstruct a more worthy form of Buddhism, but to simultaneously bring together all existing forms under a single banner, in theory if not in practice. This paper explores some of the tensions between the desire for reform and the quest for harmony in modern Japanese Buddhism thought, by comparing two developments: the late 19th century movement towards ‘New Buddhism’ (shin Bukkyō) as exemplified by Murakami Senshō 村上専精 (1851–1929), and the late 20th century movement known as ‘Critical Buddhism’ (hihan Bukkyō), as found in the works of Matsumoto Shirō 松本史朗 and Hakamaya Noriaki 袴谷憲昭. In all that has been written about Critical Buddhism, in both Japanese and English, very little attention has been paid to the place of the movement within the larger traditions of Japanese Buddhist reform. Here I reconsider Critical Buddhism in relation to the concerns of the previous, much larger trends towards Buddhist reform that emerged almost exactly 100 years previous—the so-called shin Bukkyō or New Buddhism of the late-Meiji era. Shin Bukkyō is a catch-all term that includes the various writings and activities of Inoue Enryō, Shaku Sōen, and Kiyozawa Manshi, as well as the so-called Daijō-hibussetsuron, a broad term used (often critically) to describe Buddhist writers who suggested that Mahāyāna Buddhism is not, in fact, the Buddhism taught by the ‘historical’ Buddha Śākyamuni. Of these, I will make a few general remarks about Daijō-hibusseturon, before turning attention more specifically to the work of Murakami Senshō, in order to flesh out some of the similarities and differences between his attempt to construct a ‘unified Buddhism’ and the work of his late-20th century avatars, the Critical Buddhists. Though a number of their aims and ideas overlap, I argue that there remain fundamental differences with respect to the ultimate purposes of Buddhist reform. This issue hinges on the implications of key terms such as ‘unity’ and ‘harmony’ as well as the way doctrinal history is categorized and understood, but it also relates to issues of ideology and the use and abuse of Buddhist doctrines in 20th-century politics.

The Nineteenth century; its history, progress, and marvelous achievements; the wonderful story of the world for one hundred years...Embellished with nearly 100 full-page illus., including over 200 ports. of the world's great men.

Mode of access: Internet.

The history of the nineteenth century in caricature /

Mode of access: Internet.