LEADER 01138nam 2200397 450 001 9910796732003321 005 20230808203756.0 010 $a1-925359-65-4 035 $a(CKB)4100000004974355 035 $a(MiAaPQ)EBC5436616 035 $a(EXLCZ)994100000004974355 100 $a20180720d2016 uy d 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe blind giant is dancing /$fStephen Sewell, Tom Wright, Eamon Flack 210 1$aStrawberry Hills, NSW :$cCurrency Press,$d2016. 215 $a1 online resource (115 pages) 311 $a1-925005-75-5 606 $aPolitical culture$zAustralia$vDrama 606 $aAustralian drama$y20th century 615 0$aPolitical culture 615 0$aAustralian drama 676 $a306.20994 700 $aSewell$b Stephen$0628292 702 $aWright$b Tom 702 $aFlack$b Eamon 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910796732003321 996 $aThe blind giant is dancing$93681968 997 $aUNINA LEADER 02216nam 2200373z- 450 001 9910346030403321 005 20210211 010 $a989-26-1338-4 035 $a(CKB)4920000000093801 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/44076 035 $a(oapen)doab44076 035 $a(EXLCZ)994920000000093801 100 $a20202102d2017 |y 0 101 0 $apor 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aLe Corbusier: history and tradition 210 $cCoimbra University Press$d2017 215 $a1 online resource (296 p.) 225 1 $aOutros títulos 311 08$a989-26-1337-6 330 $aThe view of modernism as representing an epistemological break between technology and history and tradition has long been challenged. Le Corbusier's work has proved to be an inexhaustible reference point in this debate. This is due, on the one hand, to the legacy of nineteenth-century historicism, and on the other to his creative process of creation through destruction which, as John Summerson has noted, is comparable to the processes of avant-garde poets and painters. The contributions to this book explore particular episodes which bring to light both the operative role of the past in the creation of a new abstract synthesis, and Le Corbusier's modernist historical consciousness. They illustrate how the past participated in the modernist creative process of abstract art, from the 1920s machine aesthetics to the late infatuation with myth. They also shed light on the extent to which the operative quality of the history was framed by a comprehensive historical vision that took the form of metanarrative, which neither the analytical studies on his architecture nor the synthetic approaches to his philosophical thinking should dismiss.

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