scholarly journals Port Authorities as Urban Land Developers

2013 ◽  
Vol 17 (2) ◽  
pp. 92-105 ◽  
Author(s):  
Roy Merrens
Keyword(s):  
Land Development ◽  
The Body ◽  
Development Agency ◽  
Port Authorities ◽  
Building Process ◽  
Physical Form ◽  
Urban Waterfront ◽  
The City ◽  
Land Use Functions

Port authorities have been important presences in Canada's port cities, playing major roles in determining the physical form and land-use functions of urban waterfront lands. Their formative roles warrant attention from scholars concerned with the city-building process in Canada. This study focuses upon one such body, The Toronto Harbour Commissioners, and how and why it has functioned as a land development agency. An analysis of the commissions Outer Harbour project between 1912 and 1968 shows the commissions central concern with land development: ostensibly presented as a harbour facility, the project was actually intended to be a key component in the commissions proposed redevelopment of Toronto's central waterfront for profitable commercial and residential use. The project also reveals the significance of landfilling in the commissions urban development role, and, incidentally, explains the existence of the three-mile artificial headland projecting out into Lake Ontario from Toronto's waterfront. The role of the commission as a development agency is explained in terms of its original 1911 mandate, which in turn reflects the intentions of the Toronto Board of Trade, the body that had led the drive to create the commission.

scholarly journals The Flâneuse in the Virtual City: Exploring "Lost Angeles"

1969 ◽  
Vol 2 (1) ◽  
Author(s):  
Zena Bibler
Keyword(s):  
Virtual World ◽  
The Body ◽  
Virtual Space ◽  
Primary Mode ◽  
Virtual City ◽  
Kinesthetic Information ◽  
The City

In this essay, I contemplate the role of video gamer as flâneur in Lost Angeles, a three-hour video work by Lee Tusman that captures the wanderings of gamer Derm McGuigan within the virtual world of Los Santos. With the help of Lena Hammergren’s “The re-turn of the flâneuse” I will consider how the video, originally conceived of as a project of “virtual flânerie,” might fall more accurately under the domain of the flâneuse, who uses the kinesthetic as a way to enter previously inaccessible spaces. As McGuigan moves his avatar through Los Santos, he integrates stimuli from the game with his own physical memories, indexing a series of other places and times as he goes. Lost Angeles also complicates the concept of the flâneuse through the presence of the avatar, who serves as the primary mode of navigation, but also offers kinesthetic information to the player. These relationships become more intricately entangled with the entrance of an additional set of spectators that watch McGuigan and his avatar via a live stream. Through this aggregation of wanderers, the flâneuse becomes unstable and multiplies, producing numerous other embodied relationships with the city of Los Santos and the body of the avatar [Which begs the question: Who and where is the flâneuse?] In this essay, I hope to demonstrate how, the proposal of Lost Angeles (to broadcast the wanderings of an expert gamer in a virtual space) collides with the structure of Grand Theft Auto (which invites the player into an ambiguous inside-and-outside location within Los Santos) and produces not one flâneur, but numerous flâneuses who traverse the virtual city via kinesthetic association with the avatar’s movements.

The Commission for the Preservation of Antiquities and its role in the appropriation of İstanbul’s diverse heritage as national heritage (1939–1953)

2020 ◽  
Vol 62 ◽  
pp. 75-99
Author(s):  
Pınar Aykaç
Keyword(s):  
The Body ◽  
Significant Aspect ◽  
National Heritage ◽  
Turkish Nationalism ◽  
National Monuments ◽  
The Republic ◽  
Early Republican ◽  
Republic Of Turkey ◽  
The City

AbstractThis paper argues that the early Republican attempts to reintegrate the Ottoman past into nationalist narratives later found their reflections in discussions regarding the preservation of İstanbul’s diverse heritage, coinciding with the redefinition of Turkish nationalism in the 1940s, incorporating Islam and marking a departure from the foundation ideology of the Republic of Turkey. In 1939, the Republican authorities decided to celebrate the 500th anniversary of the Ottoman conquest of Constantinople in 1953. The Commission for the Preservation of Antiquities (Muhafaza-ı Asar-ı Atika Encümeni)—the body responsible for the preservation of historic monuments in İstanbul—was tasked with conducting restoration and repair works for the celebrations. Although the celebrations did not receive much attention in the following years, the annual celebrations in the city have now become a significant aspect of present-day İstanbul, which glorify its Ottoman-Islamic past. By presenting its negotiations and contestations with other state actors in the context of these preparations, this paper explores the role of the Preservation Commission in appropriating the inherited remnants of İstanbul’s multifaceted past as “national monuments.”

Written on the Body: Ekphrasis, Perception and Deception in Heliodorus' Aethiopica

Ramus ◽  
2002 ◽  
Vol 31 (1-2) ◽  
pp. 111-125 ◽  
Author(s):  
Tim Whitmarsh
Keyword(s):  
Solid Material ◽  
The Body ◽  
The Self ◽  
Skin Colour ◽  
The Novel ◽  
White Space ◽  
Physical Form ◽  
The Moment

Novels have so much solid and monolithic bulk when they sit in a hand or on a shelf; inside, the pages are forests of symbols, as though even in books of such magnitude the sentences needed compression to fit on to pages. How different to poetic volumes, beguilingly slender, their pages brilliant with blank, white space, across which the spindly words stretch like gossamer. In terms of content, however, novels are rarely as monolithic as their physical form suggests. From earliest times since, the genre has dealt, centrally, with themes of metamorphosis, transubstantiation, the fundamentally permeable nature of the self. The solid material aspect of the novel often masks a central preoccupation with the fluidity of identity.In the compass of this article, I want to explore the central role accorded by Heliodorus, arguably the greatest of ancient novelists, to questions of perceptual deception, to seeing and seeming; and in particular, I want to explore the role of artworks within Heliodorus' narrative economy. The narrative turns, as is well known, on the amazing paradox of an Ethiopian girl born white. Charicleia's skin colour is a visual trap, an illusion. Given that her freakish pigmentation is the result of her mother's glancing at an art-work at the moment of conception, Charicleia can almost be said to be a walking ekphrasis, an embodiment of the illusory traps of the unreal.

scholarly journals Defining the dystopian chronotope: Space, time and genre in George Orwell’s 'Nineteen Eighty-Four'

2018 ◽  
pp. 9-39
Author(s):  
Urszula Terentowicz-Fotyga
Keyword(s):  
Mikhail Bakhtin ◽  
Natural World ◽  
The Body ◽  
Special Relation ◽  
Structural Role ◽  
The Past ◽  
The Individual ◽  
The Mind ◽  
The City

The paper examines George Orwell’s Nineteen Eighty-Four as a canonical example of the dystopian novel in an attempt to define the principal features of the dystopian chronotope. Following Mikhail Bakhtin, it treats the chronotope as the structural pivot of the narrative, which integrates and determines other aspects of the text. Dystopia, the paper argues, is a particularly appropriate genre to consider the structural role of the chronotope for two reasons. Firstly, due to utopianism’s special relation with space and secondly, due to the structural importance of world-building in the expression of dystopia’s philosophical, political and social ideas. The paper identifies the principal features of dystopian spatiality, among which crucial are the oppositions between the individual and the state, the mind and the body, the high and the low, the central and the peripheral, the past and the present, the city and the natural world, false and true signs.

scholarly journals Public Works in the Canadian City; the Provision of Sewers in Toronto 1870–1913

2013 ◽  
Vol 23 (2) ◽  
pp. 33-43 ◽  
Author(s):  
Catherine Brace
Keyword(s):  
Public Health ◽  
Public Works ◽  
The Public ◽  
Fundamental Part ◽  
Building Process ◽  
Scant Attention ◽  
Canadian City ◽  
Public Versus Private ◽  
The City

Until the 1970s Canadian public works had been adequately described, but never extensively studied in the literature of urban history, which has focused on other aspects of the city-building process. Since then, Canadian public works history has been dominated by debates about the public versus private ownership of utilities. Scant attention has been paid to sewerage, which has only been alluded to in discussions about public health and sanitation. This paper aims to show that the historical provision of sewerage in Canadian cities was a fundamental part of the city-building process. It focuses on the provision of sewers in Toronto between 1870 and 1913 and argues that sewerage influenced and was influenced by contemporary debates about public health, local government intervention in the lives of citizens and the role of technology in the urban environment.

scholarly journals Influence of urban waterfront appearance on public space functions

2012 ◽  
Vol 60 (8) ◽  
pp. 261-268 ◽  
Author(s):  
Iva Hradilová
Keyword(s):  
Public Space ◽  
The Body ◽  
Urban Spaces ◽  
Urban Structure ◽  
The Public ◽  
Urban Waterfront ◽  
Current Utilization ◽  
The City ◽  
Natural Component

Although the issue of urban waterfront is not entirely new, it still represents a very vivid topic. Urban waterfronts have for long been standing in the forefront of many architects and organizations, who are aware of their value and the potential a watercourse carries within the urban interior. A watercourse is an interconnecting element between the urban development and the surrounding countryside and urban waterfronts are the intermediaries of communication. It is exactly in their area where the city - a purely human product with an inner structure and order defined by humans - meets the element of water, which is a purely natural component.What influences the urban structure most is, however, the presence of water in its very basic form i.e. in the form of a river. Its significance and effect on the public space and the inner relations within the body of the settlement vary with the size and the width of the flow, character of the waterfront, architectural layout of the riverbanks and its current utilization. Urban river works as a communication element which meets with the natural features. It seems to be unnatural to define a waterfront space like mono-functional site. This space denies the very essence of the waterfront and the city’s inhabitants appear as unattractive. In this case the very attractive element of water is unable to urban residents to attract together. In general, the quality of the public space is determined by the degree of its utilization by a wider group of inhabitants. It is the inhabitants themselves who imprints the concept of a public space to empty urban spaces.The present form of urban waterfronts is a result of the historical development, attitude and mental state of the society. The architectural appearance of not only the waterfront but also all public spaces is a reflection of the current social values. It gives evidence about the character of the society, the present economic system, the state and thinking of the contemporary era.

Architecture that bows to the artist: Musée Soulages

2016 ◽  
Vol 20 (3) ◽  
pp. 207-216
Author(s):  
Andreas Luescher
Keyword(s):  
Built Environment ◽  
Material Culture ◽  
The Body ◽  
World Views ◽  
Central Thesis ◽  
Transcendental Logic ◽  
The Relationship ◽  
The City ◽  
The Town

This paper examines the museum dedicated to Pierre Soulages and its relationship with Soulages, the city of Rodez, the Forirail Garden (which is the site of the museum), and the ideas and practices realised by Catalan architects Rafael Aranda, Carme Pigem and Ramon Vilalta (RCR). The Musée Soulages is defined by the colour black and the luminous fluidity of steel as designed by RCR Arquitectes; it is also aligned with an environmental ecology that literally and figuratively represents the town of Rodez with its Notre-Dame Cathedral. The central thesis is that the Musée Soulages inducts the visitor into a role of active participation and exchange in an atmosphere of transcendental logic, and, ultimately, a new way to experience black as a colour rather than the lack of one. A visitor to the Musée Soulages becomes part of a theatrical event in which two actors —one French abstract painter, three Catalan architects—communicate in physical terms about the metaphysical environment, and the relationship between the scenographic and the tectonic in architecture. The Musée Soulages is a fascinating metaphorical representation of not only Pierre Soulages's character and his work, but also of the role of the built environment and material culture that is intertwined with the body of Soulages's expressive works. This essay focuses on the material and symbolic gestures created by Pierre Soulages and RCR Arquitectes to maintain and promote their particular world views, and examines the ways in which their expressive mediums and ideas are by turn harmonious and contradictory.

Choreography of Lupercalia

2016 ◽  
Vol 4 (2) ◽  
pp. 311-332 ◽  
Author(s):  
Zoa Alonso Fernández
Keyword(s):  
Cultural Studies ◽  
The Body ◽  
Cultural Significance ◽  
Dance Studies ◽  
The City

In this paper, I apply the methodologies of dance studies and cultural studies of the body to an analysis of the Roman Lupercalia. Focusing on the corporeality of the participants as the most striking component of the performance, I demonstrate that the physicality of these bodies and their mobility through the city of Rome not only transmit but also generate cultural significance, which is crucial for understanding the role of dance in Roman public rituals and its consequent part in the construction of Roman identities.

scholarly journals The Role of FELDA and KESEDAR in the Development of Land in the District of Gua Musang: A Comparison the Socio-Economic Level of the Settlers

2012 ◽  
Vol 1 (2) ◽  
pp. 284 ◽  
Author(s):  
Fauzi Hussin ◽  
Hussin Abdullah
Keyword(s):  
Oil Palm ◽  
Land Development ◽  
Volatile Oil ◽  
Standard Of Living ◽  
Palm Trees ◽  
Economic Level ◽  
Develop Land ◽  
Federal Land ◽  
The City

<p>The South Kelantan Development Authority (KESEDAR) and the Federal Land Development Authority (FELDA) are the two main agencies that develop land schemes in the district of Gua Musang, Kelantan. The nine land schemes developed by FELDA are Kemahang 3, Chiku 1, Chiku 2, Chiku 3, Chiku 5, Chiku 6, Chiku 7, Perasu, and Aring 1. KESEDAR also developed eleven land schemes namely Paloh 1, Paloh 2, Paloh 3, Chalil, Lebir, Meranto, Sungai Terah, Renok Baru, Jeram Tekoh, Limau Kasturi, and Sungai Asap. A large part of the schemes under the FELDA was planted with oil palm (84.7%) while the rest was planted with rubber trees. On the other hand, most of the land schemes under KESEDAR were planted with rubber (67%), while the remainder were planted with oil palm. The question that arises is to what extent is the role of both the agencies in advancing the standard of living of the settlers? What are the problems faced by the settlers and their implications regarding their socio-economic level? This paper will discuss the role played by KESEDAR and FELDA in advancing the standard of living of the settlers as well as identifying the problems faced by the settlers under the two agencies. The study found that many settlers earned between RM600 - RM1200 per month despite the efforts undertaken by FELDA and KESEDAR to improve the living standards of the settlers. The main problems faced by the settlers are: palm oil prices are volatile; oil palm trees are old, the old age of the settlers, and the settlers’ chidren migrating to the city.</p>

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