C. F. G. Masterman (ed.), The Heart of the Empire. Discussions of Problems of Modern City Life in England [1901]. Edited with an introduction by Bentley B. Gilbert. Brighton: The Harvester Press, 1973. (Society and the Victorians No. 8). £6·00.

Urban History ◽  
1974 ◽  
Vol 1 ◽  
pp. 111-113
Author(s):  
Anthony S. Wohl
Keyword(s):  
Modern City ◽  
City Life

Barnet, Boris (1902–1965)

2018 ◽  
Author(s):  
Vito Adriaensens
Keyword(s):  
Great War ◽  
German Expressionism ◽  
Modern City ◽  
City Life ◽  
Avant Garde ◽  
Dziga Vertov ◽  
Visual Characteristics ◽  
American Style ◽  
The Relationship

Boris Barnet (b. June 18, 1902, Moscow, Russia; d. January 8, 1965, Riga, Latvia) was a Russian actor, director, and professional boxer. He made his debut as an actor in Lev Kuleshov’s comedy Neobychainye priklyucheniya mistera Vesta v strane bolshevikov (The Extraordinary Adventures of Mr West in the Land of the Bolsheviks) (1924) along with Vsevolod Pudovkin, after they both famously attended Kuleshov’s three-year workshop on film principles that spawned the film. Barnet inherited Kuleshov’s montage principles, consisting of the combination of American-style fast cutting, combined with avant-garde techniques from French Impressionism and German Expressionism, thus setting it apart from its "dull" predecessors. For Kuleshov, the film came together in the editing room, where he insisted on the importance of the relationship between shots and scenes. Barnet debuted with the contemporary spy serial Miss Mend (1926), and became well known for his swiftly paced comedies; he was therefore somewhat of an anomaly in the propaganda-driven Soviet montage cinema. In his two most celebrated comedies, Devushka s korobkoi (The Girl with the Hatbox) (1927) and Dom na Trubnoi (The House on Trubnaya Square) (1928), Barnet took on the speed of modern city life and translated it into an elating style by combining the visual characteristics of Dziga Vertov with the rhythm and acting of someone like Buster Keaton. In the sound era, Barnet continued to impress internationally with lyrical masterpieces such as the understated Great War ensemble piece Okraina (Outskirts) (1933) and the impressionistic fisherman’s drama U samogo sinego morya (By the Bluest of Seas) (1936).

Characteristics of the Poreyonymes in the Onymic Sector of Ufa’s Urban Space

2018 ◽  
Vol 7 (5) ◽  
pp. 35-42
Author(s):  
Эльвина Салихова ◽  
Elvina Salikhova ◽  
Лейсан Дильмухаметова ◽  
Leysan Yarmukhametova
Keyword(s):  
Urban Space ◽  
Public Transport ◽  
Functional Characteristics ◽  
Modern City ◽  
City Life ◽  
Language Area ◽  
Transport Modes ◽  
Speech Situation

The study of the speech of the modern city life with the use of different approaches and methods – socio- and psycholinguistic methods, traditional structural and functional characteristics of the speech situation “Transport” and its components make it possible to describe the ethno-social “portraits” of participants in the designated area, provides researchers with a vast field for the study of specific speech behavior of people in the capital, serving in various roles (passenger or driver and not only public but also private vehicles, car owners, the original name is their property). In Ufa language landscape official and unofficial nominations coexist, poreyonums (the name of public transport modes) are among them and the interest to which is determined by their place, role and functions in toponymical sphere of Ufa language landscape. Existing in language area of RB cities unofficial names are formed both from the names of foreign and domestic automobile makes, and moreover the main ways of forming aliases are the same in both cases and are typical for speaking sphere. Vernacular words, units of youth slang and thieves’ argot are actively used when naming. The main tendencies of the existence of automobile unofficial names are inherent to all Russia cities.

Learning Cities

2019 ◽  
pp. 73-93
Author(s):  
Peggy Gabo Ntseane ◽  
Idowu Biao
Keyword(s):  
Transformative Learning ◽  
20Th Century ◽  
Learning Process ◽  
Sub Saharan Africa ◽  
Modern City ◽  
City Life ◽  
Indigenous Knowledges ◽  
The World ◽  
Sub Saharan ◽  
Learning Cities

This chapter opens up with the suggestion that the “leaning cities” concept may well apply to ancient cities since learning has characterized life in all cities of the world since time immemorial. However, it is acknowledged that the “learning cities” construct was specifically originated during the 20th century for the purpose of assisting city dwellers cope with the challenges of modern city life. Dwelling on the situation in Sub-Saharan Africa, the chapter reveals that learning cities projects are not currently popular in the sub-continent. This lack of interest has been attributed to the fact that Africans were never and are still not taken along during the process of transformation of both ancient and modern spaces into cities. Consequently, it is here recommended that a transformative learning process that uses both indigenous knowledges and endogenous city clusters as learning pads should be adopted for the revitalization of the implementation of learning cities projects in Sub-Saharan Africa.

Editorial: Urban Transformations in Rapidly Growing Contexts

2019 ◽  
Vol 44 (4) ◽  
pp. 4-4
Author(s):  
Yonca Hurol ◽  
Ashraf M. Salama
Keyword(s):  
20Th Century ◽  
Walter Benjamin ◽  
Charles Baudelaire ◽  
Political Event ◽  
Street Lighting ◽  
Modern City ◽  
City Life ◽  
Modern Cities ◽  
Urban Transformations ◽  
The Relationship

Cities have always been sources of inspiration for poetry. However, the modern western cities, which are the origins of secularity, have inspired poets in different ways. Charles Baudelaire captured the poetic dimensions of modernity in Paris in the 19th century. He wrote about the night life of Paris which became possible after street lighting. He wrote about corruption. Baudelaire also wrote about the changing character of commercial places in cities and tried to grasp the feelings of people as a ‘flaneur': an individual stroller at city streets. The philosopher Walter Benjamin got inspired by Baudelaire's poems and formed his philosophy, which relates poetics to modernity during the 20th century. Modern cities take an important role in his philosophy too, because Benjamin was making a collection of political event news in the cities of Germany. Then he had to leave Germany because of the growth of fascism. He left his collection behind. When he went to Paris he wrote about the passages and the poetic dimensions of modern city life. When Nazi army came to France, he had to leave Paris too. The poetry of Baudelaire and the philosophy of Benjamin are evidences for the poetic nature of modern city life. The relationship between the modern city and the free individual can easily be felt in their works. However, when you read heir work, you can easily understand that today's Paris is not the same Paris any more. It is still poetic, but in another way.

scholarly journals Prizren – Revitalizing the historic water channel system for modern city life

2018 ◽  
Vol 13 (1) ◽  
pp. 157-168
Author(s):  
Besa Jagxhiu ◽  
Krisztián Kovács-Andor
Keyword(s):  
Water Channel ◽  
Channel System ◽  
Modern City ◽  
City Life

“Our Wonderful Adventures in the Southwest”

2020 ◽  
pp. 113-169
Author(s):  
Melissa J. Homestead
Keyword(s):  
Willa Cather ◽  
American Southwest ◽  
Creative Work ◽  
Modern City ◽  
City Life ◽  
Full Treatment ◽  
Professor's House

Willa Cather and Edith Lewis traveled together to the American Southwest in 1915, 1916, 1925, and 1926, and southwestern travel became their shared passion, an escape from the pressures of modern city life into a realm of adventure. In the Southwest, Cather also sought experiences and information necessary for her creative work, and she transformed experiences she shared with Lewis into fiction. They informed Cather’s novels The Professor’s House and Death Comes for the Archbishop. This chapter describes their experiences as tourists and as women playing at being western cowboys. The chapter also gives full treatment to Lewis’s role as Cather’s editorial collaborator, using The Professor’s House as an example.

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