scholarly journals THE FAVELA SPACE AND ITS IMPACTS IN THE STRIVE AGAINST COVID-19: a discussion on the literary texts

2020 ◽  
Vol 6 (3) ◽  
pp. a12en
Author(s):  
Elisabete da Silva Barbosa
Keyword(s):  
Field Work ◽  
Literary Texts ◽  
Spatial Representations ◽  
Literary Representations ◽  
Literary Field ◽  
Mortality Probability ◽  
Starting Point ◽  
The Many ◽  
The City ◽  
The Way

The objective of this work is to take literary representations of the shanty towns to discuss the way the unequal occupation of spaces impacts the contagion index of COVID-19, which in Brazil represents a higher mortality probability among the Afro-descendant population, which is mostly resident of degraded spaces in the city. To this end, spatial representations developed in the literary field work as a starting point for reflections on the center and periphery relationship and, consequently, for analyzing how the many discourses generated can make some places and, thus, their residents invisible.

Practicing Anthropology in the Urban Delta

1991 ◽  
Vol 13 (3) ◽  
pp. 9-10
Author(s):  
Rosalind Cottrell
Keyword(s):  
Growing Up ◽  
Dump Site ◽  
Young Girls ◽  
Medical Anthropologist ◽  
Scrap Iron ◽  
The 1950S ◽  
The Many ◽  
The City ◽  
The Way ◽  
Value Of Education

When I was growing up in the 1950s in one of the poorest neighborhoods in the urban Delta, the closest I came to an anthropologist was the man who dug the dump site near our home looking for old scrap iron to sell. Certainly there was no expectation for me to become an anthropologist from my grandmother, the matriarch of our family. However, she had moved to the city after the death of her husband with expectations of a better life for her four girls. Stressing education as "the way out," she told stories about her slave uncle who recognized the value of education and learned to read from two young girls he drove to school. In turn, he taught this daily lesson to his family around the fire each night. The many evenings sitting on our front porch, and on the front porch of neighbors, watching and listening to grandma's stories and the stories of others, set a foundation for anthropology in my life and led to my becoming a medical anthropologist.

scholarly journals Apuntes acerca de la genealogía de Tardes nubladas. Colección de novelas (1871) de Manuel Payno

(an)ecdótica ◽  
2020 ◽  
Vol 4 (2) ◽  
pp. 9-29
Author(s):  
Laura Gandolfi
Keyword(s):  
Short Stories ◽  
Literary Texts ◽  
Literary Field ◽  
Starting Point

In 1871, Manuel Payno published Tardes nubladas. Colección de novelas, a heterogeneous collection of short texts by the same author that had been previously published in periodicals between 1839 and 1845. Unlike his three famous novelistic works —El fistol del Diablo, El hombre de la situación and Los bandidos de Río Frío— novels that continued to circulate during the 20th and 21st centuries through many reeditions, Tardes nubladas rests, nowadays, in an almost complete oblivion: despite its relevance, Tardes nubladas is difficult to locate in the market and practically ignored by critics. The “abandonment” that suffered and continues to suffer Tardes nubladas, already problematic, becomes even more regrettable considering that it is the only collection of literary texts designed and made by Payno during his life. What does lie beyond the —editorial and critical— “abandonment” of Tardes nubladas? What could this collection of short stories reveal to us today? Taking these concerns as a starting point, this article wants to return to Tardes nubladas in order to examine its genealogy and eventually give visibility to a work that, although silent and silenced, could reveal a lot about the literary itinerary of Manuel Payno, of his displacements and deviations, allowing us to simultaneously reconsider the mechanisms and tensions of the Mexican literary field of that time.

«Quel nome pernicioso di nobile»: Uberto Foglietta e la nobiltà di Genova fra tyardo medioevo e prima età moderna

2021 ◽  
pp. 41-55
Author(s):  
Guido Castelnuovo
Keyword(s):  
Early Modern ◽  
Urban Culture ◽  
16Th Century ◽  
Present Contribution ◽  
Late Medieval ◽  
Starting Point ◽  
Good Starting Point ◽  
The Many ◽  
The City

The present contribution aims at discussing the many late medieval and early modern interpretations elaborated in urban and (post)communal Italy on nobility. It does so by attentively analysing the first book of the La Repubblica di Genova, written around 1550 by Uberto Foglietta, a Genoese patrician and a future historian of the city. Foglietta’s libello therefore is a good starting point to reinterpret the vexata quaestio of being noble both in 16th century Genoa, and in the broader context of Renaissance Italian urban culture.

Bespoke Urban Factory

2021 ◽  
Author(s):  
◽  
André Bankier-Perry
Keyword(s):  
Public Space ◽  
Mass Production ◽  
High Tech ◽  
Urban Architecture ◽  
Consumer Values ◽  
High Street ◽  
The Many ◽  
Manufacturing Technologies ◽  
The City ◽  
The Way

<p>A change in consumer values has resulted in the traditional factory becoming outdated and out of touch. The ever-changing rapid and exponential development in high-tech manufacturing technologies is enabling humankind to realise products and efficiencies never conceived of until recently. Mass production is a thing of the past. People want options – bespoke products and services with the ease and precision of a well-articulated assembly line. The consumer wants to understand the process, production practises and effects of the choices they make.  Since the emergence of the city itself, the public marketplace has been a critical node for urban vitality and liveliness – an assemblage of skilled creative specialists liaising directly with the consumer – where the designer is the maker and the store is the workshop. With the evolution of mass production, this once unified marketplace typology has fragmented and dispersed to where manufacturing no longer lies within the consumer’s grasp. A rich historic urban architecture has been supplanted by a distant scattering of industrial warehouses and faceless high street facades. The emergence of innovative new methods of designing and making has presented an opportunity to once again close the gap between production and the consumer interface.  Imagine a new architectural typology – an innovative urban marketplace that bridges the current disparity between production, consumerism and public space. It looks to explore the way in which architecture conveys emerging innovative technologies; the way manufacturing is displayed and perceived; and the relationships it has with those who engage with it. Using a local catalyst site, the research puts forward a solution as a socially and contextually relevant node within the city of Wellington, New Zealand. Architectural ideas are iteratively tested alongside a set of typological strategies – each informing the other. Throughout this process, the research seeks to understand and stitch together the many complex conditions in which to provide an inviting, engaging, public consumer destination. This is a high-tech marketplace of sorts – a new architecture for a new era of industry.</p>

Colloquium 3 Likely and Necessary: The Poetics of Aristotle and the Problem of Literary Leeway

2018 ◽  
Vol 33 (1) ◽  
pp. 69-87
Author(s):  
Jean-Marc Narbonne
Keyword(s):  
The Other ◽  
Human Knowledge ◽  
Creative Activity ◽  
Starting Point ◽  
The Many ◽  
The One ◽  
The Way

Abstract Taking as a starting point a crucial passage of Aristotle’s Poetics where poetical technique is declared to be different from all other disciplines in human knowledge (25, 1460b8–15), I try to determine in what sense and up to what point poetry can be seen as an autonomous or sui generis creative activity. On this path, I come across the so-called “likely and necessary” rule mentioned many times in Aristotle’s essay, which might be seen as a limitation of the poet’s literary freedom. I then endeavour to show that this rule of consistency does not preclude the many means by which the poet can astonish his or her audience, bring them into error, introduce exaggerations and embellishments on the one hand (and viciousness and repulsiveness on the other), have the characters change their conduct along the way, etc. For Aristotle, the poetic art—and artistic activities in general—is concerned not with what in fact is or what should be (especially ethically), but simply with what might be. Accordingly, one can see him as historically the very first theorist fiction, not only because he states that poetry relates freely to the possible, but also because he explains why poetry is justified in doing so.

scholarly journals De Per Abbat a Pérez Reverte: el Cid, entre la tradición y el superventas en Sidi

2021 ◽  
Author(s):  
Alfonso Boix Jovaní
Keyword(s):  
The Novel ◽  
Literary Field ◽  
Epic Hero ◽  
Starting Point ◽  
El Cid ◽  
The Way

RESUMEN: La reciente incursión de Arturo Pérez-Reverte en territorio cidiano con su novela Sidi era, hasta cierto punto, previsible, pues el interés del autor por la historia y, especialmente, las hazañas bélicas y los héroes es de sobra conocido. Su obra está plagada de personajes como el famoso capitán don Diego Alatriste, pero, mientras que el capitán es un personaje surgido de la imaginación de Pérez-Reverte, el Cid es una figura firmemente integrada en la cultura española: a caballo entre la historia y la fantasía, el Cid cabalga a lomos de su leyenda desde la aparición del Cantar de Mio Cid. Desde entonces, no han sido pocos los autores que han seguido la estela del anónimo poeta y han recogido el mito en sus obras para ofrecernos su particular versión del mismo. Así, el héroe épico se convirtió en protagonista de obras de teatro, cuentos y novelas, y también la música o el cine, que sirvió para darlo a conocer entre el gran público a nivel internacional. A partir de un meticuloso análisis intertextual e interdiscursivo, el presente artículo muestra cómo Sidi incluye alguno de los episodios más famosos de la literatura cidiana, así como los tópicos épicos que configuran a Rodrigo Diaz como caballero ideal. Entre estos elementos tradicionales, se añaden los rasgos fundamentales del héroe cansado que protagoniza los textos revertianos, y, gracias a esta combinación de elementos antiguos y nuevos, el autor ha logrado convertir al Campeador en un personaje propio. ABSTRACT Arturo Pérez-Reverte’s recent incursion in the literary field of el Cid with his novel Sidi was, to a certain extent, predictable, as the author’s interest in history and, especially, war deeds and heroes is very well-known. His works are full of characters like the famous captain don Diego Alatriste, but, whereas the captain is a character born in Pérez-Reverte’s imagination, el Cid is a figure firmly integrated in Spanish culture: halfway between history and fantasy, el Cid’s legend has been developing since the Song of Mio Cid appeared. From that moment onwards, many authors followed the path of the anonymous poet and included this myth in their works to offer their own version of it. Therefore, the epic hero became the protagonist of plays in theatres, tales and novels, and also in music and cinema, which spread the legend internationally amongst a wider audience. Taking a thorough intertextual and interdiscursive analysis as its starting point, this article shows the way Sidi includes some of the most famous literary episodes devoted to el Cid and, also, the topoi that made Rodrigo Díaz an ideal knight. All these traditional elements are blended in the novel with the main features of the ‘tired hero’ who plays the lead in Pérez-Reverte’s texts, and, by this combination of new and old features, the author turns the Campeador into a character of his own.

scholarly journals Looking for Orion: literature at the interface of cosmopolitanism and translocation

2009 ◽  
Vol 19 (1) ◽  
pp. 61-78
Author(s):  
Laura Izarra
Keyword(s):  
Walter Benjamin ◽  
Literary Texts ◽  
Literary Representations ◽  
Critical Perspective ◽  
Max Horkheimer ◽  
The Past ◽  
Theodor Adorno ◽  
Starting Point ◽  
Kamala Markandaya ◽  
James Stephens

Resumo: Este ensaio apresenta a Literatura como um novo local, um espaço translocal, que consiste em vários espaços fraturados e conectados de conhecimentos. Usando como metáfora a escultura do artista irlandês Rowan Gillespie Looking for Orion analisarei como essa interconexão de espaços abre novos caminhos de representações literárias que compreendem não só as contradições internas da modernização (Theodor Adorno and Max Horkheimer), mas também outras formas de irregularidade e estranhamento que revelam estados da mente específicos não familiares com a racionalização. Ultrapassando as fronteiras dos textos literários na interface com língua, pintura, música, cinema e multimídia, farei uma re-visão dos velhos dramas sociais mundiais, como a fome, a migração e o nacionalismo desde um ponto de vista crítico multi-axial em que a literatura já é um espaço translocal institucional. É o espaço da memória e da imaginação que re-conta narrativas cosmopolitanas suspensas e mitos que estão abertos ao passado e ao presente. A arte da escrita se encontra num ponto de mutação ao interrogar “a imagem ‘eterna’ do passado” (Walter Benjamin), questões de identidade e subjetividade. Analisarei três contos como exemplo de confluência cosmopolitana: “Hunger” (1928) do escritor irlandês James Stephens, “Hunger” (1997) da escritora indiana Kamala Markandaya, e “The Chandelier” (2002) do escitor libanês-americano Gregory Orfaela.Palavras-chave: literatura; espaço translocal; leitura crítica multi-axial.Abstract: This essay discusses Literature as a new kind of location, a trans-location consisting of fractured and variously connected spaces of knowledges. Taking Rowan Gillespie’s sculpture “Looking for Orion” as a metaphorical starting point, I argue how that interconnection of spaces opens up alternative ways of literary representations that will apprehend not only the internal contradictions of modernization (Theodor Adorno and Max Horkheimer) but also other forms of unevenness and strangeness that disclose specific states of mind unfamiliar with rationalization. Moving beyond the edge of literary texts at the interface of language, painting, music, cinema, and multimedia sources, I would like to re-vision old world social dramas, such as the famine, migration, and nationalism from a multi-axial critical perspective in which literature is already an institutional translocation. It is the space of memory and imagination that retells cosmopolitan suspended narratives and myths that are open both to the past and the present. The art of writing is brought to a turning point questioning “the ‘eternal’ image of the past” (Walter Benjamin), issues of identity and subjectivity. I analyse three short stories as an example of cosmopolitan confluence: James Stephens’s “Hunger” (1928), Kamala Markandaya’s “Hunger” (1997) and George Orfaela’s “The Chandelier” (2002).Keywords: literature; translocation; multi-axial critical reading.

scholarly journals “Zoopoetic Dwelling”: The Ecology of the Connectedness of Animal and Human Homes and Dwelling Through Folklore and Literary Representations

2020 ◽  
Vol 23 ◽  
Author(s):  
Marjetka Golež Kaučič
Keyword(s):  
Literary Representations ◽  
Starting Point ◽  
Nonhuman Animals ◽  
The Difference ◽  
The Way

The act of dwelling and physical dwellings is not an exclusively human domain: all spaces, environments and homes of various animals are included. The question of whether an animal merely exists or also lives and dwells forms the basis of the article. We examine the types of environment in which nonhuman animals live either together with people or independently and those where they build their dwellings. We look at the difference between dwelling and building. We will present three viewpoint models that consider animals, their dwelling and physical dwellings on the basis of folkloristic, anthropological, philosophical, eco-critical, and critical-animalistic findings. They are the anthropocentric, anthropomorphic, and zoo-centric models as they appear in the works of Fran Erjavec (Domače in tuje živali v podobah, 1868-1873), Richard Adams (Watership Down, 1972) and Iztok Geister (Narava, kot jo vidi narava, 2010). The way these works present animals and their dwellings, more or less closely reflecting reality, will aid in determining whether these dwellings are part of nature or culture. We will be asking, for example, whether the beaver’s dwelling is an architectural masterpiece or merely a result of instinctive behaviour. Our starting point is based on the understanding that animals are persons and, as such, are capable of dwelling and intentionally producing their physical dwellings.

scholarly journals Bespoke Urban Factory

2021 ◽  
Author(s):  
◽  
André Bankier-Perry
Keyword(s):  
Public Space ◽  
Mass Production ◽  
High Tech ◽  
Urban Architecture ◽  
Consumer Values ◽  
High Street ◽  
The Many ◽  
Manufacturing Technologies ◽  
The City ◽  
The Way

<p>A change in consumer values has resulted in the traditional factory becoming outdated and out of touch. The ever-changing rapid and exponential development in high-tech manufacturing technologies is enabling humankind to realise products and efficiencies never conceived of until recently. Mass production is a thing of the past. People want options – bespoke products and services with the ease and precision of a well-articulated assembly line. The consumer wants to understand the process, production practises and effects of the choices they make.  Since the emergence of the city itself, the public marketplace has been a critical node for urban vitality and liveliness – an assemblage of skilled creative specialists liaising directly with the consumer – where the designer is the maker and the store is the workshop. With the evolution of mass production, this once unified marketplace typology has fragmented and dispersed to where manufacturing no longer lies within the consumer’s grasp. A rich historic urban architecture has been supplanted by a distant scattering of industrial warehouses and faceless high street facades. The emergence of innovative new methods of designing and making has presented an opportunity to once again close the gap between production and the consumer interface.  Imagine a new architectural typology – an innovative urban marketplace that bridges the current disparity between production, consumerism and public space. It looks to explore the way in which architecture conveys emerging innovative technologies; the way manufacturing is displayed and perceived; and the relationships it has with those who engage with it. Using a local catalyst site, the research puts forward a solution as a socially and contextually relevant node within the city of Wellington, New Zealand. Architectural ideas are iteratively tested alongside a set of typological strategies – each informing the other. Throughout this process, the research seeks to understand and stitch together the many complex conditions in which to provide an inviting, engaging, public consumer destination. This is a high-tech marketplace of sorts – a new architecture for a new era of industry.</p>

scholarly journals An Empty Table and an Empty Boat: Empathic Encounters with Refugee Experiences in Intermedial Installation Art

2016 ◽  
Vol 27 (1) ◽  
pp. 44-73 ◽  
Author(s):  
Janna Houwen
Keyword(s):  
Installation Art ◽  
Common Denominator ◽  
Refugee Crisis ◽  
Video Installation ◽  
Slavoj Zizek ◽  
Slavoj Žižek ◽  
Works Of Art ◽  
Starting Point ◽  
The Many ◽  
The Way

Abstract This essay is an inquiry into two intermedial installations that address the experiences of people on the run from war or poverty, yet overtly hinder and problematize the viewer’s identification with the depicted refugees. By doing so, Friday Table (2013) by art collective Foundland, and Isaac Julien’s video installation Ten Thousand Waves (2010) differ from the many contemporary discourses dealing with the so-called refugee crisis that suggest a blind assumption of empathy’s benevolence. Taking theoretical texts concerning the relation between empathy, politics and the (lens-based) representation of refugees by, for instance, Slavoj Zizek (2016) and Jill Bennett (2005) as a starting point, I read Friday Table and Ten Thousand Waves as reflections on the pitfalls as well as the critical political possibilities of empathy in contemporary debates on refugees. Moreover, I argue that the two lens-based installations in question are able to examine the limits of empathy and identification with refugees through their common denominator: intermediality. Both Friday Table and Ten Thousand Waves combine lens-based media (photography, video and film) with non-lens-based medial forms such as drawings, graphs and calligraphy. As I will demonstrate, the interplay between different media is decisive when it comes to the way in which the three works of art produce, manage and reflect on the relation between spectators and depicted refugees.

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