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Dana Arnold

Part I: The spaces of the page In thinking about space in relation to visual descriptions of architecture we should begin with the spaces where we encounter these images. The literal space where we first see graphic representations of architecture is that of the paper on which it is printed or drawn. The sheet of paper or page is not a neutral surface; rather, it is a physical site that engages with the image it contains. It is a space in its own right that has defined borders that enclose the image. And in the case of prints these are in addition to the

in Architecture and ekphrasis
Belfast since 1780

Civic identity and public space, focussing on Belfast, and bringing together the work of a historian and two social scientists, offers a new perspective on the sometimes lethal conflicts over parades, flags and other issues that continue to disrupt political life in Northern Ireland. The first part of the book shows how these disputes had their origins in the changes that took place during the nineteenth century in the character of urban living, creating new forms of public space whose regulation was from the start a matter of contention and debate. Later chapters show how the establishment of a new Northern Ireland state, with Belfast as its capital, saw unionism and Protestantism achieve a near-complete monopoly of public space. In more recent decades, this monopoly has broken down, partly as a result of political violence, but also through the influence of new ideas of human rights and of a more positive vision of political and cultural diversity. Today policy makers and politicians struggle to devise a strategy for the management of public space in a divided city, while endeavouring to promote a new sense of civic identity that will transcend long-standing political and sectarian divisions.

Thomas Crochunis

While the importance of space in Gothic literature and the role of spectacle in the staging of late-eighteenth and early-nineteenth century British Gothic drama have received much attention, little has been written about how Gothic dramatic writing gestures with space. By looking at how dramatic writers rhetorically used Gothics politically and psychologically charged spaces in their dramatic works for stage and page, this essay explores how space functions in pre-realist drama. The essay shows how a rhetoric of space functions in three examples of Gothic theatrical writing - Matthew Lewis‘s The Castle Spectre, Catherine Gore‘s The Bond, and Jane Scott‘sThe Old Oak Chest - and suggests that British Gothic dramas spatial rhetoric anticipates cinematic uses of space.

Gothic Studies

The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.

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Consuming traditional middle-class culture
Meghji Ali

3 White spaces: consuming traditional middle-class culture I t was February 2017, and I was in Somerset House, a famous art gallery, for a photography exhibition entitled The Eye of Modern Mali. I recounted the following experience in my fieldwork journal, while the memory was still fresh in my mind: I enter the South Wing, take a moment to orient myself and walk toward Sibidé’s photography exhibition The Eye of Modern Mali. I decide I’d like to go to the bathroom first, so walk towards it, clearly signposted, placed right next to the café. Then I have my first

in Black middle class Britannia
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Writing queer feminist transnational South Asian art histories
Alpesh Kantilal Patel

Space/site: writing queer feminist transnational South Asian art histories In 2003 the city of Manchester, England, was deemed the most ‘bohemian’ and ‘creative’ city according to the ‘Boho (or Bohemian) Britain Index’ of 40 UK cities.1 The Boho Index uses three indices – ethnic diversity, proportion of gay residents and number of patent applications per head – as key indicators of the city’s economic health, and Manchester unsurprisingly scores high in all these areas.2 Indeed, its reputation once based on a thriving industrial centre, the city of Manchester

in Productive failure
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Placing the Irish and Scots in Colonial Australia

This book takes two of the most influential minority groups of white settlers in the British Empire—the Irish and the Scots—and explores how they imagined themselves within the landscapes of its farthest reaches, the Australian colonies of Victoria and New South Wales. Using letters and diaries as well as records of collective activities such as committee meetings, parades and dinners, it examines how the Irish and Scots built new identities as settlers in the unknown spaces of Empire. Utilizing critical geographical theories of ‘place’ as the site of memory and agency, the book considers how Irish and Scots settlers grounded their sense of belonging in the imagined landscapes of south-east Australia. Emphasizing the complexity of colonial identity formation and the ways in which this was spatially constructed, it challenges conventional understandings of the Irish and Scottish presence in Australia. The opening chapters locate the book's themes and perspectives within a survey of the existing historical and geographical literature on empire and diaspora. These pay particular attention to the ‘new’ imperial history and to alternative transnational and ‘located’ understandings of diasporic consciousness. Subsequent chapters work within these frames and examine the constructions of place evinced by Irish and Scottish emigrants during the outward voyage and subsequent processes of pastoral and urban settlement, and in religious observance.

Open Access (free)
Janelle Joseph

histories and crucibles of diasporic trajectories “where Europe is not at ‘the center’ – which retain a critical bearing on understanding contemporary diasporic formations and their inter-relationships.” Thus, it is necessary to deploy “diaspora space,” which is a concept introduced by Avtar Brah ( 1996 ) to explore the lateral connections between diasporas – the ways “in which

in Sport in the Black Atlantic
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Fairground, cabaret, exhibition
Elza Adamowicz

6 Performance spaces: fairground, cabaret, exhibition The public needs to be violated in unusual positions. Francis Picabia (1978: 25) In Dada’s privileged spaces – the fairground, the cabaret, the exhibition, the cinema – from Zurich’s Cabaret Voltaire to the Salle Gaveau in Paris, via the Cologne Brauhaus Winter brewery or Otto Burchardt’s Berlin art gallery, it is enlightening to consider dadaist activities in terms of performance rather than simply spectacle, process rather than product. Although the term ‘performance art’ was first used around 1970 to

in Dada bodies

This book is a wide-ranging survey of the development of mass movements for democracy and workers’ rights in northern England. It surveys movements throughout the whole period, from the first working-class radical societies of the 1790s to trade unions in the 1830s and Chartists and Owenite socialists in the 1840s. It offers a provocative narrative of the privatisation of public space and workers’ dispossession from place, with parallels for contemporary debates about protests in public space and democracy and anti-globalisation movements.

Space and place are central to the strategies and meaning of protest. The book examines the reaction by governments and local authorities, who sought to restrict public and private political meetings, demonstrations and marches. It charts the physical and symbolic conflicts over who had the right to speak and meet in northern England. The Peterloo Massacre of 1819 marked a particularly significant turning point in the relationship between government, local elites and the working classes. Radicals, organised labour and Chartists fought back by challenging their exclusion from public spaces, creating their own sites and eventually constructing their own buildings. They looked to new horizons, including America. This book also examines the relationship of protesters with place. Rural resistance, including enclosure riots, arson and machine-breaking during Luddism in 1812 and the Captain Swing agitation of the early 1830s, demonstrated communities’ defence of their landscape as a place of livelihood and customary rights.