This article was downloaded by: [82.222.118.44] On: 18 October 2012‚ At: 11:45 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House‚ 37-41 Mortimer Street‚ London W1T 3JH‚ UK British Journal of Middle Eastern Studies Publication details‚ including instructions for authors and subscription information: http://www.tandfonline.com/loi/cbjm20 Islamic Democracy and its Limits: The Iranian Experience since 1979 Eskandar Sadeghi-Boroujerdi
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Coming to terms with modern architecture‚ we must read through such seminal statements through their sensibilities and societal myths which they exemplify. Now‚ we shall explore parallel themes to do with new myths of modernity‚ poetic expressions of technology‚ the reemergence of abstraction‚ and analogies between architecture and other realms such as minimalist sculpture‚ landscape art and nature. Architecture oscillates between the unique and the typical where the old and new may
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denotes the style and philosophy of the art produced during that era. Harrison and Wood (2002) also point out this period that ‘Now in the history of art and criticism‚ it has a clear conclusion for modernism. Whether it is according to the trends of western art or to the historical stage‚ modernism is defined as beginning from the 1860s and ending to the 1960s’. After the end of modern art‚ contemporary art (also called ‘post-modern art’) appearanced in the world. Generally‚ contemporary art
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Among the influences of Modernism were the rapid developments both socially and technologically. Also new theories of physics and psychology from those such as Sigmund Freud were among the advances of that era that inspired modernist poets. Some modernists were extremely pessimistic about modernity e.g. Eliot. They believed that with the urbanization of society and loss of culture that essentially the human identity has been lost and has not yet been fully recognized. Modernism is essentially post-Darwinian:
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Paul Simon’s The Sound of Silence A poem‚ like all other works of art‚ may appear as an inter-subjective truth‚ an intricate thread of images‚ a surreal yet realistic expression‚ and as a "creative fact" according to Virginia Woolf. In canon literature‚ a good poem is usually that which has fine structure‚ imagery‚ meaning and relevance; an art‚ which has sprung out not only of personal necessities but out of socio-cultural quagmires. Paul Simon’s The Sound of Silence transcends the mediocre
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Minneapolis: Bibliotheca Islamica. | | | | | |Al-Attas‚ S. M. N. (1992). Islam: The concept of religion and the foundation of ethics and morality. Kuala | | |Lumpur: Dewan Bahasa and Pustaka | |Al-Attas‚ S. S. (1996). Islam and the challenge of modernity: Historical and contemporary context. Kuala | | |Lumpur: ISTAC | |Al-Faruqi. I. R. (1998). Tawhid: Its implications for thought and life. Virginia: IIIT. | | |Al-Roubaie‚ A | |Cumming‚ R. D. (1969). Human nature and history: A study of the development
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My first experience watching a Coen brothers’ movie changed how I viewed film. Upon my first viewing of The Big Lebowski‚ I realized it was much more than a film about a middle aged stoner who lost his rug. I was able to identify different characteristics from a wide range of genres represented in classic films I had seen over the years. After numerous viewings‚ I could piece together a message the Coen brothers were trying to communicate to their audience through the film’s narrator: “Sometimes
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One of the major debates in the sociology of religion is concerned with the extent to which modern industrial societies have become secularised. The founding fathers of sociology saw secularisation as the inevitable outcome of modernisation. Comte‚ Durkheim and Weber each assumed that when societies achieved scientific and technological complexity‚ individuals would cease to rely on religious meanings and explanations and instead use rational explanations to understand their world. It seems important
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Final Exam I. Multiple choice: 1% x 30 = 30% 1865-1914 1. The novels and short stories of Henry James and Edith Wharton tended to focus on (A) the tragic outcomes of impoverished characters living in industrialized urban wastelands. (B) the ordeals of isolated characters living as survivalists in the sparsely populated hinterlands of the United States. (C) the inner psychological lives of privileged upper-class characters. (D) the exploits of characters with startling accomplishments and impressive
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1890-1914 to the disillusioned sons of liberalism‚ historians have revised and expanded aspects of the Schorskean “failure of liberalism” paradigm. A number of recent works have corrected Schorske’s neglect of the distinctly Jewish character of Viennese modernism‚ highlighting the prevalence of Jewish patronage of modern art‚ contributions to literature‚ philosophy‚ and psychology‚ and even proposing that notions of Jewish enlightenment‚ or Haskalah‚ stamped the general character of the Viennese fin de siècle
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