This paper analyzes compositional strategies of Russian avant-garde architecture from the 1920s and 1930s through the study of the work of Ivan Leonidov （1902-1959）, one of the leading and most prolific architects o...This paper analyzes compositional strategies of Russian avant-garde architecture from the 1920s and 1930s through the study of the work of Ivan Leonidov （1902-1959）, one of the leading and most prolific architects of this movement. In this study, Leonidov＇s work is located within its predominant architectural context, and his work is interpreted not only as a reaction against the domineering principles of classicism, but as an evolution and selective continuation of key concepts directly translated from architectural academism. The issues of the use of pure forms--a radical stance at odds with the commonly accepted morphologies of that era--associated with the principles of displaced symmetry, or disorder, are closely looked at and evaluated against both their architectural and political values within the context of post-revolutionary Russia. It is argued that the characteristic of weightlessness in his large-scale planning proposals is revelatory of a particular desire to invade space with political presence, thus demanding to reconsider the relation between space and architectural objects. Parallels are also drawn from French Revolutionary architecture, and from the work of Claude-Nicolas Ledoux in particular, whose search for purity and autonomy in architectural morphology preceded that of Soviet architecture. As Leonidov＇s legacy mainly consists of drawings of buildings that never got built, his influence can often be felt in the work of other architects which until today have drawn formal elements and compositional strategies from his relatively vast volume of un-built work.展开更多
This paper seeks to identify the minimal restrictions that need to be placed on the naive comprehension principle to avoid inconsistency in set theory. Analysis of the logical antinomies shows that at the root of inco...This paper seeks to identify the minimal restrictions that need to be placed on the naive comprehension principle to avoid inconsistency in set theory. Analysis of the logical antinomies shows that at the root of inconsistency in naive set theory are certain ＂self contradictory＂ predicate functions in extensional set descriptions containing the matrix ＂-（x∈y）＂ （or ＂-（x∈x）＂） rather than ＂size,＂ vicious circularity, or self-reference. A reformed set comprehension system is proposed that excludes extensional set descriptions that conform to the formula, （Vx） （Зy） （x∈y →P （x）） （3u） （u∈y→（u∈y））, from comprehension and otherwise preserves the ontology of na＇fve set theory. This reform avoids the paradoxes by scrutiny of a set＇s description without recourse to type or other constructivist limitations on self-membership and has the most liberal rules for set formation conceivable including self-membership. The intuitive appeal for such an approach is compelling because as a revision of na＇fve set theory, it allows all possible set descriptions that do not lead to inconsistency.展开更多
Entertainment shows in the Arab world stand for something larger than pointless amusements shaped by producers to follow a set of marketing rules. They may be, at times, trivial or foolish but they always address the ...Entertainment shows in the Arab world stand for something larger than pointless amusements shaped by producers to follow a set of marketing rules. They may be, at times, trivial or foolish but they always address the uncertainties of collective and individual identities in a region boiling with struggles over meanings and knowledge. Because of the liberalization of the Arab television industries, they have successfully integrated the global market and are now elaborating new conventions inspired by both oriental and western references. In this paper, it will explore the depiction of Arab youth as a social construct meant to challenge the nationalistic representation of this ambiguous social category while, at the same time, promoting the regional debate over modernity, Arabism, and change.展开更多
文摘This paper analyzes compositional strategies of Russian avant-garde architecture from the 1920s and 1930s through the study of the work of Ivan Leonidov （1902-1959）, one of the leading and most prolific architects of this movement. In this study, Leonidov＇s work is located within its predominant architectural context, and his work is interpreted not only as a reaction against the domineering principles of classicism, but as an evolution and selective continuation of key concepts directly translated from architectural academism. The issues of the use of pure forms--a radical stance at odds with the commonly accepted morphologies of that era--associated with the principles of displaced symmetry, or disorder, are closely looked at and evaluated against both their architectural and political values within the context of post-revolutionary Russia. It is argued that the characteristic of weightlessness in his large-scale planning proposals is revelatory of a particular desire to invade space with political presence, thus demanding to reconsider the relation between space and architectural objects. Parallels are also drawn from French Revolutionary architecture, and from the work of Claude-Nicolas Ledoux in particular, whose search for purity and autonomy in architectural morphology preceded that of Soviet architecture. As Leonidov＇s legacy mainly consists of drawings of buildings that never got built, his influence can often be felt in the work of other architects which until today have drawn formal elements and compositional strategies from his relatively vast volume of un-built work.
文摘This paper seeks to identify the minimal restrictions that need to be placed on the naive comprehension principle to avoid inconsistency in set theory. Analysis of the logical antinomies shows that at the root of inconsistency in naive set theory are certain ＂self contradictory＂ predicate functions in extensional set descriptions containing the matrix ＂-（x∈y）＂ （or ＂-（x∈x）＂） rather than ＂size,＂ vicious circularity, or self-reference. A reformed set comprehension system is proposed that excludes extensional set descriptions that conform to the formula, （Vx） （Зy） （x∈y →P （x）） （3u） （u∈y→（u∈y））, from comprehension and otherwise preserves the ontology of na＇fve set theory. This reform avoids the paradoxes by scrutiny of a set＇s description without recourse to type or other constructivist limitations on self-membership and has the most liberal rules for set formation conceivable including self-membership. The intuitive appeal for such an approach is compelling because as a revision of na＇fve set theory, it allows all possible set descriptions that do not lead to inconsistency.
文摘Entertainment shows in the Arab world stand for something larger than pointless amusements shaped by producers to follow a set of marketing rules. They may be, at times, trivial or foolish but they always address the uncertainties of collective and individual identities in a region boiling with struggles over meanings and knowledge. Because of the liberalization of the Arab television industries, they have successfully integrated the global market and are now elaborating new conventions inspired by both oriental and western references. In this paper, it will explore the depiction of Arab youth as a social construct meant to challenge the nationalistic representation of this ambiguous social category while, at the same time, promoting the regional debate over modernity, Arabism, and change.
