The Death of Beauty: Goya's Etchings and Black Paintings through the Eyes of André Malraux

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist tradition founded on the pursuit of a transcendent world of nobility, harmony and beauty—an ideal world outside of which, as Malraux writes, ‘man did not fully merit the name man’. Following the illness that left him deaf for life—an encounter with ‘the irremediable’, to borrow Malraux's term—Goya developed an art of a fundamentally different kind—an art, Malraux writes, ruled by ‘the unity of the prison house’, which replaced transcendence with a pervasive ‘feeling of dependence’ and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, and created semi-clandestinely, the etchings and black paintings are an early announcement of the death of beauty in Western art

Vanquishing temporal distance: malraux, art and metamorphosis

How does art transcend time? What special power enables it to overcome temporal distance and speak to us not just as evidence of times gone by but as a living presence? The Renaissance concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief endorsed by Enlightenment aesthetics. Later thinkers such as Hegel, Marx and Taine stressed the historical embeddedness of art, a view also espoused by certain modern theorists such as Sartre, Benjamin and Adorno. The conflict between these two positions has left us without a persuasive account of art’s capacity to transcend time. André Malraux offers an entirely new account of this unique power of art. For Malraux, art is neither exempt from history (timeless) nor wholly immersed in it. Art transcends time through metamorphosis, a process of continual transformation in significance in which history plays an essential, but not exclusive, part

Project alliancing at National Museum of Australia: Collaborative process

Project alliancing is a new alternative to traditional project delivery systems, especially in the commercial building sector. The Collaborative Process is a theoretical model of people and systems characteristics that are required to reduce the adversarial nature of most construction projects. Although developed separately, both are responses to the same pressures. Project alliancing was just used successfully to complete the National Museum of Australia. This project was analyzed as a case study to determine the extent to which it could be classified as a “collaborative project”. Five key elements of The Collaborative Process were reviewed and numerous examples from the management of this project were cited that support the theoretical recommendations of this model. In the case of this project, significant added value was delivered to the client and many innovations resulted from the collective work of the parties to the contract. It was concluded that project alliances for commercial buildings offer many advantages over traditional project delivery systems, which are related to increasing the levels of collaboration among a project management team

The Canengusian Connection: The Kaleidoscope of Tort Theory

In the course of our teaching and research, we uncovered a recent decision of the Supreme Court of Canengus. The judgment in Allan v. Derek was handed down on 1st April, 1984. We reproduce it here in the hope that it will be of some interest to tort lawyers and legal scholars generally

A Necessary Transgression: Malraux, Art, and History

Modern aesthetics is divided into two branches – the Anglo-American and the Continental. A major cause of this division is their divergent views about the place of history in aesthetics, the first tending to minimize historical considerations, while the second readily embraces them. This article explores the place of history in André Malraux's theory of art and argues that his thinking quickly resolves this long-standing disagreement. (This text is a translation of the published French version.

Media Bank--access and access control

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1995.Includes bibliographical references (p. 91-92).by Derek Allan Atkins.M.S

How many calories do nurses burn at work? A real-time study of nurses’ energy expenditure

Funding The author(s) disclosed receipt of the following financial support for the research, authorship and/or publication of this article: These data were collected as part of a Scottish Government Chief Scientist Office funded study (CZH/4/460). Julia Allan is currently (2018) an Royal Society of Edinburgh (RSE) sabbatical grant holder.Peer reviewedPostprin