Art World City: The Creative Economy of Artists and Urban Life in Dakar

2019 ◽  
Vol 31 (3) ◽  
Author(s):  
Olga Kanzaki Sooudi
2017 ◽  
Author(s):  
JOANNA GRABSKI
Keyword(s):  

Human Forms ◽  
2019 ◽  
pp. 123-157
Author(s):  
Ian Duncan

This chapter explores Herman Melville's Moby-Dick and Charles Dickens's Bleak House. Dickens brings to a head the Romantic intuition about urban life developed by Walter Scott and Victor Hugo in their novels of Paris: the world-city, the total human habitat, is where human nature comes undone. Monsters belong here, as modern cinema confirms. For all both novels' shared vision of a scale of natural history overwhelming human life, Dickens's leviathan affords an insight the reverse of Melville's. Where the whale is a living creature, the embodiment of a planetary ecosystem, Dickens's dinosaur is a phantasmatic emanation of the Victorian metropolis—an allegorical figure for the “Dickens World.” Against Moby-Dick's sublime vision of the world as a nonhuman natural order, upon which humanity imprints its violent signature of epic striving, the world of Bleak House is unnatural, man-made, an “artificial nature,” which reconstitutes its human origins in the aesthetic mode of the grotesque, according to a genetic logic of monstrosity, and is legible through the techniques of allegory.


ECONOMICS ◽  
2020 ◽  
Vol 8 (2) ◽  
pp. 149-169
Author(s):  
Semra Boğa ◽  
Murat Topcu

AbstractIn the development of the global economic system, the cumulative knowledge from past to present is of great importance. This knowledge produced by social life offers creative individuals and groups an opportunity to produce new meanings, values, contents and a source of inspiration. The influence of creative sectors in the urban life and socio-economic climate built by the industrial society created by the industrial revolution has started to increase in recent years. In the current industrial economic organization style, together with entrepreneurship, the creativity based on knowledge and technology have been added nowadays, to the land, labor and capital required for production. However, worldwide studies focus on the beneficial aspects of creative economies. There are not many studies in the literature on the past and future problems and development of the creative sector from a long-term historical perspective. In this context, it is necessary to reveal the relational ties of creative sectors with other fields; how they are positioned in national economies and how they will be analyzed. In this framework, the study aims to determine the position of the creative economy in the general economy by using the studies in the literature, to reveal the relational ties of the creative sectors with other actors, to identify the challenges in the sector, and to reveal the policy implications in creative industries. As a result of the study, it has been observed that the creative sectors are nested cellularly in all sectors of the general economy, from tourism to the automotive sector, from urban life to social networks, due to the internet, information communication technologies and digital applications. Since the outputs of the creative economy are based on the intellectual property rather than physical products, it has been determined that problems arise in the financing, accounting of services and contents introduced in this field, and measurement of the products at international standards. In addition, it has been observed that the time perception in creative sectors and the time perception of the industrial economic system differ from each other. Another important finding obtained as a result of the research is that creative economies create class differences in urban spaces and cause social segregation.


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