{"id":{"repo_id":"mit","oai_identifier":"oai:dspace.mit.edu:1721.1/17923"},"canonical_url":"https://search.dev.ndltd.org/etd/mit/oai:dspace.mit.edu:1721.1/17923","repository":{"repo_id":"mit","name":"MIT","base_url":"https://dspace.mit.edu/oai/request"},"display":{"title":"Great expectations : provisional modernism and the reception of J.J.P. Oud","abstract":"My dissertation analyzes the reception of the work of J.J.P. Oud (1890-1963), the modern Dutch architect, by examining the systems of dissemination and reception of modern European architecture from 1910 to 1953. Reception played an important role in Oud's career since he was internationally famous before World War II and practiced only as a provincial Dutch architect following the war. My study investigates three factors affecting his legacy: Oud's theoretical approach to architecture in his writings and projects-what I term his provisional modernism, its reception in the German and American modern movements before World War II, and its reception in the internationalized American modern movement and in the Dutch modern movement immediately following the war. My study argues that to understand Oud's legacy, one must examine not only his work but also the prevailing expectations of those who received his work. Using the reception theory of the literary theorist Hans Jauss and his concept of a \"horizon of expectation,\" my study contends that Oud was celebrated where the nexus of his work met prevailing expectations, but was maligned when it did not. Seen through this lens of projection and reception, seeming incongruities such as those between his national versus international reception and his pre versus postwar celebrity are the result of exchanges among those who receive his work, and their expectations of Oud's architecture, and his response within these different contexts.","abstract_html":"My dissertation analyzes the reception of the work of J.J.P. Oud (1890-1963), the modern Dutch architect, by examining the systems of dissemination and reception of modern European architecture from 1910 to 1953. Reception played an important role in Oud's career since he was internationally famous before World War II and practiced only as a provincial Dutch architect following the war. My study investigates three factors affecting his legacy: Oud's theoretical approach to architecture in his writings and projects-what I term his provisional modernism, its reception in the German and American modern movements before World War II, and its reception in the internationalized American modern movement and in the Dutch modern movement immediately following the war. My study argues that to understand Oud's legacy, one must examine not only his work but also the prevailing expectations of those who received his work. Using the reception theory of the literary theorist Hans Jauss and his concept of a "horizon of expectation," my study contends that Oud was celebrated where the nexus of his work met prevailing expectations, but was maligned when it did not. Seen through this lens of projection and reception, seeming incongruities such as those between his national versus international reception and his pre versus postwar celebrity are the result of exchanges among those who receive his work, and their expectations of Oud's architecture, and his response within these different contexts.","abstract_has_math":false,"creators":["Beischer, Thomas G. (Thomas Gustav), 1968-"],"institution":"Massachusetts Institute of Technology","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":"Massachusetts Institute of Technology. Dept. of Architecture.","school":null,"contributors":[],"advisors":["Mark Jarzombek."],"committee_chairs":[],"committee_members":[],"year":2004,"date_issued":"2004","date_published":"2004","updated_at":"2026-07-22T22:21:29Z","subjects":["Architecture."],"languages":["eng"],"rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"rights_urls":["http://dspace.mit.edu/handle/1721.1/7582"],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/1721.1/17923","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Mark Jarzombek."]},{"key":"dc:contributor.department","label":"Department","values":["Massachusetts Institute of Technology. Dept. of Architecture."]},{"key":"dc:contributor.other","label":"Dc Contributor Other","values":["Massachusetts Institute of Technology. Dept. of Architecture."]},{"key":"dc:creator","label":"Author","values":["Beischer, Thomas G. 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Reception played an important role in Oud's career since he was internationally famous before World War II and practiced only as a provincial Dutch architect following the war. My study investigates three factors affecting his legacy: Oud's theoretical approach to architecture in his writings and projects-what I term his provisional modernism, its reception in the German and American modern movements before World War II, and its reception in the internationalized American modern movement and in the Dutch modern movement immediately following the war. My study argues that to understand Oud's legacy, one must examine not only his work but also the prevailing expectations of those who received his work. Using the reception theory of the literary theorist Hans Jauss and his concept of a \"horizon of expectation,\" my study contends that Oud was celebrated where the nexus of his work met prevailing expectations, but was maligned when it did not. Seen through this lens of projection and reception, seeming incongruities such as those between his national versus international reception and his pre versus postwar celebrity are the result of exchanges among those who receive his work, and their expectations of Oud's architecture, and his response within these different contexts."]},{"key":"dc:description.degree","label":"Dc Description Degree","values":["Ph.D."]},{"key":"dc:format.mimetype","label":"Dc Format Mimetype","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Great expectations : provisional modernism and the reception of J.J.P. Oud"]}]}],"canonical_facts":{"dc:contributor.advisor":["Mark Jarzombek."],"dc:contributor.department":["Massachusetts Institute of Technology. Dept. of Architecture."],"dc:contributor.other":["Massachusetts Institute of Technology. Dept. of Architecture."],"dc:creator":["Beischer, Thomas G. (Thomas Gustav), 1968-"],"dc:date.accessioned":["2005-06-02T19:12:07Z"],"dc:date.available":["2005-06-02T19:12:07Z"],"dc:date.issued":["2004"],"dc:description":["Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.","Includes bibliographical references (v. 2, leaves 274-285)."],"dc:description.abstract":["My dissertation analyzes the reception of the work of J.J.P. Oud (1890-1963), the modern Dutch architect, by examining the systems of dissemination and reception of modern European architecture from 1910 to 1953. Reception played an important role in Oud's career since he was internationally famous before World War II and practiced only as a provincial Dutch architect following the war. My study investigates three factors affecting his legacy: Oud's theoretical approach to architecture in his writings and projects-what I term his provisional modernism, its reception in the German and American modern movements before World War II, and its reception in the internationalized American modern movement and in the Dutch modern movement immediately following the war. My study argues that to understand Oud's legacy, one must examine not only his work but also the prevailing expectations of those who received his work. Using the reception theory of the literary theorist Hans Jauss and his concept of a \"horizon of expectation,\" my study contends that Oud was celebrated where the nexus of his work met prevailing expectations, but was maligned when it did not. Seen through this lens of projection and reception, seeming incongruities such as those between his national versus international reception and his pre versus postwar celebrity are the result of exchanges among those who receive his work, and their expectations of Oud's architecture, and his response within these different contexts."],"dc:description.degree":["Ph.D."],"dc:format.mimetype":["application/pdf"],"dc:identifier.uri":["http://hdl.handle.net/1721.1/17923"],"dc:language.iso":["eng"],"dc:publisher":["Massachusetts Institute of Technology"],"dc:rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"dc:rights.uri":["http://dspace.mit.edu/handle/1721.1/7582"],"dc:subject":["Architecture."],"dc:title":["Great expectations : provisional modernism and the reception of J.J.P. 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