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Deconstructivism is a postmodern architectural movement which appeared in the 1980s. It gives the impression of the fragmentation of the constructed building, commonly characterised by an absence of obvious harmony, continuity, or symmetry. [ 1 ]
[7] In accordance, Slavoj Žižek has identified the mid-to-late 1980s as the period when Derrida's deconstruction shifted from a radical negative theology to a Kantian idealism. [8] In 1989, Bloom eschewed any identification with the Yale School 's technical, methodological approach to literary criticism. [ 9 ]
Jacques Derrida (/ ˈ d ɛr ɪ d ə /; French: [ʒak dɛʁida]; born Jackie Élie Derrida; [6] 15 July 1930 – 9 October 2004) was a French philosopher. He developed the philosophy of deconstruction, which he utilized in a number of his texts, and which was developed through close readings of the linguistics of Ferdinand de Saussure and Husserlian and Heideggerian phenomenology.
César Pelli (October 12, 1926 – July 19, 2019) was an Argentine architect who designed some of the world's tallest buildings and other major urban landmarks. [13] Two of his most notable projects are the Petronas Towers in Kuala Lumpur [14] and the World Financial Center in New York City. [15]
In philosophy, deconstruction is a loosely-defined set of approaches to understanding the relationship between text and meaning.The concept of deconstruction was introduced by the philosopher Jacques Derrida, who described it as a turn away from Platonism's ideas of "true" forms and essences which are valued above appearances.
Musically, Deconstruction was so left-field that it felt fresh and out of step with the so-called ’90s Alternative Era. For many of us ’90s kids, Jane’s Addiction was our Velvet Underground.
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Magdeburg Cathedral (c. 1200) was one of the key buildings of this period, symbolizing imperial power and Christian devotion. Ottonian architecture was known for its elaborate mosaics, frescoes, and sculptures that incorporated both Byzantine and local traditions. Manuscripts from the period also show the richness of Ottonian visual culture. [160]