Kulturowy charakter czasu i przestrzeni. Analiza średniowiecznego i wczesnorenesansowego elitarnego budownictwa mieszkalnego i obronnego w Irlandii

Wydział Historyczny: Instytut Prahistorii

Die Organisation und Leitung der Arbeit Mit Audiovisuellen Lehr- und Lernmitteln an der Humboldt-Universität zu Berlin und an Anderen Hochschulen in der Ddr

Heun Hans-Georg, Die Organisation und Ieitung der Arbeit mit audiovisuellen lehr- und Ißrnmitteln an der Humboldt-Universität zu Berlin und an anderen Hochschulen in der DDR (Organization and conducting of work with audiovidual aids at the Humboldt University and other schools of higher education in the German Democratic Republic), „Neodidagmata” XX, Poznan 1991, Adam Mickiewicz University Press, pp. 131-136. ISBN 83-232-0302-4. ISBN 0077-653X. Received: November 1987. Audiovisual aids have become now an indispensable help for teachers. The centre of audiovisual aids at the Humboldt University in Berlin performs the following tasks: a) production of audiovisual materials; b) technical service of classes and lectures and seminars and repairing of the equipment; c) information on new audiovisual aids and lending services; d) training of students and university teachers in operating audiovisual aids; e) studies on application of audiovisual aids in schools of higher education.

Zagadnienia wykładni prawa w unijnych kontekstach interpretacyjnych. O adekwatności i możliwych rozwinięciach derywacyjnej koncepcji wykładni

Wydział Prawa i Administracji

A influência do nível socioeconómico na leitura

Trabalho apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Licenciada em Terapêutica da Fala

Carl H. Kraeling Papers, 1947-1955

This file contains a finding aid for the Carl H. Kraeling Collection. To access the collection, please contact the archivist (asorarch@bu.edu) at the American Schools of Oriental Research, located at Boston University.

Khirbet et-Tannur Excavation Records

The Khirbet et-Tannur Excavation Records document the 1938 excavation of a Nabataean temple. The excavation was directed by Nelson Glueck. The collection includes level books, excavation diaries, artifacts, and photographs. The collection is being processed. A finding aid for the document portion of the collection is available.

Edmund Irwin Gordon Papers, 1936-1984

The Edmund Irwin Gordon papers document Gordon’s studies and professional work. The collection contains correspondence, EIG’s writings for publication and otherwise, course materials from the University of Pennsylvania and teaching at Harvard University, photographs of tablets and from digs, translations and notes from writings and tablets in ancient languages, forms and papers related to various grants, and materials from EIG’s work in Signal Intelligence during World War II.

G. Ernest Wright Papers, 1957-1972

This collection primarily contains correspondence from Wright’s years as president of ASOR. Material dates as far back as 1957, and proceed into the early 1970’s. Some of Wright’s more notable correspondents include William F. Albright, A. Henry Detweiler, Paul W. Lapp, William Reed, and Dean Seiler. Subject-specific correspondence includes records of expenditures, budget planning, corporate memberships, and the Jerusalem School.

William F. Albright Papers

This file contains a finding aid for the William F. Albright Collection. To access the collection, please contact the archivist (asorarch@bu.edu) at the American Schools of Oriental Research, located at Boston University.

L'histoire assassinee: Manfredo Tafuri and the present

Italian historian Manfredo Tafuri develops his ‘historical project’ in architecture during the 1960’s and 1970’s in three seminal books, which reach the English speaking specialist audience with a certain delay. Histories and Theories of Architecture (1968), which prepares the ground for the redefinition of a critical and independent history of architecture is first translated in English in 1979. Architecture and Utopia (Progetto e utopia, 1973) is translated in 1976, and becomes a point of reference for architectural histories and for the definition of architectural theories, mainly in the United States. The Sphere and the Labyrinth (1980), translated in 1987, is the text which formally defines and presents the ‘historical project’. Tafuri’s dense and highly politicized prose is often subjected in the English versions to numerous simplifications and reductive interpretations. Yet, the time lag and the space between languages that these translations occupy are inhabited by polemical and fertile reactions to the texts from the world of architectural design. Symptomatic of all, Aldo Rossi’s L’architecture assassinée, a rebuke in drawing to some of Tafuri’s remarks in Architecture and Utopia that seemed to suggest -but the interpretation is arguable– the ‘death’ of architecture as project (progetto). Tafuri’s texts instigate a dialogue between architectural history and practice, particularly relevant at a time in the development of the discipline when history was being redefined in its critical role as a ‘project’ –thus appropriating the active and propositional role traditionally assigned to architectural design–, while architectural design –still coping with the legacy of Modernism and with changed production systems- often found itself relegated to the paper of exhibitions, competitions and theoretical projects. This paper explores the relationship between architectural history and design in Tafuri’s work, focusing on recent reconsideration and interpretations of his work. It argues that, beyond instrumental simplifications, Tafuri’s ‘project’ remains active and essential in architecture’s critical culture today.

Piranesi in Ghent

Piranesi in Ghent is an exhibition, a catalogue and a symposium. It is also a telling story in the recent scholarship and recurring ‘fashionable’ re-discoveries of Piranesi’s work. It is a funny story, a serious cultural enterprise that begins, like all good love stories, by chance. But there’s more here: scholarly passion, intellectual curiosity, design and experimentations: as well as reproductions, plates and debates, and a lot of challenging hypotheses and development possibilities. This is indeed a very Piranesian story and, as in Piranesi’s work, here the less visibly obvious is worthy of the greatest attention, because it reveals more, much more indeed, than what appears at first.

The vague, the viral, the parasitic: Piranesi's metropolis

In mid-18th century Giovanni Battista Piranesi’s etchings systematically document the old and new monuments, decrepit buildings and broken down infrastructures of a Rome that continues to inhabit and reinvent its past. His views of Rome offer a devastating account of the blurring of distinctions and articulations that time, use and neglect have imposed on the old differentiations of the urban and the rural, the public and the private, the monumental and the domestic in the 18th century city. Rome becomes for Piranesi the laboratory for a questioning of architecture that places his work well beyond the debate on style and on the origin that dominated the architectural discourse of his time. This paper suggests that Piranesi’s images anticipate the dispersion and sprawl of the city of today, in which the ‘vague’, the ‘viral’ and the ‘parasitic’ become modes of inhabitation and of transient negotiated definition. In the Antichità di Roma, ancient buildings are represented not only in their large scale and magnificence, but also in their decay and reversal to a state of naturalness. These works, together with the acute observations of the Vedute di Roma, provide the materials that are then dislocated, manipulated, cloned and endlessly mutated by Piranesi in the synthesis of the Campo Marzio dell’Antica Roma, in which the historical city is almost entirely dissolved and replaced by an extraordinary congestion of fragments. When they are re-examined on the grounds of contemporary architectural and urban theory, the sites of Piranesi's views reveal anticipations of phenomena that affect the metropolis of today. Political, social and economic conditions have changed dramatically, but the questions asked of architecture in and by these sites challenge the definition of an architecture of style, forms and boundaries - in the 18th century as well as in the 21st -in favour of an architecture of change.