From Literal to Spiritual Soldiers of Christ: Disputed Episcopal Elections and the Advent of Christian Processions in Late Antique Rome

2012 ◽  
Vol 81 (2) ◽  
pp. 298-327 ◽  
Author(s):  
Jacob A. Latham

There were at least five disputed episcopal elections in the fourth through the sixth centuries. This intra-Christian competition did not, however, lead to the contestation of space in the form of processions as it did, for example, in Constantinople. At Rome, intra-Christian competition took the form, at least rhetorically, of siege and occupation. Instead of conquering urban space through processions—impossible as the Roman aristocracy and their patronage of traditional spectacles still dominated and defined the public sphere—Roman Christians resorted to warfare, until the mid-sixth century C.E. when an impoverished aristocracy ceased to lavish its diminished wealth on traditional forms of public display.Throughout all of these electoral disputes a number of elements consistently emerge: one, the use of martial language to describe the events; two, the concentration on a few contested sites; and three, internal divisions among Roman Christians. A strategy of militaristic occupation of centrally important churches clearly marked these schisms, as each side marched upon and occupied the principal churches of Rome, invading and expelling their enemies from other principal churches when they could. The martial language in the descriptions of these conflicts often veered close to the religious, indicating, hinting, that the origins of Christian processions lie in conflict and battle. From the literal soldiers of Christ, armed with clubs, rocks, and swords, emerged spiritual soldiers bearing crosses and singing hymns.

Author(s):  
Yuliya Kuzovenkova ◽  

The last two decades have been a time of serious transformation of youth subcultures. Researchers speak about the formation of the postmodernism paradigm of subculture and the virtualisation of sociocultural phenomena. The subcultural subject and the power that formed it continue to exist in the new realities, but are undergoing a transformation. Changes having occured to the public sphere were especially significant for a subcultural entity since it is the public sphere where a subcultural entity can present itself to authorities, thereby maintaining its social subsistence. Our research was aimed at studying how the transformation of the public sphere has affected the entity’s subculture. For the study, the authors employed the method of a qualitative half-structurated interview and draw on the disciplinary authority concept suggested by M. Foucault. The analysis was based on materials of interviewing some representatives of the graffiti subculture in the city of Samara (twenty-two people) from 2016 to 2018. The author has established that the subcultural subject is processual and dependent on the practices in use; a change in practices leads to a change in the subject. Changes of practices in the graffiti subculture were a result of the virtualisation of culture. The author has identified the changes that have taken place in the subcultural subject under the influence of the transformation of the public sphere (the ‘short time’ of instantaneous fame prevails over the ‘long time’ of the symbolic capital of the nickname, new space-time coordinates within which the entity exists, the ‘digital body’ of the subcultural entity becomes ever more informative rather than that which was created via sketches placed in urban space). Unlike the public sphere, the private sphere under the influence of a subculture ideology remains unchanged.


2012 ◽  
Vol 42 (166) ◽  
pp. 151-162
Author(s):  
Michael Janoschka ◽  
Jorge Sequera

The radical conquest of public space and its transformation into political spacehave introduced major alterations of the Spanish public sphere after the outbreak of the 15-Mmovement. Such modifications refer also to a topic of symbolical interest, which is the conceptionand configuration of urban space – a space that in the course of neoliberal urbanproduction has been characterized as a residual category and a place of controlled and profitorientedactivities. By analysing key practices of the protest movement, the article brings togetherdebates from critical urban geography and political theory. In a first step, it develops aconceptual perspective towards the multiple logics of neoliberal urbanism and the transformationof public space. Subsequently, counter-hegemonic spatial politics and urban demandswill be discussed through the conceptualization of protest as acts of citizenship, proclaimingthe construction of the public sphere and public space via strategic disobedience and thetransgression of rules and laws. Protest camps, public political assemblies and recent squattingcan be analysed as newly created spaces of citizenship that reconstruct the meaning of publicspace and of a political and politicised public sphere, claiming different ways of policy making.


Author(s):  
Dave Colangelo

This chapter introduces the concept of massive media, a term used to describe the emergence of large-scale public projections, urban screens, and led façades such as the illuminated tip of the Empire State Building. These technologies and the social and technical processes of image circulation and engagement that surround them essentially transform buildings into screens. This chapter also introduces theoretical concepts surrounding space, media, cinema, monumentality, and architecture in order to provide a framework for the analysis of the emergence of the building as screen. These concepts are key axes upon which the ongoing transformations of the public sphere revolve. Subsequent chapters are introduced in which massive media is probed, in case studies and creation-as-research projects, for its ability to enable new critical and creative practices of expanded cinema, public data visualisation, and installation art and curation that blend the logics of urban space, monumentality, and the public sphere with the aesthetics and affordances of digital information and the moving image.


2005 ◽  
Vol 32 ◽  
pp. 43-71 ◽  
Author(s):  
Zeynep Gambetti

“In the East, understanding is a surreptitious shroud.”Kemal Varol“Men come into existence through their struggles”This study aims to contribute to efforts to understand how redress occurs in local contexts impaired by armed conflict. Its particular focus is on events, dynamics and forms of relationality that (re)create public spheres on a local level. It takes the city of Diyarbakır, the largest in Southeastern Turkey, as the vantage point from which to explore the transformation of a site of violent conflict into a space for the expression of differences that were either nonexistent or suppressed. Since the beginning of the armed uprising of the Kurdistan Workers' Party (PKK) in 1984, the majority of political actors in Diyarbakır have in effect been polarized into two antagonistic camps (the Turkish state vs. the PKK). With the end of armed conflict five years ago, Diyarbakır has been astoundingly transformed into a paradise for civil society activists. The dynamics through which new urban spaces of existence and of expression have been created have not ceased being conflictual. In exploring the formative function of micro and macro struggles on publicness, the theoretical intent of this study is to argue against the Habermasian conceptualization of the public sphere.


2011 ◽  
Vol 37 (6) ◽  
pp. 817-835 ◽  
Author(s):  
Guoxin Xing

This article looks into urban Chinese working-class leisure culture through a case study of the transformed Workers’ Cultural Palace in Zhengzhou in Henan province. Making timely and engaging contribution to the discussion on changing working-class subjectivities in post-Mao China, the author investigates Zhengzhou workers’ cultural and communicative activities, including songs, dramas and political discussions in an urban space. The case study provides hints of a re-politicized space which constitutes a public sphere, attended by the working class, of free discussion on class inequalities and related issues. In the emergent public sphere inhabited by urban workers, class consciousness is nurtured as distinct from the Chinese middle class. The findings point to contested public spheres in China’s increasingly class-divided society and the return of class politics at the bottom rungs, taking issue with seemingly conventional wisdom purporting to declare the end of class in practical Chinese politics and scholarly Chinese studies.


1970 ◽  
Vol 14 (3) ◽  
pp. 50-60
Author(s):  
Agnieszka Chęć-Małyszek

What would art be if it were not viewed by people and could not influence the environment? Without the audience and spectators, it would be nothing, therefore it should be accessible and “graspable” for everyone. Elements of art placed in urban space have always enriched the “urban tissue”, providing man with many positive experiences. They enter into a dialogue with the city’s inhabitants, contribute to the growth of the its potential, and at the same time, influence all the senses of human beings. Art in urban space influences the perception of its audience, encourages dialogue, and creates a platform for better understanding of people’s needs and their functioning in the public sphere. It also plays an important role in the process of socialisation of the society, regardless of where it is exhibited.


eTopia ◽  
2009 ◽  
Author(s):  
Michele Anderson

Dragan Klaic, a leading researcher on festivals in Europe, believes the new emerging purpose of festivals is that they"increasingly… are not just artistic packages with appealing and valued content but instruments to re-examine the urban dynamics, … within the city space.…[F]estivals challenge the habitual pathways and perceptions…. In the urban space, functionally dominated by housing and consumerism, festivals reaffirm the public sphere in its civic dimension, including polemic, debate, critique and collective passion for a certain art form or topic.… [F]estivals appear as a precious force to mark the perimeters of the public sphere, upgrade it by the concentration of creative gestures and their collective appreciation"(202-203).Klaic captures a theme of central importance, one that has been debated already within the context of broadcast media, the Internet and newspaper industry, but that still has yet to be thoroughly explored by theorists within the context of the cultural sphere of festivals: the public sphere. Specifically, because of the nature of festivals as a spatiotemporal event within the physical space of the city, and because political, socioeconomic as well as artistic-cultural spaces intersect the festival event, festivals areunique points of convergence in the context of the public sphere.


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