A wide variety of economic, social, political and moral explanations have been given for why the foreclosure crisis of the late 2000s occurred. Yet many of the tensions provoked by the uptick in ...foreclosure proceedings, their resolution during the foreclosure recovery process, and the insight they provide into the function of American space remain unexplored. This article uses Lefebvre’s The Production of Space as a framework to explore the spatial and ecological contradictions of suburban development in Maricopa County (Phoenix), Arizona, USA, and the ways those contradictions were drawn into relief by the foreclosure crisis of the late 2000s. Analysis through this Lefebvrian lens uncovers symbolic meanings assigned to urban ecologies and their ruliness as a means of drawing legal devices such as nuisance laws and housing codes into a more-than-human frenzy. This article follows a growing tradition of scholarship that employs Lefebvrian insights to identify and explicate urban planning dilemmas.
Scholars have long acknowledged the capacity of imagery on Greek sympotic vases to participate in their context, treating symposiasts to tricks of the eye, puns, and metaphoric allusions. The ...potential of mosaic decoration in the Classical andron (the location of the private symposium) to participate in the symposium in a similarly active way has received less attention. A study of examples of mosaic iconography in combination with prescribed movements that took place during the symposium leads to the proposal that some andrones encouraged the experience of the space through the metaphoric theme of the symposium as a journey at sea.
The goal of the symposium is to explore the conceptual relationship that the category of space maintains with the categories of communication and interaction, by taking into account the several ...issues through which this relationship has been framed after the "spatial turn". With the reemergence of Lefebvre's work The Production of Space 1974 and of Foucault's concept of "Heterotopias" 1967/1986 since the mid-1980s, first in the fields of critical human geography, then in cultural anthropology, architecture, and media studies, space is chiefly understood as produced by interactions and communicative flows among social (individual and collective) actors. Spaces (and then urban spaces) are therefore not just containers Löw 2001 of communicative acts and interactions, but by structuring social (power) relationships they structure together social, cultural and political spaces. Hence the analysis of the link between space, communication and interaction cannot be limited neither to the manifestation of communicative acts in place nor to the influence of (new and mass) media in shaping material places. Rather it allows one at the same time to focus on the interplay between social macro-, meso- and micro processes, to gather pivotal topics in socio-cultural and political economic space analysis, and to compare critically the different (disciplinary but not only) positions assumed on these topics over time.
Hazırlanan tez çalışmasında, performatifliğin mekânın yapısal değerlerini üretimi ve mekânsallığı dönüştürücü etkisinin araştırılması planlanmıştır. Bedenin hareketten hareketin de biçimden bağımsız ...düşünülemeyeceği, tarih öncesi dönemden bugüne mekânı oluşturan göstergeler üzerinden incelenip, ortaya çıkan yeni beden ve mekân ilişkileri üzerinden araştırılmıştır. İzleyici ile kurulan ilişkilerin sürece dahil edilmesinin, mekân ve mekânsallığı üreten bir dinamizm sağladığı performans sanatının sonuçlarında görülmüş olup; bu sürecin dijital mekân ve bedene yansımalarının ne gibi kavramsal ve teknik etkileşimler ortaya koyduğu ve mekân deneyimini neye dönüştürdüğü kurulan yeni ilişkiler üzerinden aktarılmaya çalışılmıştır. Eylemsellikle sınırlarını belirleyen bedenin dijital mekândaki sınırsızlığı, kurulan çoklu bağlar üzerinden açıklanıp; dijital platformlarda ‘bedensel’ olarak var olan ‘avatar’ bedenin, ne gibi yeni mekânlar ürettiği performans sanatı örnekleri üzerinden araştırılmıştır. Yapılan incelemelerin hem sanat literatürüne katkı sağlaması, hem de performans ve mekân üzerine proje geliştirmek isteyenlere araştırma alanı sunması öngörülmüştür. Anahtar kelimeler: Beden, Mekân, Performans ÖZET Hazırlanan tez çalışmasında, performatifliğin mekânın yapısal değerlerini üretimi ve mekânsallığı dönüştürücü etkisinin araştırılması planlanmıştır. Bedenin hareketten hareketin de biçimden bağımsız düşünülemeyeceği, tarih öncesi dönemden bugüne mekânı oluşturan göstergeler üzerinden incelenip, ortaya çıkan yeni beden ve mekân ilişkileri üzerinden araştırılmıştır. İzleyici ile kurulan ilişkilerin sürece dahil edilmesinin, mekân ve mekânsallığı üreten bir dinamizm sağladığı performans sanatının sonuçlarında görülmüş olup; bu sürecin dijital mekân ve bedene yansımalarının ne gibi kavramsal ve teknik etkileşimler ortaya koyduğu ve mekân deneyimini neye dönüştürdüğü kurulan yeni ilişkiler üzerinden aktarılmaya çalışılmıştır. Eylemsellikle sınırlarını belirleyen bedenin dijital mekândaki sınırsızlığı, kurulan çoklu bağlar üzerinden açıklanıp; dijital platformlarda ‘bedensel’ olarak var olan ‘avatar’ bedenin, ne gibi yeni mekânlar ürettiği performans sanatı örnekleri üzerinden araştırılmıştır. Yapılan incelemelerin hem sanat literatürüne katkı sağlaması, hem de performans ve mekân üzerine proje geliştirmek isteyenlere araştırma alanı sunması öngörülmüştür. Performance
Visitors on sight-seeing tours in contemporary globalizing Shanghai observe the futuristic ambitions, exponential development and chaotic polyrhythmicity of New Shanghai. The nostalgia industry ...simultaneously ‘teleports’ the tourists on tours back to a time when Shanghai was a legendary world metropolis; the Golden Age of the inter-war era. Inspired by Henri Lefebvre's critical rhythmanalysis, and by Jonathan Sterne's conceptualization of communication as organized movement and action, this paper explores bus tours by commission of the municipal government. Shanghai is the place where the movements of the buses, as well as the tourists on board, become part of communicating the place identity and multiple rhythms of the city. The buses are conceived as means of communication, in a twofold sense, and as both underscoring and binding together the many incommensurabilities of place: old and new, Western and Chinese, industrialism and post-industrialism, nationalism and globalism. The author argues that mobility, media modernity and a confounding mixture (reflexively manifested on the tour ‘Confused and Mixed Shanghai’) constitute a collective memory of the city, and that the buses in all their seeming banality, communicate Shanghai's particular rhythms of retromodernity.
Neste artigo, analiso o papel central do espaço do lixão em dois documentários que retratam a vida e as atividades laborais dos catadores de Jardim Gramacho, um aterro sanitário enorme no estado do ...Rio de Janeiro: Estamira (2004) e Waste Land (2009). Baseando-me nas teorias de Julia Kristeva e Henri Lefebvre, sustento que o lixão é um espaço abjeto que, apesar de ser marginalizado, é componente indispensável para compreender o que Lefebvre denomina o neocapitalismo. O protagonismo do lixo nos filmes é considerado a partir das teorizações de Bill Nichols sobre o documentário e a ética da representação da realidade, o que me permite ponderar as formas divergentes em que os dois filmes confrontam os desafios materiais, ecológicos e sociais do lixo e os espaços em que ele se acumula. In this article, I analyze the centrality of the space of the garbage dump in two documentary films that portray the life and work of catadores (trash pickers) in Jardim Gramacho, an enormous dump in the state of Rio de Janeiro: Estamira (2004) and Waste Land (2009). Following the theoretical stances of Julia Kristeva and Henri Lefebvre, I propose that the landfill is an abject space that, despite being marginalized, is fundamental to understanding what Lefebvre calls neocapitalism. The garbage dump's protagonism in the films is considered through the lens of Bill Nichols's writings on documentary and the ethics of representing reality, which allow me to reflect on the divergent ways in which the two films confront the material, ecological, and social challenges presented by trash and the spaces where it accumulates.
This article assesses some potential approaches to museums and cities propelled by a theoretical preoccupation with modernity as a condition of speed. Here, one can extrapolate two variants in the ...writings and interventions of Marinetti, Simmel, Virilio, and writers in the postmodern tradition: (a) the museum is slow, it is a brake on modernity, it is modernity’s sedentary other and (b) the museum is fast, it is as quick as the city, reflecting modernity’s impulse toward acceleration. To finesse these approaches, the article will move toward the method of rhythmanalysis and an emphasis on time—space considerations. It is Lefebvre’s teasing last snippets on the concept of rhythm, the article will argue, presaged by Benjamin’s approach to the variant tempos of modernity in The Arcades Project, that point to a fuller and more advanced approach to urban—museological relations and the multiple rhythms that feature in both.
Um dos dilemas recorrentes na sociologia da arte tem sido como balancear abordagens internalistas e externalistas dos fenômenos estéticos (isto é, explicações estéticas e sociais); ou o que este ...artigo caracteriza como a necessidade de sair de um modelo “ou arte ou sociedade” para um modelo de lógica “tanto arte quanto sociedade”. Nos últimos anos, os dilemas conceituais foram intensificados por uma tendência de o capitalismo se tornar um fenômeno mais explicitamente cultural. Ao mesmo tempo, os conhecimentos sobre arte e estética saíram da esfera da grandiosidade e da alta cultura para o mundo prosaico do dia a dia. Este artigo propõe que a solução para os dilemas em curso da sociologia da arte, e para o atual desafio das bases da arte e do conhecimento estético é adotar um paradigma textural, ao invés de um modo de pensar textual. O paradigma textural foi desenvolvido primeiramente no pensamento sobre lugar e é adequado para pensar os problemas da sociologia da arquitetura e do urbanismo – incluindo o problema de como o tecido urbano, às vezes, começa a desemaranhar; ou porque alguns estilos arquitetônicos improváveis voltam à moda (como, por exemplo, o brutalismo pós-guerra).
Introduction Freeman, Sara
Theatre history studies,
01/2018, Letnik:
37
Journal Article
Recenzirano
In the field of theatre studies since 2016, many academic conferences have posted calls for scholars to look to theatre's past, present, and future in terms of protest, revolution, difference, ...discomfort, and otherness in theatre practices. Since the 2016 US presidential election, politics have been prodigious and unstable in ways that can only be explained by comparison to the build-ups to large cataclysms of centuries past. Cook's introduction to the special section details the patterns and disjunctions among the curated articles, which discuss work by artists such as Brett Bailey, Walid Raad, Rabih Mroué, Culture Clash, and Dario Fo and Franca Rame, as well as modes of performance employed in Mussolini's Italy, as a part of Israeli community and social movements, in the Anglo-American women's suffrage movement, and in pageants created by the African American community during the George Washington Bicentennial in 1932. The four leading essays in this issue each revisit an artist, text, or event as part of prying open political and historiographical nuances, shifting the angle of vision on Meyerholds politics, the role of props as avatars of science in English restoration theatre, true-crime melodramas, and visible onstage violence in ancient Greek theatre.
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