Download Stone, steel, glass: Constructions of time within European by Christina Lynne Svendsen PDF

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By Christina Lynne Svendsen

The epistemological and philosophical strength of Walter Benjamin's "dialectical snapshot at a standstill" comes from the truth that it crosses summary notion with visible pictures or maybe fabric items. My dissertation seeks to take this system of Benjamin's heavily by utilizing structure because the fabric substance opposed to which to learn his philosophical account of modernity. He defined the Arcades undertaking Adorno as a venture in Geschichtsphilosophie, even supposing superficially his convolutes need to do with mundane items from the 19th century equivalent to catacombs, arcades, mirrors, ironwork, and paintings Nouveau. despite the fact that, Geschichtsphilosophie refers not just to the research of the prior, yet extra widely to a philosophy of time in its human scope.

I have selected 4 construction typologies that act as types for the hot knowledge of time within the 20th century. My examine opens with chronologically layered constructions, studying those buildings as types for submerged, forgotten, unofficial, or subconscious thoughts. in spite of the fact that, modernity is a time of hysteria over rupture with the previous. My moment bankruptcy for that reason investigates awake reminiscence: modem monuments that conscientiously designed websites for the experiential transmission of heritage. in the meantime, modernity additionally incites us to overlook -- to develop into emancipated from the prior. My 3rd bankruptcy explores the allure of glass: a man-made substance that's appealing since it is so tender and tough that it truly is approximately most unlikely to go away an enduring hint on it. notwithstanding, the glass home is not only freeing yet disorienting. against this, surprising catastrophic ruins, the focal point of my ultimate bankruptcy, embed the viewer within the complete internet of fourth-dimensional time, earlier and destiny surprising ruins are frequently elided within the ordinary Romantic discourse, which relates ruins to the prior and slow erosion. against this, my research exhibits that surprising ruins holiday open a fissure which may exhibit a glimpse of a destiny formerly unbelievable based on ordinary methods of predicting or making plans it. certainly they've got a "weak prophetic power" in an earthly age; they attach us to posterity and make noticeable a bigger and extra significant temporal context for our lives than just the current.

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Extra resources for Stone, steel, glass: Constructions of time within European modernity

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606. " TheIrierpretation

This sub-layering suggests the level of mediation and indirectness at work in mental memory functions. Freud's use of the word "Schicht," or layer, to describe both the components of the WptncbUock and the structuring of mental functions, will be discussed later in this chapter. For the moment, however, it is useful to note that memory's inscriptions are based on proximity and contiguity- a registration process based on metonymic details. However, the level of penetration and strength of the traces clearly vary to greater or lesser degrees at each depth.

118. " Brill, p. 83. 33 Benjamin, The Anodes Project, p. 874. 34 Reinhart Koselleck, Zeitschichten: Stucbenzur Historik (Frankfurt am Main: Suhrkamp, 2000), p. 9. 41 architectural QriflriemEthode draws attention to the different ages, depths, and origins of buildings that maybe present at the surface at die same time. Surface is acknowledged to have texture. If texture is another way of describing a surface that has different material substances, heights, and depths - nubs, impressions, depressions, and peaks - then to acknowledge the texture of surface is to deconstruct the notion of surface as it has been deployed in philosophy from the Greeks through Nietzsche to postmodernity, and to acknowledge the layeredness of layers themselves, as in the analysis above of Freud's Mystic WritxngPcuL Noticing Zeitsdnchten, or temporal layers in buildings and design, not only historicizes them, but also lets us by extension give weight to the changeability, contingency, and historical polyphony of human artifacts, both material and immaterial.

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