Wright

A critical review of The Day the Revolution Began by Tom Wright.  Key words:  N T Wright, The Day the Revolution Began, critical review, atonement theology, OT narrative & allusion, propitiation, divine wrath, Gospels, substitutionary atonement, Wright’s treatment of the terms hilastērion and dikaiosynē, and the need for ‘whole Bible theology’.

Dai primi voli dei fratelli Wright nell’aprile del 1909 ai clamorosi fatti di cronaca nera del piccolo Nello Coccia, alle pasquette popolari del secondo dopoguerra, la torre di Centocelle (o Torraccia) è stata al centro di diversi episodi e celebrata  da pittori, fotografi e poeti dialettali. Scambiata spesso ed erroneamente per la “Torre Spaccata” da cui prende il nome il quartiere sorto a ridosso a partire dal 1958, la torre è quanto resta del casale che insieme all’osteria omonima di Centocelle erano il centro di una vasta tenuta posta  sul lato meridionale della via Casilina. Il toponimo medioevale è stata poi utilizzato in epoca moderna per dare un nome a una vicina borgata (oggi Quartiere Centocelle).
La selezione di  foto della torre qui presentate con un breve commento sono state pubblicate  nel 2004 in quello che è stato un vero esperimento di promozione della cultura locale sul territorio romano:  la rivista GABINUS. Il titolo, dal chiaro riferimento etnico alla città latina di Gabii e di quanto afferente al suo territorio, dava al lettore l’indirizzo programmatico a cui era protesa. Ai  quattro numeri usciti nelle edicole fra il 2003 e il 2004 e diretti da Rita Pomponio, faceva capo un comitato scientifico composto da Mario Apice, Pupi Avati, Alessandro Finazzi Agrò, Anita Garibaldi, Bruno Maraviglia, Stefano Musco, Giuseppe Parlato, Lorenzo Quilici, Mons. Dario Rezza.

Vannozzi S., La Torre di Centocelle. Artisti, feste ed escursioni fuori porta all’ombra della vecchia torre  ,  in «GABINUS rivista culturale», trimestrale,  a. II, n. 2 , associazione culturale O.N.L.U.S. “Valle di Castiglione in Gabii”, Gen-Feb-Mar. 2004, pp. 40-41.

revisione e digitalizzazione testi di Valentina Marino (2020)

LITERARY biography has both its friends and its enemies. Readers of the genre may be fans of particular authors, or may be addicted to literary biography in general, or perhaps both. The evidence of literary festivals and public libraries is that these readers are a numerous ...

oxymoron. When thinking of Wright and the city, one usually thinks of Broadacre City, the plan the architect produced between 1929 and 1935 proposing the disappearance of urban and suburban settlement patterns as they were known. In fact, his first book-length presentation of the project, published in 1932, was titled The Disappearing City. Paying no attention to existing cities and avoiding contact with the already urbanized fabric of the country, Broadacre City proposed a continent-wide, decentralized network of continuous, low-density rural communities consisting of predominantly single-family houses and small farms all linked to one another by the automobile, the highway, and new forms of telecommunication. Broadacre City substantiates the stereotypical image of Wright the antiurbanist, whether it be the American frontiersman, the Jeffersonian gentleman farmer, the backto-nature transcendentalist, or the legatee of Frederick Law Olmsted’s organic picturesqueness. Broadacre City ...

A Response to David Wright on Historical Criticism Kevin Christensen. ... Regarding the Isaiah problem, Wright explains it well, but, I notice no better than Nibley did in Since Cumorah in 1965, and Sidney Sperry long before that in The Improvement Era and in Our Book of Mormon ...

Henry Luce, owner of “Life”, “Time”, “Fortune” and “Architectural Forum”, recognized Frank Lloyd Wright’s immense charisma and talent and featured both the architect and his work in all four of his renowned popular press journals in January 1938 – though clearly he did so for his own ends. Luce believed fervently in America. In 1937, the German architects Mies van der Rohe and Walter Gropius migrated to the USA to assume leadership of two of its nest schools of architecture. Luce countered this promotion of European architecture by featuring Wright in his four journals. Despite Wright’s immense unpopularity at the time, Luce put him on the cover of “Time” and prominently presented him and his work in “Life”, “Fortune”, and “Architectural Forum”. That Luce’s ideals were not the same as those of Wright mattered little. With Luce’s endorsement, Wright became the most popular American architect in history, a position he retains to this day. But how very odd that decidedly arti cial medi...

Neil Levine's study of the architecture of Frank Lloyd Wright, beginning with his work in Oak Park in the late 1880s and culminating in the construction of the Guggenheim museum in New York and the Marin County Civic Center in the 1950s, if the first comprehensive and in-depth ...

There is nothing wrong in reflectively justifying our logical beliefs and habits by  methods of wide reflective equilibrium, taking into account both their stunning empirical success, and the available empirical explanation(s) of cognizers having them and of their reliability. The three conceptualist considerations should be  supplemented  (and,  some might  argue,  even  replaced)  by wide  reflective equilibrium at the reflective level: first, the meaning-constitutive account moves in a too small circle of a very narrow reflective equilibrium, so there is a need to expand the circle, which would make the equilibrium wide. Second, the logic-external consideration of obviousness-cum-compellingness cries for explanation. And finally, the logic-external consideration of indispensability leads directly to empirical considerations having to do with success, actual or potential,
of the cognitive enterprise(s) for which logic is so badly needed. And success is an  indicator of  reliability.
In  short,  staying within  the narrow conceptualist
circle amounts  to placing of a “veil of conception” between us and  the  logic-
in-the world, blocking the understanding of what makes logic objectively valid. Thus, the very dialectics of the conceptualist program points to a less apriorist view of logical knowledge.

ABSTRACT “Fallingwater is no doubt the supreme example of the synthesis of materials and architectural expression.” p100 , “Fallingwater stands apart from these earlier examples in its use of concrete-reinforced terraces that dramatically hover over the waterfall that gives it its name. Several houses among Wright’s earlier work could provide plausible prototypes for Fallingwater, and our intention is not to suggest that only one source or linear development of its genesis is possible. The early Charnley House uses a modest, although distinctive, balcony over the front entrance that establishes Wright’s predisposition toward a vocabulary of interpenetrating and sliding volumes. A more striking example would be the Gale house, dated 1909 (but perhaps designed as early as 1905). Wright specifically cites this house as a premonition of Fallingwater. Its oblique perspective in the Wasmuth portfolio features a prescient series of balconies and terraces stabilized by a vertical chimney mass placed in a shifted asymmetrical arrangement that produces a strong rotating movement and sense of dynamism. Given this dynamic vie, “Fallingwater’s smooth concrete trays in tension and the massive stone walls in compression express an “appropriate” use of materials and develop a poetic sensibility in accordance with Wright’s idea of the nature of materials and their structural potential.” p66 , “The footprint of Fallingwater creates a dynamic tension through the juxtaposition of the grid and a strong diagonal edge of the natural site that approximates a thirty-degree angle.” … “The Fallingwater footprint exhibits a modified cruciform plan not unlike the earlier houses of the Prairie school. The overall configuration is obviously not regular and, unlike the more simplified arrangements of Millard and Freeman, has a fractured, stepping system of walls and volumes that roughly follow the line of the rock ledge to the rear. The port cochere makes its required appearance, but it is attached to the rear ledge of rock, which acts formally and spatially on a similar manner to both Millard and Freeman. The interweave of space and form precisely at the point of entry creates an explosive release that recalls the same theme in the earlier houses.” p68 , “The plan of Fallingwater, despite its seeming inexhaustible movement and overwhelming dynamism, contains symmetrical volumes that provide stabilizing elements similar to the earlier houses [Hardy, Freeman and La Miniatura]. The main living room space, for example, is nearly symmetrical, with the most symmetrically disposed portion toward the front and dissolving into a more casual arrangement toward the rear and sides. It is emphasised by the carefully designed glazing, built in seating, and recessed ceiling cove and lighting, all of which align perfectly with the main living room axis. The sides are allowed more freedom, as the fireplace on one side opposite the entry, water stair, and study demonstrate. Despite the overall asymmetry, the localised symmetry acts as a counterpoint to define a hierarchy of spaces and stabilize the composition. The bedrooms, study and kitchen have been disposed in an asymmetrical manner, complementing and expressing the diagonal rock ledge to the rear. The overall, “Wright’s axes were not just “built axes”; they did not necessarily all occur in the same plane, and often they were layered or stacked vertically. His driveways and paths and even natural elements such as ravines or streambeds could assist in describing axes and corresponding shafts of space that became integral parts of the spatial weave, often occurring in layers below, above, or through the main house. In some house designs Wright’s predominantly horizontal spatial weave was complimented by a vertical spatial weave where vertical spaces, chimneys, or other building elements expressed vertical axes. , As further identified by Laseau and Tice, scholarly “emphasis has been on the symbolic meaning of [Wright’s] architecture rather than on an understanding of its intrinsic formal structure. The assumed split between idea and form, with the higher valuation usually given to the former, has made achieving the necessary connection between the two more difficult.” p1 , Laseau and Tice describe Fallinwater as Wrights masterpiece p4 , Wright is “the best known and least understood of American architects.” ix

These two landscapes are separated by a distance of just over a mile and by over two hundred years of art. The two paintings differ greatly in appearance and relate to very different interests in landscape painting, the recent work being concerned with the act of painting itself and the painting as an object, in ways that would have been unconsidered by artists in the late eighteenth century. They also reflect different objectives in the depiction of human endeavour, labour. What the paintings have in common is their response to an area of landscape in midDerbyshire.