Negotiating the Space between Avant–Garde and “Hip Enough”: Businesses and Commercial Gentrification in Wicker Park

2018 ◽  
Vol 17 (2) ◽  
pp. 438-460 ◽  
Author(s):  
Jeffrey Nathaniel Parker

Gentrification literature focuses mostly on growth machines pursuing profits or residents pursuing taste preferences, to the exclusion of cultural intermediaries that connect these processes, particularly businesses. Recent research addresses this gap, but even those focusing on commercial gentrification tell a partial story, neglecting the subjectivities of merchants and ignoring the diversity of businesses involved. This paper contributes to this growing literature by exploring merchants’ attitudes, and moving beyond boutiques and independent businesses. Examining Chicago's Wicker Park, it asks “Under what circumstances do merchants come to embrace or repudiate gentrification in their neighborhood?” Merchants support gentrification when they understand it primarily as an alternative to financial instability and repudiate gentrification when they understand it primarily as a disruptor of aesthetic stability. This paper identifies two specific neighborhood mechanisms that determine how merchants might arrive at such understandings: geographical location and perceived customer base. Additionally, while there is heterogeneity in terms of these two characteristics, there is remarkable homogeneity in terms of understanding of neighborhood reputation. Specifically, there is a common understanding of the neighborhood's reputational hipness across respondents. Those who support gentrification value this reputation instrumentally while those who oppose it value it intrinsically, but either way, everyone orients themselves to this reputation in forming attitudes and making consequential decisions.

Author(s):  
Danielle Child

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.


2021 ◽  
pp. 096777202110189
Author(s):  
Kacper Niburski

Sir William Osler espoused a particularly idealized medical life that included the patient in the physician's worldview. Disease is not considered a monolith, only a reflection of one's broader health. Death, too, is configured as a part of one's being, not as a thing apart from life. The wholesomeness that characterized Osler's practice is well known—however, his long discussions and thoughts on death have not been sufficiently analyzed. His clinical views have been hinted at and numerous medical historians have noted that Osler's worldview on death was avant-garde for its time, one in which he described finality not as a time of suffering and anguish, but as “singularly free from mental distress.” This essay contends with this simple view. This straightforward understanding becomes complicated when delving into such primary resources as Osler's Study on Dying cards, his writings on other medical conditions, and personal reflections following the personal losses of his sons Edward Revere Osler and Paul Revere Osler. This essay contends that the loss and the death he imagines is not one of peace, but rather, of horror and terror. Furthermore, the primary sources show Osler not as the paragon of flawless clinical acumen and reasoning, but a man of personal beliefs that were in conflict with views he espoused more publicly. The essay therefore reconceptualizes the common understanding of a stoic Osler, determines how death prefigures into Oslerian thought, and challenges the idea of an Oslerian simple death.


Wielogłos ◽  
2020 ◽  
pp. 161-180
Author(s):  
Jakub Skurtys

Other Gender of Avant-Garde? On the Book Płeć awangardy The book Płeć awangardy [Gender of the Avant-Garde] is the first attempt of this kind at a comprehensive, gender-oriented presentation of the avant-garde tradition in Polish literary studies. The review of the volume starts with an outline of its place in the worldwide humanities, especially in the face of the increasingly dynamic development of women’s studies on the avant-garde. Individual texts are slightly different from the editorial introduction and its assumptions: a materialistic attempt to reclaim and reestablish feminism in the heart of the avant-garde. Thus, they are presented as a result of a meeting of several methodological schools with clear patronages at the University of Silesia: art historians, literary historians, literary critics, representatives of men’s studies, women’s studies, feminism and gender studies. Despite the political background of many of them, connected with avant-garde ideas of social and aesthetic emancipation, it is easy to see how far their dictionaries have diverged from each other and how difficult it is now to meet and establish a common understanding of basic concepts such as avant-garde, sex/gender or even political engagement.


2017 ◽  
Vol 38 (3) ◽  
pp. 175-188 ◽  
Author(s):  
Adam K. Fetterman ◽  
Brian P. Meier ◽  
Michael D. Robinson

Abstract. Metaphors often characterize prosocial actions and people as sweet. Three studies sought to explore whether conceptual metaphors of this type can provide insights into the prosocial trait of agreeableness and into daily life prosociality. Study 1 (n = 698) examined relationships between agreeableness and food taste preferences. Studies 2 (n = 66) and 3 (n = 132) utilized daily diary protocols. In Study 1, more agreeable people liked sweet foods to a greater extent. In Study 2, greater sweet food preferences predicted a stronger positive relationship between daily prosocial behaviors and positive affect, a pattern consistent with prosocial motivation. Finally, Study 3 found that daily prosocial feelings and behaviors varied positively with sweet food consumption in a manner that could not be ascribed to positive affect or self-control. Altogether, the findings encourage further efforts to extend conceptual metaphor theory to the domain of personality processes, in part by building on balance-related ideas.


2016 ◽  
Vol 37 (4) ◽  
pp. 213-222 ◽  
Author(s):  
Hansjörg Znoj ◽  
Sandra Abegglen ◽  
Ulrike Buchkremer ◽  
Michael Linden

Abstract. There is a growing interest in embitterment as psychological concept. However, little systematic research has been conducted to characterize this emotional reaction. Still, there is an ongoing debate about the distinctiveness of embitterment and its dimensions. Additionally, a categorical and a dimensional perspective on embitterment have been developed independently over the last decade. The present study investigates the dimensions of embitterment by bringing these two different approaches together, for the first time. The Bern Embitterment Inventory (BEI) was given to 49 patients diagnosed with “Posttraumatic Embitterment Disorder (PTED)” and a matched control group of 49 patients with psychological disorders with other dominant emotional dysregulations. The ability to discriminate between the two groups was assessed by t-tests and Receiver Operating Characteristic Curves (ROC curve analysis). PTED patients scored significantly higher on the BEI than the patients of the control group. ROC analyses indicated diagnostic accuracy of the inventory. Further, we conducted Confirmatory Factor Analyses (CFA) to examine the different dimensions of embitterment and their relations. As a result, we found four characteristic dimensions of embitterment, namely disappointment, lack of acknowledge, pessimism, and misanthropy. In general, our findings showed a common understanding of embitterment as a unique but multidimensional emotional reaction to distressful life-events.


Sign in / Sign up

Export Citation Format

Share Document