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Everyday life practices after the event

In Cairo collages, the large-scale political, economic, and social changes in Egypt brought on by the 2011 revolution are set against the declining fortunes of a single apartment building in a specific Cairo neighbourhood. The violence in Tahrir Square and Mohamed Mahmud Street; the post-January euphoric moment; the increasing militarisation of urban life; the flourishing of dystopian novels set in Cairo; the neo-liberal imaginaries of Dubai and Singapore as global models; gentrification and evictions in poor neighbourhoods; the forthcoming new administrative capital for Egypt – all are narrated in parallel to the ‘little’ story of the adventures and misfortunes of everyday interactions in a middle-class building in the neighbourhood of Doqi.

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Ruvani Ranasinha

complexities and condition of London in the 1980s. My Beautiful Laundrette , Sammy and Rosie Get Laid and even the 1991 London Kills Me imagine a decayed city of violence in decline, where politics has failed young people . For him and his peers, The Clash's ‘London Calling’ (1979) underscored the discontent of an urban dystopia eclipsing notions of post-war utopia and the illusions of the sixties: ‘All that phoney Beatlemania’. The aesthetics and politics of punk did not comprise a unified or singular movement, but a presiding ethos, with roots

in Hanif Kureishi
Challenging the epic in French crime fiction of the 1940s and 1950s
Claire Gorrara

 vision of France given over to endemic corruption, hypocrisy and fear of the  authorities, as in Malet’s 1949 short story, ‘Hélène en danger’ where Burma’s  secretary and accomplice, Hélène, is denounced for resistance activism. Secondly,  the  roman noir  allowed  French  writers  of  these  years  to  cast the war years in the poetics of urbandystopia. Noir aesthetics were  exploited to depict a nation grappling with the moral dilemmas of occupation. The city as a place of violence and persecution, a country on  the verge of collapse, a culture overwhelmed by

in French crime fiction and the Second World War
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Martin O’Shaughnessy

triumph of the former. This overt intertextuality would seem to be a signal that Renoir is consciously playing a Utopian rural south against the urban dystopia of the first two vignettes. Duvallier, the central character of the story, initially has every reason to be happy with his lot. As a retired naval commander he can divide his time between boules and aperitifs with his friends in the village, and

in Jean Renoir
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Al-‘imaara (the building) as topos
Mona Abaza

numerous protesters were killed, others tortured, many disappearing, blinded, or disfigured, while no official has been held accountable for these crimes. The refusal to commemorate the martyrs of the revolution, the regime’s denial that the violation of human rights is what triggered the events of 2011, and the fact that injustices continue in an even harsher mode, is what makes obsessive urban dystopias so pervasive. The erasure becomes the point of departure. The Dubai/Singapore models of transnational cities In what follows I will attempt to raise questions about the

in Cairo collages