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Architecture, Postmodern --- Skyscrapers --- Netherlands. --- Hoftoren (Hague, Netherlands) --- Kohn Pedersen Fox (Firm) --- Buildings. --- Hague (Netherlands) --- Buildings, structures, etc.
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Architecture, Postmodern --- Hotels --- History --- Hilton International (Firm) --- History. --- 728.5 --- 72.036 --- Koude oorlog --- Hilton, Conrad --- Hilton hotels --- Hotels (architectuur) --- Twintigste eeuw (architectuur) --- 20ste eeuw (architectuur)
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*In Senghor's Shadow* is a unique study of modern art in postindependence Senegal. Elizabeth Harney examines the art that flourished during the administration of Léopold Sédar Senghor, Senegal's first president, and in the decades since he stepped down in 1980. As a major philosopher and poet of Negritude, Senghor envisioned an active and revolutionary role for modern artists, and he created a well-funded system for nurturing their work. In questioning the canon of art produced under his aegis—known as the Ecole de Dakar—Harney reconsiders Senghor's Negritude philosophy, his desire to express Senegal's postcolonial national identity through art, and the system of art schools and exhibits he developed. She expands scholarship on global modernisms by highlighting the distinctive cultural history that shaped Senegalese modernism and the complex and often contradictory choices made by its early artists. *In Senghor's Shadow* surveys the work of a range of Senegalese artists, including painters, muralists, sculptors, and performance-based groups—from those who worked at the height of Senghor's patronage system to those who graduated from art school in the early 1990s. Harney reveals how, in the 1970s, avant-gardists contested Negritude beliefs by breaking out of established artistic forms. During the 1980s and 1990s, artists such as Moustapha Dimé, Germaine Anta Gaye, and Kan-Si engaged with avant-garde methods and local artistic forms to challenge both Senghor's legacy and the broader art world's understandings of cultural syncretism. Ultimately, Harney's work illuminates the production and reception of modern Senegalese art within the global arena.
Art --- History of civilization --- aesthetics --- avant-garde --- Modernist --- Postmodern --- #breakthecanon --- Senghor, Léopold Sédar --- anno 1960-1969 --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- Senegal
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Architecture, Postmodern --- Classicism in architecture --- Deconstructivism (Architecture) --- Architecture postmoderne --- Classicisme en architecture --- Déconstructivisme (Architecture) --- Congresses. --- Congrès --- Eisenman, Peter, --- Krier, Léon --- Aesthetics --- Déconstructivisme (Architecture) --- Congrès --- Krier, Léon
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Immeuble qui abrite le siège de la société financière belge CNP (Compagnie Nationale à Portefeuille) à Charleroi, en Belgique. Conçu par le bureau de l’architecte belge Philippe Samyn, le siège du CNP est un chef-d’œuvre de construction écologique et d’esthétique architecturale postmoderniste.
Office buildings --- Architecture, Postmodern --- Immeubles de bureaux --- Architecture postmoderne --- Groupe Frère CNP --- Samyn et Associés. --- Brussels (Belgium) --- Bruxelles (Belgique) --- Buildings, structures, etc. --- Constructions --- -Brussels (Belgium) --- -72.039 --- 725.23 --- Postmodern architecture --- Architecture, Modern --- Postmodernism --- Buildings, Office --- Office space --- Commercial buildings --- Industrial buildings --- Buildings, structures, etc --- Hedendaagse architectuur. Bouwkunst sinds 1960 --- Kantoorgebouwen --- 725.23 Kantoorgebouwen --- 72.039 Hedendaagse architectuur. Bouwkunst sinds 1960 --- Groupe Frère CNP --- Samyn et Associés. --- 72.039 --- Samyn and Partners --- Samyn & Partners --- Philippe Samyn and Partners --- CNP --- Compagnie Nationale à Portefeuille --- Nationale Portefeuillemaatschappij --- Buildings. --- Bâtiment de bureaux --- Postmodernisme
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In a highly influential essay, Rose Rosengard Subotnik critiques "structural listening" as an attempt to situate musical meaning solely within the unfolding of the musical structure itself. The authors of this volume, prominent young music historians and theorists writing on repertories ranging from Beethoven to MTV, take up Subotnik's challenge in what is likely to be one of musical scholarship's intellectual touchstones for many years to come. Original, innovative, and sophisticated, their essays explore not only the implications of the "structural listening" model but also the alternative listening strategies that have developed in specific communities, often in response to twentieth-century Western music.
Musical criticism. --- Musical analysis. --- Music --- Postmodernism. --- Post-modernism --- Postmodernism (Philosophy) --- Arts, Modern --- Avant-garde (Aesthetics) --- Modernism (Art) --- Philosophy, Modern --- Post-postmodernism --- Music and society --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Analysis, Musical --- Analytical guides (Music) --- Music analysis --- Music appreciation --- Music criticism --- Journalism --- Philosophy and aesthetics. --- Social aspects. --- Philosophy --- Analysis, appreciation --- Analytical guides --- Instruction and study --- History and criticism --- 20th century. --- anthology. --- beauty. --- beethoven. --- collection of essays. --- listening strategies. --- listening. --- modes of listening. --- mtv. --- music historians. --- music scholars. --- music students. --- music textbooks. --- music theorists. --- music theory. --- musical communities. --- musical meaning. --- musical scholarship. --- musical structure. --- nonfiction essays. --- nonfiction. --- postmodern modes of hearing. --- postmodern theory. --- structural hearing. --- theoretical perspective. --- western music.
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