Art World City: The Creative Economy of Artists and Urban Life in Dakar, by Joanna Grabski, Bloomington: Indiana University Press, 2017. 308 pp., 57 color ill. $45.00 paper

African Arts ◽  
2019 ◽  
Vol 52 (2) ◽  
pp. 95-96
Author(s):  
Erin Schwartz
Keyword(s):  
Urban Life ◽  
World City ◽  
Creative Economy ◽  
Art World ◽  
Indiana University

Art World City: The Creative Economy of Artists and Urban Life in Dakar

2019 ◽  
Vol 31 (3) ◽  
Author(s):  
Olga Kanzaki Sooudi
Keyword(s):  
Urban Life ◽  
World City ◽  
Creative Economy ◽  
Art World

Art World City

2017 ◽  
Author(s):  
JOANNA GRABSKI
Keyword(s):  
World City ◽  
Art World

Urban Claims and Visual Sources in the Making of Dakar's Art World City

Art Journal ◽  
2009 ◽  
Vol 68 (1) ◽  
pp. 6-23 ◽  
Author(s):  
Joanna Grabski
Keyword(s):  
World City ◽  
Art World

Dickens

Human Forms ◽  
2019 ◽  
pp. 123-157
Author(s):  
Ian Duncan
Keyword(s):  
Human Life ◽  
Shared Vision ◽  
Urban Life ◽  
World City ◽  
Natural Order ◽  
Moby Dick ◽  
Bleak House ◽  
The World ◽  
Artificial Nature ◽  
The Aesthetic

This chapter explores Herman Melville's Moby-Dick and Charles Dickens's Bleak House. Dickens brings to a head the Romantic intuition about urban life developed by Walter Scott and Victor Hugo in their novels of Paris: the world-city, the total human habitat, is where human nature comes undone. Monsters belong here, as modern cinema confirms. For all both novels' shared vision of a scale of natural history overwhelming human life, Dickens's leviathan affords an insight the reverse of Melville's. Where the whale is a living creature, the embodiment of a planetary ecosystem, Dickens's dinosaur is a phantasmatic emanation of the Victorian metropolis—an allegorical figure for the “Dickens World.” Against Moby-Dick's sublime vision of the world as a nonhuman natural order, upon which humanity imprints its violent signature of epic striving, the world of Bleak House is unnatural, man-made, an “artificial nature,” which reconstitutes its human origins in the aesthetic mode of the grotesque, according to a genetic logic of monstrosity, and is legible through the techniques of allegory.

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