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This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.

Abstract only
Laura Moure Cecchini

‘plastic congestions’ that make her ‘leavening and contorted in a funeral baroque tenderness’. 21 Yet this visual rhetoric now thematised neorealism rather than the frondist realism of the 1930s . 22 Depicted in Leonardi's sculpture is Teresa Gullace, shot by a Nazi soldier while trying to speak with her imprisoned husband. Illustrating the climactic scene of Roberto Rosellini's iconic neorealist movie Rome Open City (1945), where she is

in Baroquemania
Ana Longoni

being advanced by the cultural authorities. In his personal papers – which he cautiously kept unpublished – he wrote: Neo-realism closed itself into rigid schemes, it did not overcome the problems of an art for struggle. Instead of diversifying the forms, enriching the contents, it limited them to a need for a spirit of principle and partisan responsibility. Such errors culminated with its own isolation, with the lack of perspective and doctrinaire dogmatism.11 Upon his return to Argentina, Castagnino founded the Asociación Argentina de Cultura China (Argentinian

in Art, Global Maoism and the Chinese Cultural Revolution
Situating the mock-documentary
Jane Roscoe and Craig Hight

the film’s success in constructing a definitive account of the Holocaust. They reinforced the significance of the film’s referential aspect. Loshitzky ( 1997 ) argues that Schindler’s List ’s broad postmodernist aesthetics are a pastiche of cinematic styles incorporating a visually spectacular and multi-layered film, quoting from styles as diverse as film noir, German Expressionism, Italian Neorealism

in Faking it
Realizing an everyday Islamic identity
Ali Mozaffari and Nigel Westbrook

Architecture’, pp. 309–16. F. Garofalo and L. Veresani, Adalberto Libera (New York: Princeton Architectural Press, 1992), pp. 39–47, 149–55; M. Casciato, ‘Neorealism in Italian Architecture’, in Goldhagen and Legault (eds), Anxious Modernisms, pp. 25–53; Tafuri, History of Italian Architecture, pp. 3–33, 41–8; S. Z. Pilat, Reconstructing Italy: The Ina-Casa Neighborhoods of the Postwar Era (Oxford and New York: Routledge, 2014). Aga Khan is the leader of the Ismailis, a Shi’ite sect that, although originating in Iran, is different to the dominant Iranian sect of Twelver

Frederick H. White

confused those who wanted to assign him to a literary camp. Bezzubov views Andreev’s work in the spirit of neo-realism or fantastical realism, but suggests that as a result of bold artistic experiments, Andreev produced an expressionistic style that would later be realized in part in the existentialist and other avant-garde movements.110 I offer the alternative suggestion that Andreev was, in fact, a Russian decadent – relying on the medical discourse and science of degeneration theory. He was not a ‘noble-born decadent’ poet with the proper aesthetic vocabulary, but

in Degeneration, decadence and disease in the Russian fin de siècle