Search results
fables, which are also modes of transmission of memory [mémoire].’12 The distinction between mémoire and souvenir resurfaces in both the reception of PlayRec and the French scholarly literature on urban redevelopment and industrial heritage. La mémoire (as opposed to the masculine indefinite un mémoire, a memoir) refers to memory in the abstract – I have a good memory – or the unquantifiable totality of individual memories, souvenirs. Mémoire is always singular, whereas one might speak of a single souvenir or a collection of specific souvenirs. My mémoire is the sum
microcosm and further the ongoing interplay among residual parts and emergent whole. Chemetoff’s Plan-Guide has become a model throughout France for flexible, diverse urban redevelopment. In 2000, before its implementation, it won him the Grand Prix de l’Urbanisme, awarded annually Resurfacing 143 by the French Ministry for Ecology, Energy, Sustainable Development, and Planning. The Plan-Guide exemplifies what sociologist Laurent Devisme, borrowing from Luc Boltanski and Eve Chiapello, has dubbed the ‘new spirit of urbanism.’16 For Devisme, Chemetoff’s Plan-Guide is
changes still Recuperation 187 occurring in the areas under consideration: the Carré de Soie and Ile de Nantes described in this book, for instance, are not quite the sites one would find on a return visit. The work continues. Contemporary, ongoing processes such as urban redevelopment outpace our efforts to analyse them in writing, especially when one writes as slowly as I do. Thus the dates at the start of each chapter serve as reminders that this is a book of history, however recent that history might be. They locate the reader and myself, offering us both a set
Paris Opera (opened in 1875) and its actual history, Leroux both unearths and conceals several ironic foundations of a capital city that had by 1910 become a model for urban redevelopment throughout much of Europe. In order for this new ‘palace of the people’ to be built, many old buildings and alley-ways of central Paris had been ruthlessly demolished, forcing the poorer and working-class inhabitants
turned his attention to the impact of cultural globalisation. Urban redevelopment, in fact, had meant more than foreign investments and property boom; it had attracted thousands of immigrants in search of better life and career prospects. A number of them included refugees and asylum-seekers from the former Yugoslavia, who would come to Ireland and make their new home in Dublin. These added to other foreigners who had been there for decades.3 Before long, the significant increase in the number of immigrants living in the country posed a threat to the traditional
that productively excavates a repressed aspect of the Ottoman past against the constraints, as I illustrate, of dominant Kemalist modernity and Islamist homophobia, and in response to the destructive urban redevelopment spurred on by neoliberalism and globalisation. In addition, I henceforth argue that the recovery of historical homoeroticism does not constitute retrogressive complicity with outdated models of sexuality, but a micropolitical assemblage of Ottoman homoeroticism and contemporary queerness which qualifies earlier versions of same-sex desire while also
model of urban redevelopment throughout much of Europe. Granted, in its attempt to subsume many architectural styles (including oriental ones) within its neo-Baroque and very insistent façades and interiors, the Opéra was designed, first for the Second Empire and then for the purposes of the Third Republic, to be the supreme announcement of France’s ‘imperial power ... and the participation of the urban
inevitably meant that its building, especially with regard to its domestic housing stock, was especially chaotic, and ill-thought-through planning and redevelopment have remained an issue ever since. There are certainly no Mancunian crime writers that I am aware of who are silent on this feature of the city’s past, and their texts draw strong and clear connections between successive waves of urban redevelopment and crime; further, this failure of vision on the part of the planners includes the most recent (i.e. 1990s) ‘regeneration’ projects as well as the original slum
decimate or ‘lay waste’) could have been invented with Manchester in mind. Within months of starting work on ‘Moving Manchester’, the project team was struck by how much of the contemporary writing, music and art associated with the city is preoccupied with its successive waves of demolition and reconstruction Although Manchester’s notorious urban redevelopments, especially with respect to its domestic housing stock, are by no means unique in England’s industrial North (Taylor, Evans and Fraser, 1996: 3970 Postcolonial Manchester:Layout 1 28/6/13 12:37 Page 25