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Studies 13, no. 2 (2000): 205–222, here 211; Michel Agier, “Between War and City: Towards an Urban Anthropology of Refugee Camps,” Ethnography 3, no. 3 (2002): 317–341. 16 Jansen, “The Accidental City.” 17 See the time-honored kinetic model of E.F. Kunz

present itself in many different guises. It can function both to distinguish and to blur models of German or French national identity (see the chapters by Sebastian Treyz and Stefan Hermes), to criticize European values and policies in its dealings with

dance performed at fandangos served as models for these new folklorized performances, trimming off what this bureaucracy considered excessively rustic and rural, reinventing them as a show on stage. 37 Fandango continued to be part of the everyday life

stress its legal continuity to this period. The previous landownership was restored, and collective farms dissolved to restore the model of the prewar era: the national ideal of small-scale single-farm production. At the time, national identity rested

explored from a service quality perspective using quantitative methods. Ayanda Vilakazi and Krishna Govender take a structural equation modeling approach to understand the perception of service quality in Johannesburg, and Prince D. Ugo focuses his

-class families, where the stairs become like a catwalk for models. Cheerful and slim young women, carrying bags, boxes, and books (representing the female consumer rather than worker), are going up the stairs, and the viewpoint clearly stresses their legs and

); modernity premised on Western origin and markers; 11 the reduction of technology to things Western; the reduction of innovation to technology; 12 and democracy to a Western model of governance. 13 The consequence is that when scholars say they are

usual within urban planning and transport planning. This implies the end of the “predict and provide model” of transport behavior. It also recognizes complex interdependencies of multiple mobility systems, including transport, communication, energy, and

body-centred models of media experience in favor of a radically environmental approach, the first principle of which is that any act of sensation implicates the entirety of the universe forming the immediate background for that act … media do not impact