The Grands Magasins Dufayel, a huge department store built on the northern fringe of late nineteenth-century Paris, had an important cultural influence on the city's working class. In a neighborhood with few public spaces, it provided a consumer version of the public square. It encouraged workers to approach shopping as a social activity, just as the bourgeoisie did at the famous department stores in central Paris. Like the bourgeois stores, it helped transform consumption from a personal transaction between customer and merchant into an unmediated relationship between consumer and goods. Through advertising the store portrayed itself as a space where the working-class visitor could participate in new and exciting forms of entertainment and technology. Its unique instore cinema and exhibits of inventions like X-ray machines and the gramophone created a new kind of urban space that celebrated the close relationship between technology and consumer culture.
Subjectification in Pilgrimage to the Iran-Iraq War Battlefields in Contemporary Iran
assumed subjectivities of RN visitors to the Iran-Iraq War battlefields, this article shows why RN is envisioned by the Islamic Republic (IR) as a pedagogical means for subject-formation, and, moreover, how space and subjectivity are co-produced at the
Austro-German Filmmaker, Bestselling Author, and Journalist Colin Ross Discovers Australia
tales of South Seas paradise, but Ross’s depictions undoubtedly re-oriented appraisals of this space through a strategy combining—or recalling—colonial desire and contemporary geopolitics in popular form. Ross was most invested in shifting the
Lefebvre describes how ‘space is lived not represented (or conceived)’ in the context of his spatial triad of perceived, conceived and lived spaces. This article focuses on the extent to which Shakespeare can enable those who feel imprisoned (whether literally or through social, mental, physical or economic constraints) to expand the space in which they exist. Drawing on the work of Lefebvre and Foucault in their consideration of spatial creation, manipulation and alteration by the social experiences within it, I develop on these theories to focus specifically on the use of Shakespeare’s plays to evolve these, often constraining, spaces into somewhere that gives the participants the freedom and space to explore alternatives to their previous experiences of life. This article considers the impact of using Shakespeare as a method of creating space for a group of men in Leicester Prison as part of their 2017 Talent Unlocked Arts Festival.
A Reconsideration of the Concept of Space and Its Role in the Early Modern Period
This exploratory essay seeks to unravel the inherent contradictions between two fundamental trends in contemporary historiography: the “spatial turn” on the one hand, and the “linguistic turn” on the other hand. The “spatial turn,” it argues, turned “space's” status as a category of analysis into an accepted dogma. Under these circumstances, one often overlooks the fact that “space,” like all concepts, can also be problematic and at times even misleading. By looking at several examples from and about the intellectual world of early modern Europe, the article demonstrates how the use of space as a category of analysis encounters two fundamental challenges. First, the problem of the absence of the word “space” itself from important early modern texts (“shrinkage”); and second, the overuse of the term “space” in translations and analysis of early modern intellectual works (“contamination”).
A bizarre adventure happened to space on the road to globalisation: it lost its importance while gaining in significance. On the one hand, as Paul Virilio insists,1 territorial sovereignty has lost almost all substance and a good deal of its former attraction; if every spot can be reached and abandoned instantaneously, a permanent hold over a territory with the usual accompaniment of long-term duties and commitments turns from an asset into a liability and becomes a burden rather than a resource in power struggle. On the other hand, as Richard Sennett points out, ‘as the shifting institutions of the economy diminish the experience of belonging somewhere special … people’s commitments increase to geographic places like nations, cities and localities’.2 On the one hand, everything can be done to far away places of other peoples without going anywhere. On the other, little can be prevented from being done to one’s own place however stubbornly one holds to it.
Construction of the United States and New York in 1950s and 1960s Czech Travel Writing
Early postwar Czech travel writing was mainly concerned with representations of countries from the newly emerging Soviet Bloc and former European colonies in the developing world. In this way, travel writing played a role in nation building and the creation of new cultural identity. However, following the slow process of political liberalization, the United States became an increasingly visible feature of travel narratives, concomitant with interest and reception of American literature in the second half of the 1950s and throughout the 1960s. While focusing on the analysis of space and articulation of the identities of travelers/narrators, this article tracks the re-emergence of the image of the United States in various types of travel narratives in order to depict a trajectory from the representation of a strictly bipolar world in political reportage from the early 1950s, to its subversion in the travel writing of the 1960s.
It is important to stress that Arab women writers have produced a new kaleidoscope of narrative fiction in English. They focus on a variety of representations with respect to identity, dislocation, cultural hybridity and belonging. Moreover they have tried to construct a stable subjectivity and a space of belonging. These narratives are now dispersed and relocated by Arab women diasporic novelists such as Hala Alyan. This article will examine Hala Alyan’s 2017 novel, Salt Houses. This debut novel has amalgamated different narrative experimentations and techniques, and how polyphonic spaces have dislocated the conventional act of narration and relocated it in tandem with the non-homogeneity of the Arab world itself.
Susan L. Smith
This project reveals the false conceptual space within which the contemporary debate about the nature of race is taking place. There is an implied spectrum within philosophical discussions of the nature of race that ranges from purely biological accounts of race to purely socially constructed accounts of race. In reality, no account of race can be given which exists at either extreme of the spectrum. The same discussion also applies to accounts of ethnicity. Ethnicity, though typically thought of as a non-biological entity, can be shown to be the result of a combination of nature and nurture or biological and social effects. In this project I examine six contemporary positions on race and ethnicity and illustrate how each makes the assumption that race and ethnicity are two distinct concepts. These positions include those proposed by Naomi Zack, Sally Haslanger, Joshua Glasgow, Linda Martin Alcoff, Robin Andreasen and Jorge J. E. Gracia.
The present essay attempts to shed light on the gender politics of Tobias Smollett's novel The Expedition of Humphry Clinker in relation to its spatial politics, and argues that geographic space functions as a framework within which gender contextualises both urban and rural culture. Drawing primarily on Henri Lefebvre's seminal post-modernist study of space, the paper argues that space is a social production that gives rise to representational effects. Chief among them is gender, and the essay analyses the way Smollett invokes and then subverts the traditional literary and cultural binary between country/femininity and city/masculinity. It thus advances a deconstruction of a familiar binary opposition between geographic and sexual stereotypes. Thus, the ultimate 'traveller' of Smollett's picaresque novel is none other than the reader who is invited to explore his/her identity by analysing Smollett's presentation of the formation of subjectivity through the intersections of space and gender as well as his ambiguous stance towards his contemporary status quo.