After the Storm: Katrina Ten Years Later by The Washington Post

By The Washington Post

The aftermath used to be virtually as devastating because the typhoon itself. within the ten years considering typhoon Katrina hit the Gulf Coast, New Orleans has replaced significantly, and The Washington submit returns to the sector to take the complete degree of the city's lengthy, stricken, inspiring, unfinished comeback.

When typhoon Katrina hit the Gulf Coast on Aug. 29, 2005, it wrenched greater than one million humans from their houses and perpetually altered New Orleans—one of the country's cultural capitals. It reordered the city's financial system and inhabitants in ways in which are nonetheless being felt this present day. What replaced? And what was once misplaced within the intervening decade?

Dozens of Washington publish writers and photographers descended on New Orleans while Katrina hit, and lots of of these related newshounds went again for the anniversary. What they discovered used to be a thriving urban, buttressed by way of a brand new $14.5 billion advanced of sea partitions, levees, pump stations and outfall canals. What they heard used to be that, whereas a few mourn the lack of the recent Orleans' soul and authenticity, others—who observed a determined want for development even earlier than the storm—welcome the rebuilding of latest Orleans into America's newest tech hub.

This insightful, elegiac booklet, then, is either a from side to side examine New Orleans' comeback, choked with the voices of these who have been driven by way of Katrina's winds in instructions they by no means imagined.

"The urban, on stability, is much better off than ahead of Katrina," says Jason Berry, a prolific New Orleans writer.

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L'attuazione di questo programma fu affidata a Fidia, che seppe coordinare tutti gli sforzi, realizzare quella sintesi, fare del Partenone l'immagine vivente della cultura e della civiltà di una polis che andava ormai molto al di là di Atene e dell'Attica. La tesi dell'opera è enunciata dai temi stessi delle figurazioni tutte ispirate all'idea centrale della vittoria della forma, come realtà ideale, sulla forza: null'altro che questo significano le Gigantomachie, le Amazzonomachie, le Centauromachie e, anche più esplicitamente, la vittoriosa contesa della giovane Atena (se ne raffigura la nascita) sul vecchio Poseidone (divinità superstite della mitologia arcaica) per il patronato di Atene e dell'Attica.

Non si può escludere che, a determinare questo interesse per la figura "storica" , e cioè per un bello morale del tutto indipendente e talvolta antitetico rispetto al bello naturale, abbia concorso l'invito socratico a conoscere se stessi; e forse anche il ricordo della grandezza spirituale e morale che, in Socrate, si associava a una bruttezza "satiresca" . Di Socrate, appunto, rimane un ritratto che in nessun modo corregge o dissimula l'irregolarità dei tratti fisionomici, ma celebra anzi la bellezza di una vasta fronte pensosa, di uno sguardo vivo dal fondo delle orbite infossate, l'eloquenza e l'arguzia di una larga bocca tra i peli della barba.

Le sue superfici esterne, 54 con il loro ampio sviluppo, sembrano fatte apposta per il dispiegarsi della decorazione scultoria. Altra forma aperta, di raccordo tra il nucleo dell'edificio e lo spazio circostante è il portico, galleria a colonne, che nella città ellenistica appare ovunque: all'esterno, come recinto di piazze e come articolazione tra diversi corpi di fabbrica; all'interno degli edifici pubblici e privati, come recinto di cortili e collegamento interno tra i lati della costruzione.

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