scholarly journals Team10 out of CIAM: Sobre el papel de Le Corbusier. Identificación y legado

2015 ◽  
Author(s):  
Alejandro Campos Uribe
Keyword(s):  
Le Corbusier ◽  
Canonical Representation ◽  
Palabras Clave ◽  
Team 10 ◽  
The Creation ◽  
New Generation

Resumen: Aunque existen diversas versiones sobre el nacimiento del Team10 y la disolución de los CIAM, todas coinciden en el carácter de ruptura. Frente a la versión canónica que explica el fin de los CIAM como confrontación, este artículo muestra, a través del estudio de los documentos que pasaron por el estudio de Le Corbusier, que muchas de las ideas del grupo ya existían en el interior de los CIAM, y que la creación del Team10 contó con el apoyo de los miembros fundadores. Es especialmente importante el apoyo personal de Le Corbusier que a través de cartas y dibujos entendió muy pronto que era el momento de apartarse y dejar paso a la nueva generación; hasta el punto de constatar que sin su apoyo es posible que el Team10 nunca hubiera sido creado. Le Corbusier, como figura y ejemplo de los jóvenes que supo, generosamente, dar el relevo a tiempo. Abstract: Albeit different versions of Team 10 birth and dissolution of CIAM exist, all of them coincide in its disruptive nature. This article tries to prove, far from the canonical representation of the end of CIAM and by studying the documents that went through Le Corbusier’s atelier in Paris; that many of the ideas of Team 10 were already present inside CIAM and that Team 10’s creation had the support of several of CIAM’s founding members. It is especially important Le Corbusier’s personal backing. Le Corbusier, who through letters and drawings understood very soon that it was the time to step aside and give way to the new generation. In fact, it was vital to the creation of Team 10, without whom it would not have been possible.  Palabras Clave: CIAM; Team 10; Le Corbusier; Aix-en-Provence; Dubrovnik; Smithson, Bakema. Keywords: CIAM; Team 10; Le Corbusier; Aix-en-Provence; Dubrovnik; Smithson, Bakema. DOI: http://dx.doi.org/10.4995/LC2015.2015.642

scholarly journals Estrellas sobre fondos cambiantes: convocando la luz

2015 ◽  
Author(s):  
Isabel Álvarez Gallego ◽  
Silvia Blanco Agüeira
Keyword(s):  
Creative Process ◽  
Driving Force ◽  
Architectural Design ◽  
Bright Light ◽  
Le Corbusier ◽  
The Real ◽  
Palabras Clave ◽  
The Creation ◽  
Shed Light ◽  
Sobre Todo

Resumen: Tras crear y desarrollar durante siete años diecinueve poemas manuscritos, que hoy en día son considerados síntesis de su pensamiento, Le Corbusier publicó en 1955 su Poème de l´Angle Droit. Al estudiar este poema reconocemos en él los principales temas presentes en su trayectoria, así como algunos elementos —la espada, la nube y la estrella— que aparecen en su obra pictórica y arquitectónica. La presente comunicación pretende desvelar las conexiones que se establecen entre uno de estos elementos en concreto, como es la imagen de la estrella, y su incorporación al proceso de proyecto lecorbusieriano. Se trata de analizar cómo este tema, que se repite de forma obsesiva, configura imágenes que permanecen en las estrategias arquitectónicas que llevó a cabo el maestro suizo. La estrella habla de faro, de guía, de motor dentro de un proceso de viaje. Es el elemento que representa la movilidad del cosmos, que rige ese carácter de repetición ligado al arte; una señal que guía al viajero y define el itinerario que deben seguir sus pasos, que nos hace pensar en una brillante luz y en la distancia entre lo real y lo imaginado. Y, sobre todo, es la referencia presente en edificios, que condensaban así reflexiones que daban coherencia y unidad a las distintas opciones del proyecto. Abstract: Following a seven year period dedicated to the creation and development of nineteen manuscript poems, which today are considered a synthesis of his thinking, in 1955 Le Corbusier published his Poème de l´Angle Droit. The study of this poem reveals the principal themes that dominated his trajectory, as well as a series of elements, namely the sword, the cloud and the star, which appear in his pictorial and architectural work. This paper aims to shed light on the connections established between one of these elements in particular —the star— and its incorporation into Lecorbuserian method of architectural design. It seeks to analyse how this item is repeated obsessively, forming images which remain rooted in the architectural strategies developed by the Swiss architect. The star speaks of a lighthouse, a guide, a driving force that spurs on the journey. It is the element that represents the mobility of the cosmos, which governs the nature of repetition linked to art; a signal that guides the traveler and traces the route their steps must take them, leading us to think of a bright light and the distance that separates the real and the imagined. And above all, it is the reference in those buildings that condensed the reflections that gave coherence and unity to the various project options.  Palabras clave: estrella; cosmos; proyecto; mirada; símbolo; proceso creativo. Keywords: star; cosmos; project; gaze, symbol; creative process. DOI: http://dx.doi.org/10.4995/LC2015.2015.980

scholarly journals Le Corbusier in Berlin, 1958: the universal and the individual in the unbuilt city

2015 ◽  
Author(s):  
Mara Oliveira Eskinazi
Keyword(s):  
Design Education ◽  
Le Corbusier ◽  
Transitional Period ◽  
Young Generation ◽  
Critical Approach ◽  
Previous Generation ◽  
Team 10 ◽  
The Individual ◽  
New Generation ◽  
The City

Abstract: Among several urban plans designed for Berlin, we find Le Corbusier`s project for the Hauptstadt Berlin 1958 competition, which aimed at thinking the reconstruction of the city center destroyed in the II World War. Corbusier`s relation with Berlin dates back to 1910, when he arrives at the city to work at Peter Behrens` office. So, for him, the plan for Berlin was a rare opportunity to develop ideas about the city that provided one of the largest contributions to his urban design education, and also to develop ideas he formulated forty years before for Paris` center. Besides that, this project was developed almost simultaneously with CIAM`s crises and dissolution, which culminated in the 50`s with the consequent appearance of Team 10. At that moment Corbusier`s universalist approach to urbanism starts to be challenged by CIAM`s young generation, which had a critical approach towards the design methods inherited from the previous generation, associated with CIAM`s foundational moment. From the beginning of the 50`s on, this new generation balances the universalist ideals inherited from the previous generation with individualist ones they identified as necessary to face the new post war reality. Thus, the main goal of this paper is to analyse Corbusier’s design for Berlin and question whether he, at an already mature point of his career, was proposing a plan that answered only the questions that were important to CIAM and to the canonical principles of modern architecture, or if he had also addressed those that belonged to the new generation and Team 10`s agenda, both of them present in the debates of the moment, largely identified as a transitional period. Resumen: Entre varios planes urbanos diseñados para Berlín, esta el proyecto de Le Corbusier para el concurso Hauptstadt Berlín 1958, que tenia como objetivo pensar la reconstrucción del centro de la ciudad, destruida en la II Guerra Mundial. La relación de Corbusier con Berlín se remonta a 1910, cuando llega a la ciudad para trabajar en la oficina de Peter Behrens. Así que, para él, el plan de Berlín fue una rara oportunidad de desarrollar ideas sobre la ciudad que dio una de las mayores enseñanzas a su aprendizaje en diseño urbano, y también para desarrollar las ideas que formuló cuarenta años antes para el centro Paris. Además de eso, este proyecto se ha desarrollado simultáneamente con la crisis y disolución de CIAM, y con la aparición de Team 10. En ese momento, el enfoque universalista de Corbusier comienza a ser cuestionado por la generación joven de CIAM, que tenía enfoque crítico hacia los métodos de diseño heredados de la generación anterior. Desde el principio de los 50`s, esta nueva generación equilibra los ideales universalistas heredados de la generación anterior con los individualistas necesarios para hacer frente a la nueva realidad. Por lo tanto, lo principal objetivo de este trabajo es analizar el diseño de Corbusier para Berlín y cuestionar si, en un punto ya maduro de su carrera, él propone un plan que respondió sólo las cuestiones que eran importantes para CIAM y a los principios canónicos de la arquitectura moderna, o si también se trataron temas que pertenecían a la nueva generación y a la agenda del Team 10, ambos presentes en los debates del momento, en gran parte identificado como un período de transición.  Keywords: Berlin; competition; reconstruction; universal; individual; transitional period. Palabras clave: Berlín; concurso; reconstrucción; universal; individual; periodo de transición. DOI: http://dx.doi.org/10.4995/LC2015.2015.921

Retóricas, metáforas y su papel en el cambio organizacional

Oikos ◽  
2014 ◽  
Vol 16 (33) ◽  
pp. 69
Author(s):  
Luis Muñoz Medina ◽  
Rafael Pizarro Rodríguez
Keyword(s):  
Scientific Literature ◽  
Organisational Change ◽  
Change Processes ◽  
Emotional Burden ◽  
New Approaches ◽  
Palabras Clave ◽  
The Creation ◽  
Change Concept

The Role of Rhetoric and Metaphors in Organisational Change  RESUMEN El presente artículo es una recopilación de literatura científica que demuestra la relevancia de comprender nuevas formas de construir el concepto de cambio organizacional a través del lenguaje, en especial a través de claves lingüísticas como la retórica y metáfora. Esta construcción ayuda a generar procesos de cambio organizacional que presenten una menor intensidad y carga emocional negativa para los individuos, así como una mejor comprensión del mismo cambio para los empleados. Palabras clave: cambio, organización, retórica, metáfora. ABSTRACT This article is a compilation of scientific literature about the importance of understanding new approaches to the construction of the organisational change concept through language, especially through linguistic devices such as rhetorical and metaphorical ones. This construction helps the creation of organisational change processes with lower levels of impact and a lower negative emotional burden for individuals as well as a better understanding of such changesKeywords: changes; organisation; rhetoric; metaphor. 

scholarly journals Molecular Basis of Apomixis in Plants

Genes ◽  
2021 ◽  
Vol 12 (4) ◽  
pp. 576
Author(s):  
Diego Hojsgaard
Keyword(s):  
Sexual Reproduction ◽  
Molecular Basis ◽  
The Creation ◽  
New Generation

Sexual reproduction in plants is a complex, stringently regulated process that leads to the creation of diaspores for a new generation: sexual seeds [...]

The Abbey of Werden on the Frankish-Saxon Frontier. The Depictions of Landscapes and Emotions in the vita Gregorii and the vitae Liudgeri

Millennium ◽  
2021 ◽  
Vol 18 (1) ◽  
pp. 313-387
Author(s):  
Bart Peters
Keyword(s):  
Third Space ◽  
Ninth Century ◽  
Early Medieval ◽  
Christian Worship ◽  
Emotional Behaviour ◽  
The Creation ◽  
New Generation ◽  
The Military

Abstract This study explores the depictions of landscapes and emotions in the ninth-century hagiographies associated with Liudger: the three vitae Liudgeri and Liudger’s own vita Gregorii. The Frisian missionary founded the monastery of Werden, situated near the Frankish-Saxon frontier. It will be argued that previous historiography on early medieval frontiers has predominantly focused on the military nature of frontiers. Here, more cultural or symbolic natures of the Frankish-Saxon frontier will be discussed. The hagiographical narratives will be examined in conjunction with the notion of a frontier as a ‘third space’. The vitae Liudgeri shaped a discourse that legitimated Liudger’s translation to Werden. This resulted in the creation of a new place of Christian worship in the competitive landscape of post-conquest Saxony, as part of the Christianization of the region. Monasteries like Werden were the places where new missionaries were educated who would continue this Christianization. Exemplary emotional behaviour of the saints, narrated in hagiographies, could help instruct this new generation. Altfrid and Liudger tried to dissuade emotions of anger, indicated by ira or furor, with their hagiographical narratives. These two perspectives offer a glimpse into the attempts of a local monastery to stand out in the Frankish-Saxon frontier.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals El "hameau" vertical de Le Corbusier. Una alternativa residencial al bloque lineal

2015 ◽  
Author(s):  
Yolanda Martínez Domingo ◽  
Josefina González Cubero
Keyword(s):  
Le Corbusier ◽  
Urban Environments ◽  
Formal Structure ◽  
Summer Camps ◽  
Palabras Clave ◽  
Cylindrical Volume ◽  
Collective Housing ◽  
The Relationship ◽  
The City ◽  
Synthetic Work

Resumen: El "hameau" vertical de Le Corbusier es un prototipo de alojamiento colectivo, desarrollado como alternativa plástica a la "Unité d'habitation de grandeur conforme", quizás su obra más sintética. La torre residencial se concreta a partir de las teorías urbanas de la regla de las 7V, a través de la impronta de una de las formas elementales: el volumen cilíndrico, manteniendo prácticamente inalteradas capacidad, forma y dimensiones en cualquiera de los entornos urbanos donde se inserta, los proyectos no construidos de su última etapa para Europa. Lejos de ser un modelo genuino es deudor de otras construcciones previas, los albergues para las colonias infantiles italianas, promovidas por la fábrica FIAT en los años 30, y algunos experimentos residenciales del arquitecto francés Auguste Bossu, erigidos también por esos años en la ciudad de Saint-Étienne. El artículo traza las relaciones entre estas construcciones y las aldeas cilíndricas para solteros, analizando las particularidades de su estructura formal y la dinámica de su organización interna, para comprobar cómo son adoptadas por Le Corbusier en la constitución de la identidad de un nuevo tipo de vivienda colectiva que permanece todavía a la sombra de sus proyectos más reconocidos. Abstract: The vertical "hameau" of Le Corbusier is a prototype of collective housing, developed as a plastic alternative to “Unité d’habitation de grandeur conforme", perhaps his most synthetic work. The residential tower is generated from urban doctrine of 7V theory through the shape of one of the elementary forms: the cylindrical volume. The towers keep capacity, shape and dimensions unchanged in any urban environments where they are inserted: the unbuilt urban projects in his last stage in Europe. Far from being a genuine type, is based in other previous constructions; the children's summer camps sponsored by the Fiat factory in the 30s, and some residential experiments by French architect Auguste Bossu erected by those years in the city of Saint-Etienne. The article describes the relationship between these structures and the cylindrical villages for singles and analyzes the peculiarities of their formal structure and the dynamic of their internal organization in order to check how those constructions were adapted by Le Corbusier for the constitution of a new collective type dwelling which still remains in the shadow of his most famous projects.  Palabras clave: Le Corbusier; hameaux verticaux; comuna cilíndrica; torre residencial. Keywords: Le Corbusier; hameaux verticaux; cylindrical commune; residential tower. DOI: http://dx.doi.org/10.4995/LC2015.2015.778

scholarly journals The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember

2015 ◽  
Author(s):  
Annarita Teodosio
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Le Corbusier ◽  
Palabras Clave ◽  
Representation Of Architecture ◽  
The Subject ◽  
The Many ◽  
Siglo Xx ◽  
The Relationship ◽  
Made In

Abstract: The relationship between Le Corbusier and the visual arts (drawing, photography and cinema) is deep and complex and, although the subject of numerous publications and research since the late 60s, still arouses much interest, as evidenced by the many events organized in the last years - "Le Corbusier. Vue sur la mer ", Maison La Roche, Paris, 2012; "Construire the image: Le Corbusier et la Photographie", Musée des Beaux-Arts, the Chaux-de-Fonds, 2013; or the recent "Le Corbusier and photography", IUAV, Venice, May 2015-. The paper, starting out from the researches already developed, proposes a further reflection on the relationship between the Swiss architect and the photography, paying particular interest to the shooting made in first person. The study analyzes the different approaches and the different subjects photographed in the course of his life and it is proposed to include the work of Le Corbusier in the broader cultural context of the twentieth century, a period in which the relationship between architecture and visual communication, thanks to the many possibilities offered by technological innovations, it becomes increasingly close and inevitable. Resumen: La relación entre Le Corbusier y las artes visuales (dibujo, fotografía y cine) es profunda y articulada y, aunque es objeto de numerosas publicaciones y investigaciónes desde el finales de los años 60es, todavía despierta mucho interés, como lo demuestran los diversos eventos realizados en los últimos años - “Le Corbusier. Vue sur la mer”, Maison La Roche, Parìs, 2012; “Construire l’image: Le Corbusier et la photographie”, Musée des Beaux-Arts, la Chaux-de-Fonds, 2013; o la más reciente “Le Corbusier e la fotografia”, IUAV , Venezia, mayo 2015-. El articulo, a partir desde investigación ya desarrollado, propone una reflexión más sobre la relación entre el arquitecto suizo y la fotografía, prestando especial interés a las realizata en primera persona. El estudio analiza los diferentes enfoques y diferentes sujetos fotografiados en el curso de su vida y se propone de insertar la obra de Le Corbusier en el contexto cultural más amplio del siglo XX, un período en el que la relación entre la arquitectura y la comunicación visual, gracias a las muchas posibilidades que ofrecen las innovaciones tecnológicas, se vuelve cada vez más estrecha e inevitable.  Keywords: Le Corbusier; photography; representation of architecture. Palabras clave: Le Corbusier; fotografia; representaciones de la arquitectura. DOI: http://dx.doi.org/10.4995/LC2015.2015.947

scholarly journals Le Corbusier: architecture, music, mathematics: longing for classicism?

2015 ◽  
Author(s):  
Clara Germana Gonçalves ◽  
Maria João Dos Reis Moreira Soares
Keyword(s):  
Seventeenth Century ◽  
Le Corbusier ◽  
Palabras Clave ◽  
The Will ◽  
Music And Mathematics ◽  
And Mathematics ◽  
Universal Order ◽  
Siglo Xx ◽  
The Universe

Abstract: This paper aims to study the role of the relationships between architecture, music and mathematics in Le Corbusier's thought and work and their relevance in his reinterpretation of classical thinking. It seeks to understand to what extent working with this triad – a foundational and, up until the seventeenth century, dogmatic aspect of architecture in general and of its aesthetics in particular – expresses a will not to break with the fundamental and defining aspects of what could be considered as architectural thought rooted in classical tradition: that which is governed by the will to follow the universal order in the work of art; building a microcosmos according to the macrocosmos; linking, in proportion to one another, the universe, man and architecture. The Modulor presents itself as a manifestation of that will, synthesizing these aspects while proposing itself as an instrument for interdisciplinary thought and practice in which the aforementioned aspects of classical thought are present, clearly and pronouncedly. Le Corbusier’s thought and work presents itself as a twentieth century memory of an ancient and ever present tradition conscious of its struggle for “humanity”. Resumen: Este artículo pretende estudiar el papel de la relación entre arquitectura, música y matemática en el pensamiento y la obra de Le Cobusier y su significado en su reinterpretación del pensamiento clásico. Intenta entender en qué medida con esta triada – aspecto fundacional y hasta el siglo XVII dogmático de la arquitectura, en general, y de su estética, en particular – Le Corbusier expresa su recusa por cortar el vínculo con los aspectos fundamentales y definidores de lo que puede considerarse un pensamiento de tradición clásica en arquitectura: aquel tutelado por la voluntad de seguir el orden universal en la obra de arte – construyendo un microcosmos según un macrocosmos – para así vincular, a través de la proporción, universo, Hombre y arquitectura. El Modulor se presenta como manifestación de esa voluntad, sintetizando estos aspectos y presentándose como un instrumento para un pensamiento y una práctica interdisciplinares en los cuales el pensamiento clásico se encuentra clara y marcadamente presente. El pensamiento de Le Corbusier, través su mirada hacia la relación arquitectura-música-matemática, se presenta, en el siglo XX, como una memoria de una antigua y siempre presente tradición, consciente de su busca por “humanidad”.  Keywords: Le Corbusier; Architecture, music and mathematics; classical thought; Modulor. Palabras clave: Le Corbusier; Arquitectura, música y mathematica; pensamiento clásico; Modulor. DOI: http://dx.doi.org/10.4995/LC2015.2015.791

scholarly journals CHANGING OF PARADIGM IN MILITARY-POLITICAL THINKING IN THE DOCTRINES AND STRATEGIES OF MILITARY SECURITY OF UKRAINE OF THE 20th AND 21th CENTURIES

2021 ◽  
pp. 120-126
Author(s):  
Mykhailo Tsiurupa
Keyword(s):  
Security Policy ◽  
Military Strategy ◽  
New Paradigm ◽  
Political Thinking ◽  
Main Thesis ◽  
Political Response ◽  
Military Security ◽  
The Creation ◽  
New Generation ◽  
The Military

The time limits of the life of one generation are about 25-30 years, so lived in the struggle for building its own state and its armed defence, this time for Ukraine goes down in the history of the first generation of creation and attempts to comply with four military doctrines (1993-2004-2012-2015), in which our own defence course was proclaimed. The theoretical basis of these official documents of significance were certain paradigms of military-political thinking, according to which Ukraine did not consider it a continuation of politics. The direction and principles of military policy (defence or security policy in European terminology) for modern Ukraine from the mid-20s of the XIX century, as well as 100 years ago, again came to the fore in connection with the implementation of previously abstract concepts " annexation "," occupation "," war ", which allegedly did not exist for our country in recent history. But today they have been embodied or, in the image of Franz Kafka, "reincarnated" into threatening forms of Russia's military practice against our state, the end of which is not yet visible in the near future. The military-theoretical and political response was the "Military Strategy of Ukraine" in 2021, which "opened" a new generation of paradigms of militarypolitical thinking. The main thesis is the belief that the protection of sovereignty and strengthening of military security is the military-theoretical and political response was the "Military Strategy of Ukraine" in 2021, which "opened" a new generation of paradigms of military-political thinking. The main thesis is the belief that the protection of sovereignty and strengthening of military security is the creation of a "comprehensive defence system" with the integration of all forces of the state and civil society, law enforcement agencies and volunteers, administrative regions and territorial communities. The military-theoretical and political response was the "Military Strategy of Ukraine" in 2021, which "opened" a new generation of paradigms of military-political thinking. We will prove that this is a philosophy of military security instead of the previously expressed doctrinal military-political ideas of entrusting a matter of national importance to the forces of the defence sector. The new generation of public life Ukraine will begin with a new paradigm of militarypolitical thinking, the central idea of which is the transition from hopes for the political levers of defence for international cooperation to the creation of a system of comprehensive national security with the synergistic potential of Ukrainianity.

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