Evolution Made to Order: Plant Breeding and Technological Innovation in Twentieth-Century America by Helen Anne Curry

2021 ◽  
Vol 62 (1) ◽  
pp. 285-286
Author(s):  
Berris Charnley
ARCHALP ◽  
2020 ◽  
Vol 2020 (N. 4 / 2020) ◽  
Author(s):  
Antonio De Rossi ◽  
Laura Mascino

It hasn’t even been half a century since, in 1977, the famous book by Nuto Revelli entitled Il mondo dei vinti was published. A symbolic image, which summed up with powerful evocative efficacy the dramatic process of depopulation and dissolution of traditional Alpine societies during the twentieth century. A phenomenon that found its epicenter in the valleys of Carnia and in the south-east of France, and especially in the Piedmont’s valleys of the Cuneo area, with drop-out rates that will reach even 80-90% of the population. A little over forty years have passed by since Nuto Revelli’s book was published and since then a lot seemed to have changed. Today many prestigious and successful tourist and winter centers are experiencing a growing crisis of image and public, while the once neglected Valades ousitanes live an unprecedented season, focused on enhancing the trinomial of natural, historical, and cultural heritage. Maira Valley, Ostana in the Po Valley, Paraloup and Rittana in the Stura Valley, the upper Varaita Valley, the phenomena of rebirth are affecting all the Occitan valleys, with interesting resettlement processes that have their engine in who are defined «the new mountaineers». This renaissance of the Occitan valleys is accompanied by new forms of architecture that focus on the theme of the recovery and reuse of heritage, of dialectical confrontation with environmental and historical contexts, but without forgetting the contemporary and technological innovation.


Public Voices ◽  
2016 ◽  
Vol 12 (1) ◽  
pp. 139
Author(s):  
Jason Pierceson

Reviewed by Jason Pierceson


Author(s):  
Melinda Powers

The Introduction begins by providing a brief overview of the reception of Greek drama by under-represented communities in nineteenth- and early-twentieth-century America. After situating the book’s topic within this historical timeline, it proceeds to explain the development of the project, the focus on live theatre, the choice of productions, and the reasons for them. It defines terms, provides disclaimers, explains the methodology used, clarifies the topic, situates it within its historical moment, summarizes each of the chapters, describes the development of the ‘democratic turn’ in Greek drama, and finally speculates on the reasons for the appeal of Greek drama to artists working with under-represented communities.


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