scholarly journals The City Lost and Found: New Perspectives on Urban Representation and Activism, 1960-1980

Perspective ◽  
2015 ◽  
Author(s):  
Katherine A. Bussard ◽  
Alison M. Fisher ◽  
Greg Foster-Rice
Keyword(s):  
Urban Representation ◽  
Lost And Found ◽  
The City

‘Otherwise in London’ or, the ‘Essence of Things’: Modernity and Estrangement in the Nineteenth-Century Cityscape

2015 ◽  
Vol 5 (1) ◽  
pp. 17-35
Author(s):  
Julian Wolfreys
Keyword(s):  
Nineteenth Century ◽  
William Wordsworth ◽  
Urban Landscape ◽  
Thomas De Quincey ◽  
Urban Centre ◽  
Early Nineteenth Century ◽  
Urban Representation ◽  
Robert Southey ◽  
The World ◽  
The City

Writers of the early nineteenth century sought to find new ways of writing about the urban landscape when first confronted with the phenomena of London. The very nature of London's rapid growth, its unprecedented scale, and its mere difference from any other urban centre throughout the world marked it out as demanding a different register in prose and poetry. The condition of writing the city, of inventing a new writing for a new experience is explored by familiar texts of urban representation such as by Thomas De Quincey and William Wordsworth, as well as through less widely read authors such as Sarah Green, Pierce Egan, and Robert Southey, particularly his fictional Letters from England.

scholarly journals Paris: A Poem by Hope Mirrlees: The liminal world of Paris in 1919

2021 ◽  
Vol 51 (3-4) ◽  
pp. 192-203
Author(s):  
Sofia Permiakova
Keyword(s):  
Original Publication ◽  
Formal Organization ◽  
Liminal Space ◽  
Work Of Art ◽  
Urban Representation ◽  
Modernist Studies ◽  
The City

Paris: A Poem by Hope Mirrlees is a modernist ‘curiosity’ which remained largely unknown due to the peculiar conditions of its original publication. In recent years, however, it has regained its place within the field of modernist studies due to the efforts of Julia Briggs and Sandeep Parmar. Instead of approaching the poem through established categories of urban representation, such as flânerie, urban phantasmagoria or the urban palimpsest, this article focuses on Paris, then in the midst of the 1919 Peace Conference, as a liminal space and site of Bakhtinian carnival. This framework advances an understanding of the poem as a complete and complex work of art. The article argues that the peculiar structure and formal organization of the poem, and its relation to the reality of Paris in 1919 and beyond, turns the poem into a liminal space of its own, thus doubling the city it speaks of.

scholarly journals A razão agoniza em uma casa vazia: modernismo arquitetônico no filme O Desafio

Revista Prumo ◽  
2020 ◽  
Vol 5 (8) ◽  
pp. 22-31
Author(s):  
Carlos Eduardo Pinto
Keyword(s):  
Military Coup ◽  
The Political ◽  
Urban Representation ◽  
Brazilian Cinema ◽  
New Form ◽  
The Impact ◽  
The City

Paulo César Saraceni’s The dare (1965) is a milestone of the Brazilian Cinema Novo. Considered the first cinematographic movie to openly address the 1964 civil-military coup, it also inaugurated a lineage of intimate Rio films, committed to reading beyond the representation of the city through postcard images. The film pays special attention to the scenarios, especially houses and apartments, defining the political and psychological contours of the characters through their interaction with the environments. In this article I make explicit the impact caused by this new form of urban representation and, finally, I make the analysis of two sequences, in which an almost empty modernist house is set against a burning, ruined pension. The aim is to demonstrate that, while the contours of these scenarios define the protagonists’ conflicts, the actions taken in each environment add meaning to the architecture.

Arte Pública como imagem da Cidade: seus trânsitos e apropiações

2015 ◽  
Vol 1 (1) ◽  
Author(s):  
Ubiraélcio Malheiros
Keyword(s):  
Contemporary Art ◽  
Public Art ◽  
Image Construction ◽  
Urban Art ◽  
Urban Representation ◽  
Urban Image ◽  
Works Of Art ◽  
Language Interventions ◽  
Ephemeral Art ◽  
The City

Resumo Esse artigo tem como objetivo abordar a arte pública como imagem da cidade e meio de representação urbana. A ideia é mostrar e analisar intervencões urbanas em espaços e monumentos tradicionais de Belém do Pará – Brasil, que representem a história e a vida da cidade em seus trânsitos e apropriacões, de maneira à resignificar espaços e lugares que sejam imagens coletivas dos habitantes dessa cidade. Assim sendo, “Arte pública como imagem da cidade: seus trânsitos e apropriações” relaciona-se a um panorama da arte contemporânea de Belém, ou seja, da arte urbana (aqui entendida como arte pública efêmera) e de suas manifestações, na última década, que se relacionam e se imbricam com os monumentos tradicionais (arte pública permanente). Todo o trabalho está fundamentado na obra de três artistas paraenses: Berna Reale, Victor de La Rocque e Murilo Rodrigues, que têm como linguagem artísticas intervenções que acontecem em diferentes lugares e monumentos da cidade porque sua tradição é significativa para construcão da imagem urbana e para seus fluxos. É importante lembrar que esses trabalhos são efêmeros – enquanto performances que se desdobram em videos e fotografias – e participaram em diferentes versões do Arte Pará (Importante Salão de Arte Contemporânea paraense).   Abstract Absract: This article aims to present public art as a city’s image and as an urban representation medium. The idea is to present and analyze urban interventions on monuments and spaces that are traditional in Belém do Pará – Brazil, which represent the city’s history and life through its movements and appropriations in a way to bring new meaning to spaces and places that form the collective image of the city’s inhabitants. Therefore, “Public Art as a city’s image: it’s shifts and appropriations” relate to a contemporary art landscape in Belém, in other words, the urban art (understood here as public and ephemeral art) and it’s manifestations on the last decade that relate and add to the traditional monuments (public and permanent art). All the work is based on the work of three artist from Para?: Berna Reale, Victor de La Rocque e Murilo Rodrigues, which have as artistic language interventions that happen in different places and monuments in the city, because their tradition is of significance for the urban image construction and its fluxes. It is important to remember that these works of art are ephemeral – performances that unfold in video and photographs – and that have parti- cipated in different versions of Arte Pará (important exhibition of Pará’s contemporary art).  

scholarly journals The City Lost and Found : nouvelles perspectives sur la représentation urbaine et l’activisme entre 1960 et 1980

Perspective ◽  
2015 ◽  
pp. 171-180
Author(s):  
Katherine A. Bussard ◽  
Alison M. Fisher ◽  
Greg Foster-Rice
Keyword(s):  
Lost And Found ◽  
The City

scholarly journals The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera

Artnodes ◽  
2021 ◽  
Author(s):  
Lorenzo Lazzari
Keyword(s):  
Decision Making ◽  
New Media ◽  
Common Ground ◽  
Video Camera ◽  
Moving Image ◽  
Urban Representation ◽  
The Spectator ◽  
Media Responsibility ◽  
Political Framing ◽  
The City

This paper is an investigation into the kinds of spectatorial relationships that could be generated when a moving image (video, in this case) presents a city within a political framing. To this end I will analyse three different case studies in which the city—its architecture, and its population—is the polemical common ground of the artwork: Guilty Landscape episode I—Hangzhou by Dries Verhoeven (2016), Sign on a Truck by Jenny Holzer (1984), and Història Urbanística by Video-Nou (1978). In my argumentation, I will adhere generally to Jean Baudrillard’s conceptualisations in terms of media “responsibility”, and those of Jacques Rancière when focused on the term “dissensus”, understood as the essence of politics. Importantly, and worth emphasising, all moving image works are able to mirror the spectator who, through different devices and spatial settings, becomes an active part of the representation itself: and a representation that does not require a form of response is a curtailment that does nothing but amplify the decision-making power of the powerful. Instead, Dries Verhoeven, Jenny Holzer, and Video-Nou confront us with their representations and bid us towards an active personal participation in its construction. Moreover, this could be considered as a reflection upon what might feasibly be achieved today in architecture and urban representation through various new media and their intersections with the moving image and performative arts.

The “Cultural Archipelago” of Urban Representation in Contemporary Brazilian Novels

2021 ◽  
Vol 5 (2) ◽  
pp. 103-112
Author(s):  
François Weigel ◽  
Keyword(s):  
Contemporary Literature ◽  
Spiritual Life ◽  
Rapid Urbanization ◽  
Urban Representation ◽  
Brazilian Society ◽  
The North ◽  
The City

The dialectic of localism and cosmopolitanism, with the opposition between nationalists and cosmopolitans, since independence and perhaps even before, is an element that structured the spiritual life and the literature of a country such as Brazil, as it was pointed out by Antonio Candido. This dialectic in a globalized country which had been transformed by an extremely rapid urbanization, nowadays is perhaps stronger than ever. That could be seen in contemporary literature, on the level of the imaginary but also on the level of the representation of cities such as Manaus in the north of the country (Relato de um certo Oriente, by Milton Hatoum), Recife in the northeast (Estive lá fora, by Ronaldo Correia de Brito), or Brasilia in the central west (Cidade Livre, by João Almino). Through these three novels, this essay aims to analyze how a few years after the end of the dictatorship, at a time marked by important changes in Brazilian society, the fiction grasps the articulation between local specificities and the “globalized” city. To that extent, the reading of many urban contemporary fictions will build a kind of mosaic of Brazil and its cultural varieties, through the prism of the city.

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