Writing the Asphalt Jungle: Berlin and the Performance of Classical Modernity 1900–33

10.1068/d256t ◽  
2003 ◽  
Vol 21 (2) ◽  
pp. 169-194 ◽  
Author(s):  
Alexander Vasudevan

In this paper I explore the textual performance of Berlin in the early 20th century, focusing on the multiple spaces of classical German modernity (1900–33) as they are described and reinvented within the poetics of a rapidly modernizing metropolis. It is argued that writing Berlin cannot offer a unifying text or conceptual system which arranges the city ipso facto into a single territory, a generalise space of selected indices and icons. Alternatively, the writing of the city explores the ongoing transformation of the city in text. My purpose in this paper is, therefore, irrefutably bound up with the capacity of the urban text to remap imaginatively the changing condition of the city onto the text itself—hence the fashioning of textual presences as surrogate city spaces. The notion of performance is furthermore deployed to account for the immediacy and evanescence characterizing the Berlin of classical modernity, a period that rehearsed the contradictions of modernization in accelerated form. From journalistic reportage to novels, the textual performance of Berlin necessitates an enabling reception and adaptation to the destabilizing nature of urban industrial modernity, which in turn can be plotted in two interrelated ways: first, in the proliferation of textual strategies which approximate the montage effect of the incipient modernization of the city; second, in the writerly anticipation of cinematic innovations as the scripting of a ‘moving’ urban culture of modernity. Taken together, these writings inhabit traveling geographies which provide models of performative identification for appropriating and embracing the complexity of the modern city.

2021 ◽  
Vol 201 (3) ◽  
pp. 534-545
Author(s):  
Janusz Zuziak

Lviv occupies a special place in the history of Poland. With its heroic history, it has earned the exceptionally honorable name of a city that has always been faithful to the homeland. SEMPER FIDELIS – always faithful. Marshal Józef Piłsudski sealed that title while decorating the city with the Order of Virtuti Militari in 1920. The past of Lviv, the always smoldering and uncompromising Polish revolutionist spirit, the climate, and the atmosphere that prevailed in it created the right conditions for making it the center of thought and independence movement in the early 20th century. In the early twentieth century, Polish independence organizations of various political orientations were established, from the ranks of which came legions of prominent Polish politicians and military and social activists.


Istoriya ◽  
2021 ◽  
Vol 12 (10 (108)) ◽  
pp. 0
Author(s):  
Sabira Iusupova

This article deals with the problem of the financial situation of Tashkent in the last third of the 19th — early 20th century on the basis of the materials of the office documentation of the Tashkent city self-government. These materials are contained in the funds of the Russian State Military Historical Archive, reflected on the pages of the pre-revolutionary local periodical. Based on the analysis of the income and expenditure estimates, the budget structure, sources of funds and their distribution are shown. The main problems in the financial sphere are identified, related to violations of the established deadline for the provision and approval of the city budget, with arrears, abuses of individual officials, which negatively affected the financial situation of the city. But despite these difficulties, some successes of the Tashkent city self-government in the socio-economic development of the city are noted.


Author(s):  
Анастасия Сергеевна Сиренко

Статья посвящена интерпретации образов города Феодосии в творчестве Константина Федоровича Богаевского – представителя «Киммерийской школы живописи». Приводятся итоги исследования вех творческой биографии художника, выстроенные в хронологическом порядке, учитывая особенности изменений стилистической манеры и решаемые им эстетические задачи. Охарактеризованы параметры и круг мастеров «Киммерийской школы живописи». Выбрав главной темой своего творчества в самом начале пути загадочную страну Киммерию, художник претворял ее в больших панорамных живописных произведениях и малоформатных рисунках и акварелях, отмеченных высоким мастерством и глубокой мифопоэтикой. Рассказывается о мастерской живописца, ставшей местом притяжения для многих гостей, представлявших творческую интеллигенцию Москвы и Ленинграда. Освещается вклад уроженца Феодосии и почитателя творчества К.Ф. Богаевского – И.М. Саркизова-Серазини в просвещение родного города среди модных курортов начала ХХ века, а также судьба его необычайной коллекции. The article is devoted to the interpretation of images of the city of Feodosia in the creativity of Konstanin F. Bogaevsky – the representative of the “Cimmerian painting school”. The results of the study of the milestones of the artist’s creative biography are presented, arranged in chronological order, taking into account the peculiarities of changes in the stylistic manner and the aesthetic tasks that he solves. The parameters and circle of masters of the “Cimmerian painting school” are described. Having chosen the mysterious country of Cimmeria as the main theme of his work at the very beginning of his work, he embodied it in large panoramic paintings and small-format drawings and watercolors, marked by high skill and deep mythology. The article tells about the artist’s workshop, which has become a place of attraction for many guests representing the creative intellectuals of Moscow and Leningrad. The contribution of the native of Feodosia and admirer of the work of Konstantin F. Bogaevsky – Ivan M.Sarkizov-Serazini to the enlightenment of his native city among the fashionable resorts of the early 20th century and the fate of his extraordinary collection is highlighted.


Author(s):  
Наталья Михайловна Гончаренко

Статья посвящена проблеме репрезентации города в творчестве художников Италии первой половины ХХ века, от футуристов до представителей римской школы . Отмечается, что на рубеже веков в раннем футуризме образы современного города интерпретировались как состояния души (в творчестве Умберто Боччони, Карло Карра). Впоследствии их место заняли изображения города-машины, как в живописи Луиджи Руссоло, и аэроживопись , где человеческим эмоциям уже не было места (примером могут служить произведения Тато и Тулио Крали). Одновременно, в противовес футуризму, существовал город в метафизической живописи , намеренно не желающей иметь ничего общего с современностью. Этот подход характерен для Джорджо де Кирико и Карло Карра. Наконец, в 19201940-е годы такие разные авторы, как Джорджо Моранди, Арденго Соффичи, Карло Карра, Марио Сирони, представители римской школы и ранний Ренато Гуттузо изображают свою повседневную среду обитания: небольшие итальянские города либо окраины Милана, Рима или Болоньи, которые они видят ежедневно. The article is devoted to the problem of city representation in the works of Italian artists of the first half of the 20th century, from futurists to representatives of the Roman school. It is noted that at the beginning of the 20th century, in futurist paintings, the images of the modern city were interpreted as states of the soul (in the works of Umberto Boccioni and Carlo Carr). Later there appeared images of the city as a machine, as in the painting of Luigi Russolo, and aero painting, where there was no longer any human emotion (works by Tato and Tulio Crali can serve as an example). At the same time, in contrast to futurism, there was city depictions in metaphysical painting. This approach was used by Giorgio de Chirico and Carlo Carr. Finally, in the 1920s and 1940s, such different authors as Giorgio Morandi, Ardengo Soffici, Carlo Carr, Mario Sironi, representatives of the Roman school and the early Renato Guttuso depict their everyday habitat: small Italian cities or the outskirts of Milan, Rome or Bologna, which they saw every day.


2020 ◽  
Vol 2 (2) ◽  
pp. 15-23
Author(s):  
Rahmia Nurwulandari ◽  
Kemas Ridwan Kurniawan

Bandung experienced a rapid urban development after 1918, when the city was prepared to be the new Dutch East Indies’ capital city, replacing Batavia. In the era of economic liberalization, Bandung also became one of the tourist destinations that has promoted by the businessmen. This paper is a study on how mass tourism as the new urban culture in the beginning of 20th century had a contribution to urban planning in Bandung. The timeline was after the establishment of train as a modern transportation in Bandung (1884) until the end of the Dutch Colonialism in Dutch East Indies (1942). Through the Georg Simmel's theory of sociology and the city, I tried to analyze the the tourism activity and its relations to the 20th century urban architecture in Bandung, West Java. I use the method that was introduced by Iain Borden and friends in The Unknown City to understand tourism and urban history of Bandung through the spatial practice, city representation and experiences. 


Author(s):  
Guadalupe García

The Cuban city of San Cristóbal de la Habana has been a nodal point of economic, commercial, political, and cultural exchange since its 1519 founding on Cuba’s northern shore. Residents’ decision to locate the city next to the natural deepwater harbor that became today’s harbor, illustrates the importance of geography, space, and environment in Havana’s early history. Through the distinct environs of Havana, enslaved, free black, Spanish, immigrant, criollo (and later Cuban) residents defined and gave new meaning to a geography marked by the city’s colonial origins. The end of the 19th century and early 20th century marked the end of Spanish colonialism in Cuba (1898) and the beginning of the US occupation of the island (1899–1902). The political transition solidified the importance of Havana as the economic and political center of Cuba. The city became a broker of a new set of cultural, social, and political exchanges as the country’s economic prosperity—the result of an affinity for US and global capitalist markets—also inaugurated a booming and pervasive tourist economy. Western influence and a neocolonial relationship between Cuba and the United States engendered an urban renaissance that emphasized cosmopolitanism and a dynamic, highly mobile urban population. Havana’s built environment oriented residents and visitors alike to its modern architecture, seaside resorts, and dynamic nightlife. The city’s concentration of wealth, however, underscored continued disparities between Cuba’s urban and rural populations as well as within sectors of the urban population. There is a well-developed body of scholarship that addresses the complicated history of the city, especially for the colonial period and the early 20th century. Until recently, there was a scarcity of literature on the city following the revolutionary transition of 1959. This changed, however, with the onset of the 1980s. In 1982 UNESCO declared the colonial core city of Havana a World Heritage Site. Urban renewal and preservation became topics of scholarly discussions around administrative efforts to preserve, restore, and orient the direction of the city. Then, in the early 1990s, urban development in Havana (like all development in Cuba) come to an immediate halt after the dissolution of the USSR ended Soviet subsidies and precipitated one of the worst economic disasters in Cuban history. The country’s political and economic situation and the liberalization of the economy and the growth of tourism brought an ever-increasing interest in the issues and environment of the city, with scholars taking up the now familiar themes of access to the city, political inclusion and exclusion, and urban patrimony in their scholarship. As a field of study the literature on Havana mirrors the frameworks found in the broader field of urban history. The literature breaks down into two distinct subfields; those studies that examine “the history of the city” and those that examine “histories that unfold within cities” (See Brodwyn Fisher’s article Urban History in Oxford Bibliographies). The former has long dominated the literature on Havana, and only recently has new scholarship begun to approach the city as a subject in its own right or from the vantage points of disciplinary perspectives outside of history, architecture, and planning. In this essay I have chosen to introduce readers to the vast literature that centers explicitly on the development of the city, much of which was published in Cuba from the 19th century onward. This literature forms part of a well-known cannon in Cuba (including work in the Spanish-language press produced outside of the island) but might be lesser known to non-specialists. I have also included well-established, as well as recent and emerging, works where Havana assumes a central role in the narrative. I have done this in order to broaden the categorical analysis of what constitutes a history of or about Havana. As with any bibliographic essay, I have excluded much in order to provide an overview of Havana and familiarize readers with scholars who explore thematic interests in questions of race, slavery, or culture through the social fabric of the city. Where appropriate, I have organized the essay according to time period or publication date (in order to give the reader an idea of the scholarship on colonial architecture, for example). Finally, most titles on this list can easily be placed in more than one of the categories listed in the Table of Contents; for the sake of space I have cross-listed only a few of these works, but indicated when readers might find other sections of the essay useful.


2021 ◽  
Vol 19 (1) ◽  
pp. 29-45
Author(s):  
Alessandro Taddei

Abstract Cross-in-square churches are an exceptional feature for the middle Byzantine architecture of Constantinople. The simpler variant of this architectural type is widely known from ‘provincial’ contexts but appears seldomly throughout the city. It should not be absent from modern scholarship, since some few examples of this type of church had survived well into the early 20th century. Because of this paucity of scholarship, the history, functions, and phases of these small edifices are mostly unknown. The now lost Sekbanbaşı Mescidi is a case in point.


2013 ◽  
Vol 13 (3) ◽  
pp. 656-665 ◽  
Author(s):  
E. Topçu ◽  
G. Liman ◽  
A. H. Topçu ◽  
Y. A. Baykal

Until the late 19th and early 20th century, public fountains (in Turkish, ‘çeşme’) in Anatolia and Ottoman lands had an important place in everyday life. The water that was collected from various water sources and brought to the city centres through waterlines was supplied to people from the architectural stone structures which we call ‘fountains’. These fountains were constructed in squares and streets as needed; to supply water to an area or to pay for the building of a fountain was considered the greatest deed. An inseparable part of the public fountains, many of which are architectural monuments, is the faucets which are generally made of metal and through which the water would run. The faucets were also named as ‘lüles’ (meaning ‘pipes’) which indicated the flow rate of water. Faucets were paid great attention in the construction of public fountains. This work examines the Seljuq and Ottoman era faucets registered in the Turkish and Islamic Arts Museum as historic artefacts and are a part of the Adell Armature Collection. Within this scope, the alloys and metals of which faucets are made; their size and measurements, their design features, on and off mechanisms, wall-mount features, the patterns and decorations on the faucets were also compared. While Seljuq era faucets have stylised dragon heads and other powerful animals depicted in their metal work, Ottoman era faucets usually have floral patterns and not animal figures. This subject draws much attention.


World Science ◽  
2020 ◽  
Vol 3 (5(57)) ◽  
pp. 20-24
Author(s):  
Ivanova Karina Andriivna ◽  
Khirina Anna Oleksandrivna ◽  
Balabay Yana Volodymyrivna

The article is devoted to the one of the most outstanding scientists of Kharkiv University of the late 19th – early 20th centuries – professor of The History and Philology Faculty of Kharkiv University Mykola Sumtzov. The authors paid attention to the contribution of Mykola Sumtzov in the study of Alexandr Pushkin poetry and his activities to memorialize of poet’s personality in the city of Kharkiv. Mykola Sumtzov’s study of the most famous poetry of Pushkin are analyzed in the article. Sumtzov reviewed and analyzed Pushkin poems in detail, searched for analogues and parallels with the works of other authors. He took interest in creative conditions of the poet, in his special style and in his rich spirituality. Mykola Sumtzov as the most devoted admirer made great efforts to commemorate Alexander Pushkin in Kharkiv. He understood an outstanding importance of Pushkin’s poetry in the development of culture. Sumtzov wrote that in the conditions of early 20th century Russian Empire reality only free culture would promote the development of flourishing Ukrainian culture.


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