The Western Borderlands: The place of eastern Galicia and Volhynia in the Ukrainian State. OSW Study 43/2013

The regions of Ukraine are strongly diversified. These differences are subject to historical conditions and attempts at unification which have been made over the past seventy years have proven that these differences will be impossible to reduce in the foreseeable future and will continue to bear an impact on Ukraine’s domestic policy. Western Ukraine (Eastern Galicia and Volhynia) is a peripheral region in economic, political and cultural terms. Although it accounts for approximately 14% of Ukraine’s territory and 15% of the country’s population live there, the region generates only around 10% of the country’s GDP. Its metropolis, Lviv, Ukraine’s seventh largest city, was traditionally among the key centres in the nation’s history. However, its role in an independent Ukraine has been marginalised partly due to the fact that a significant part of its elite moved to Kyiv. This is also the most ethnically homogeneous region, where Russian speakers make up rather a small part of the population.

La modernisation de Tunis : un urbanisme et une architecture d’État au miroir d’une anthologie de la percée dans la médina (1881-1987)

Cette thèse traite de quelques moments clés dans l’histoire urbaine et architecturale moderne de la ville de Tunis. Elle les aborde conjointement à la problématique du percement de son noyau historique : la médina, née d’un projet de modernisation urbaine lancé par les beys de Tunis à la fin du XIXe siècle, poursuivi par le protectorat français de 1881 à 1956, puis par le gouvernement indépendant de 1956 à 1987. Partant, la recherche est répartie sur trois temps avec, au centre, le projet de la percée dite de la Casbah adopté par le Président Bourguiba à la fin de 1959. Pour plusieurs raisons, ce moment est cité rapidement dans la littérature malgré son importance dans la compréhension du visage actuel de la capitale tunisienne. Pour le saisir, on a dû retourner aux premières tentatives de percement de la médina de Tunis par le colonisateur français en 1887. Puis, on s’est progressivement approché de l’ancêtre direct de la percée bourguibienne paru sur le Plan directeur de Tunis en 1948. De ce premier temps, on a mis en valeur les stratégies coloniales dans leur gestion du territoire et leur rapport au processus de valorisation/dévalorisation du patrimoine issu de la civilisation arabo-islamique. Le second temps, qui correspond au plan de décolonisation mené par l’État indépendant dès 1955, est marqué par le lancement d’un « concours international ouvert pour une étude d’aménagement de la ville de Tunis » organisé par le Secrétariat d’État aux travaux publics en collaboration avec l’Union internationale des architectes. L’étude de cet événement et du colloque qui l’a suivi a ôté le voile sur ses raisons d’être politico-économiques que dissimulaient les usuels soucis de l’hygiène, de la circulation et de l’embellissement du Grand Tunis. Pour appuyer davantage ces constats, un troisième et dernier temps a été dédié au chantier de Tunis au lendemain du concours. L’accent mis sur les lieux symboliques du pouvoir et le désir obsessif des autorités à se les approprier ont réduit ce chantier à une redistribution concertée des symboles de la souveraineté nationale dans le but de centraliser et de personnifier le pouvoir en place. Le présent travail se situe dans le cadre des études postcoloniales et projette un regard critique sur la décolonisation en rapport avec ce qu’on a taxé d’urbanisme d’État. Propulsé par une certaine perception de la modernité, cet urbanisme est indissociable d’une instrumentalisation politique qui met l’accent sur les questions identitaires et patrimoniales, insiste sur la rupture avec le passé et tend à écarter l’opinion publique des questions inhérentes à l’aménagement du territoire et à la sauvegarde de la mémoire collective. En procédant par une analyse contextuelle de faits historiques et une lecture typomorphologique de la percée de la Casbah, cette recherche attire l’attention sur l’ampleur de certaines décisions gouvernementales concernant l’aménagement de l’espace urbain et la conservation de l’héritage architectural à court, moyen et long termes. Elle renseigne aussi sur le rôle des collectivités, de l’élite et des professionnels dans la canalisation de ces décisions pour ou contre leur droit à la ville.

Maniere de bien bastir pour toutes sortes de personnes. Contenant les moyens d'elever des bastimens de toutes grandeurs, d'y faire tous les ornemens, commoditez & détachemens qui s'y peuvent souhaiter. Ensemble des desseins pour bastir regulierement sur toute sorte de place.

Pt. 1 comprises added engraved title leaf, letterpress pages [1]-11, [12] (the last blank), 75 single-page engraved plates. The engraver was probably Melchior Tavernier, printer of the 1st ed.; see Mauban. Pt. 2 comprises etched title leaf, 9 single-page plates (numbered 1-8, 25), 22 double-page plates (numbered 9-24, 26-31). The etched title leaf is signed Le Pautre (i.e. Jean Le Pautre), and the 31 plates are by Jean Marot, whose signature appear on the 25th; see Mauban.

The Polite Arts, or, A dissertation on poetry, painting, musick [sic], architect[ure] and eloquence.

Mode of access: Internet.

Irish literary gazette. : A weekly journal of national literature, criticism, fiction, industry, science, and art. ...

Subtitle varies.

The builder's complete assistant, or, A library of arts and sciences, absolutely necessary to be understood by builders and workmen in general : viz. I. Arithmetick, vulgar and decimal, in whole numbers and fractions. II. Geometry, lineal, superficial, and solid. III. Architecture, universal. IV. Mensuration. V. Plain trigonometry. VI. Surveying of land, &c. VII. Mechanick powers. VIII. Hydrostaticks : illustrated by above thirteen hundred examples of lines, superficies, solids, mouldings, pedestals, columns, pilasters, entablatures, pediments, imposts, block cornices, rustick quoins, frontispieces, arcades, porticos, &c. : proportioned by modules and minutes, according to Andrea Palladio, and by equal parts : likewise great varieties of trussed roofs, timber bridges, centerings, arches, groins, twisted rails, compartments, obelisks, vases, pedestals for bustos, sun-dials, fonts, &c. and methods for raising heavy bodies by the force of levers, pulleys, axes in peritrochio, screws, and wedges, as also water, by the common pump, crane, etc. : wherein the properties, and pressure of the air on water, &c. are explained : the whole exemplified by 77 large quarto copper-plates /

All of the numbered plates in the atlas are double plates, and thus are counted twice in the adjusted plate count.

You may have something there : identifying historic cultural resources in the Pacific Northwest /

Mode of access: Internet.

Lucy Hosmer, or, The guardian and ghost : a tale of avarice and crime defeated /

Lucy Hosmer, or, The guardian and ghost / D.P. Thompson -- Julia Grayson, or, The sailor in love / D.P. Thompson -- The old soldier's story.

Constance's fate : a story of Denzil place.

Published also under title: Denzil place; a story in verse.

Dreams for Dead Bodies : Blackness, Labor, and the Corpus of American Detective Fiction /

Robinson argues that the detective genre’s lineage lies in experimental works on the margins of what we recognize as classical detective fiction today. Authors like Edgar Allan Poe, Mark Twain, Pauline Hopkins, and Rudolph Fisher drew on detective fiction’s puzzle-elements to wrestle with complicated questions about race and labor in the U.S.

Beyond the Bauhaus : Cultural Modernity in Breslau, 1918-1933 /

The Breslau arts scene during the Weimar period was one of the most vibrant in all of Germany, yet it has disappeared from memory and historiography. Breslau was a key center for innovative artistic production during the Weimar Republic; recovery of its history will shed new light on German cultural dynamics in the 1920s. Such a study has art historical significance because of the incredible extent of innovation that occurred in almost every intellectual field, advances that formed the basis for aesthetic modernism internationally and continue to affect the course of visual art and architecture today. Architecture education, just one example in many, is still largely based on a combination of the Bauhaus model from the 1920s and the model developed at the Breslau Academy of Fine and Applied Art. The exploratory attitude encouraged in Weimar era arts endeavors, as opposed to the conformism of academic art, is still a core value promoted in contemporary art and architecture circles. Given the long-lasting influence of Weimar culture on modernism one would expect to find a spate of studies examining every aspect of its cultural production, but this is not the case. Recent scholarship is almost exclusively focused on Berlin and the Dessau Bauhaus. Although both interests are understandable, the creative explosion was not confined to these cities but was part of a larger cultural ethos that extended into many of the smaller regional centers. The Expressionist associations the Blaue Reiter in Munich and Brücke in Dresden are two well-known examples. Equally, innovation was not confined to a few monumental projects like the Stuttgart Weissenhofsiedlung but part of a broader national cultural ethos. The dispersion of modernism occurred partly because of the political history of Germany as a loosely joined confederation of small city states and principalities that had strong individual cultural identities before unification in 1871 but also because of the German propensity to value and take intense pride in the Heimat, understood both as the hometown and the region. Heimatliebe translated into generous support for cultural institutions in outlying cities. Host to a roster of internationally acclaimed artists and architects, major collectors, arts organizations, museums, presses, galleries, and one of the premier German arts academies of the day, Breslau boasted a thriving modern arts scene until 1933 when the Nazis began their assault on so-called "degenerate" art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators, who were especially interesting because they operated in the space between the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. It is the first book in English to address this history and presents the history in a manner unique to any studies currently on the market. 'Beyond the Bauhaus' explores the polyvalent and contradictory nature of cultural production in Breslau in order to expand the cultural and geographic scope of Weimar history; the book asserts a reciprocal dimension to the relationship between regional culture and national culture, between centers like Breslau and the capital Berlin. With major international figures like the painters Otto Mueller and Oskar Moll, architects Hans Scharoun and Adolf Rading, urban planners Max Berg and Ernst May, collectors Ismar Littmann and Max Silberberg, and an art academy that by 1929 was considered the best in Germany, Breslau clearly had significance to narratives of Weimar cultural production. 'Beyond the Bauhaus' contributes the history of German culture during the Weimar Republic. It belongs alongside histories of art, architecture, urban design, exhibition, collecting, and culture; histories of the Bauhaus; histories of arts education more broadly; and German history. The readership would include those interested in German history; German art, architecture, urban design, planning, collecting, and exhibition history; in the avant-garde; the development of arts academies and arts pedagogy; and the history of Breslau and Silesia.

Stokeshill Place, or, The man of business /

Wolff, R.L. 19th cent. fiction,

Voyage dans la Russie méridionale et la Crimée, : par la Hongrie, la Valachie et le Moldavie /

Some bibliographies divide the work into 2 parts, pt. 1, Histoire du voyage, t. 1; pt. 2, Observations scientifiques, t. 2-4.

Restitution du temple d'Empédocle à Sélinonte; ou, L'architecture polychrôme chez les Grecs.

Mode of access: Internet.

Topographic map of the property of Mr. William H. Roberts on N. side of W. 105th Place.

Red, black ink on tracing paper; topo. lines; unsigned; 75 x 37 cm.; Scale: 1" = 20' [from photographic copy by Lance Burgharrdt]