scholarly journals Kształtowanie pamięci i polityki historycznej na przykładzie przestrzeni miejskiej Budapesztu

Politeja ◽  
2021 ◽  
Vol 18 (5(74)) ◽  
pp. 89-107
Author(s):  
Tadeusz Kopyś
Keyword(s):  
Collective Memory ◽  
Urban Space ◽  
Memory Formation ◽  
Community Empowerment ◽  
Political Elites ◽  
The City ◽  
Political Groups

Shaping of the Memory and Historical Policy in Hungary. The Case of Urban Space of Budapest Naming or changing street names (the same applies to monuments) means that certain political groups or communities can control the city. Activities in the urban space have great potential as they can lead to both community empowerment and fragmentation. Since 1989, the canon, or historical epochs to which the changing political elites at the helm of power tried to refer to by building a new urban space, also changed. The actions of Hungarian governments in the area of collective memory formation after 1989 can be described as incoherent. They leave their mark on the shape of the city, sometimes arousing consternation and sometimes the suspicion that certain decisions have a political overtone.

Improvising Chicago

2009 ◽  
Vol 5 (1) ◽  
Author(s):  
Tamas Dobozy
Keyword(s):  
Collective Memory ◽  
Urban Space ◽  
Short Story ◽  
Cultural Landscape ◽  
Short Story Cycle ◽  
Urban America ◽  
New Perspective ◽  
The City ◽  
Civic Space

Aldo Rossi's The Architecture of the City articulates how civic space intersects with collective agency: "One can say that the city itself is the collective memory of its people, and like memory it is associated with objects and places [. . .] The collective memory participates in the actual transformation of space in the works of the collective, a transformation that is always conditioned by whatever material realities oppose it" (130). Rossi's contention—that the development, or "transformation," of urban space is accomplished by a collective deploying memory in its struggle with material reality—is the scene of Stuart Dybek's southside Chicago in, The Coast of Chicago. Where this short story cycle deals with musical improvisation it dramatizes Rossi's contention by showing how memory not only resists "material realities"—in this case the demolition of southside neighborhoods initiated by Mayor Daley—and not only preserves ethnicity—especially the Polish and Chicano diasporas Dybek writes about—but also enables what Thomas S. Gladsky has called "a trans-ethnic urban America [. . .] a diverse cultural landscape where ethnicity transcends national origins but remains vital" (117). Dybek's ethnic self is a processual subjectivity, improvisatory rather than definitive, "based [less] on national origins [than] on a shared sense of ethnicity as a condition of Americanness" (Gladsky 115). In the story "Blight" characters inhabit a neighborhood where "the city was tearing down buildings for urban renewal and tearing up streets for a new expressway, and everywhere one looked there were signs in front of the rubble reading: sorry for the inconvenience / another improvement / for a greater Chicago / Richard J. Daley, Mayor" (44). Yet it is this demolition of monuments, this assault on what Rossi calls "the Locus" ("a relationship between a [. . .] specific location and the buildings that are in it" 103), this demonstration of the materiality of civic space that allows the characters to reawaken to the transformative potential of community: "It was the route we usually took to the viaduct, but since blight had been declared we were trying to see our surroundings from a new perspective" (45). Awakening to "new perspectives" as a result of civic "improvement" Dybek's characters cast off a determinate subjectivity and realize the action of the collective in the determination of civic reality. When the characters go to the viaduct off Douglas Park and begin improvising a "blues" by "slamming an aerial or board or chain off the girders, making the echoes collide and ring [. . .] clonk[ing] empty bottles and beer cans [. . .] shouting and screaming like [. . .] Howlin' Wolf" (48) they are joined by "a train [. . .] booming overhead like part of the song" (48)and by "a gang of black kids" at the other end of the viaduct who "stood harmonizing from bass through falsetto just like the Coasters, so sweetly that though at first [the characters] tried outshouting them, [they] finally shut up and listened, except for Pepper keeping the beat" (48). The fragments of the city are used to enable collectivity, to remember what the city is for. The attempt of civic authority to wrest memory from its inhabitants by making it impermanent, fragmentary, demolished, is precisely what restores agency by giving way to a subjectivity that is the scene of salvage. In this way communities become aware of their ability to define landscape, to alter "perspective" and take possession of space, to regard ethnicity as a common instrument, as if out of material destruction it might be possible to make of memory something more powerful than memorization, defying institutional permanence—civic or ethnic—for a community that is elastic, responsive, aware of its relationships with and within the spaces it inhabits.

scholarly journals Panem et circenses [1] at Largo da Carioca, Brazil: the urban diversity focused on people-environment interactions

1970 ◽  
Vol 6 (1) ◽  
Author(s):  
Ethel Pinheiro ◽  
Cristiane Duarte
Keyword(s):  
Collective Memory ◽  
Urban Space ◽  
Rio De Janeiro ◽  
Open Space ◽  
Local Community ◽  
Participant Observation ◽  
Field Research ◽  
Urban Site ◽  
Open Spaces ◽  
The City

This paper explores how outdoor performances actively define and create the essential character of open spaces in Brazil, a country known for its overwhelming abundance of outdoor life. We investigate the importance of open spaces within the urban fabric, and consider the ways in which the history and aspirations of the local community become meaningfully woven into these spaces. We chose an open space, or largo [3], in the city of Rio de Janeiro called Largo da Carioca, which embodies the relation between collective memory and appropriation. We then consider how the Largo has consistently been used as an arena of performance despite the intense urban changes and movement of people over the last 50 years. As a way of grasping the dynamic of the activities of the Largo da Carioca we adopted two approaches: historical-evolutive and participant observation. The first concerns the evolution of the urban space of Largo da Carioca and the background of outdoor performances as a way of introducing the popular arts of Rio de Janeiro, and as a way of connecting our theoretical analysis to the field research. In the second approach we use tools and methods from ethnographic research such as field annotations, direct interviews and visual resources, like photographs and video-shooting, so as to fulfill and complement our work. We argue that the urban essence of these performances is related to the ‘inviting’ conditions of this particular urban site and to its (in)formal structures, uses and regular activities. It invites – because of its openness, formal and social largeness and amplitude – a singular melange of uses and appropriations through which the formal and social are amalgamated – for, as one informant said, it is ‘an open space of constant comings and goings’ (Igor Ferreira, 13/07/03).

scholarly journals Ciudad como escenario del arte urbano. Imagen y palabra como espacio simbólico de reivindicación social contemporáneo

2017 ◽  
Vol 5 (3) ◽  
pp. 323
Author(s):  
Pedro Ortuño Mengual ◽  
Sofía Corrales Rodriguez
Keyword(s):  
Collective Memory ◽  
Public Space ◽  
Urban Space ◽  
Social Problems ◽  
Urban Art ◽  
The Public ◽  
Rhetorical Figures ◽  
Martha Rosler ◽  
The City

This article tries to analyse the work of two authors: Martha Rosler and Rogelio Lopez from the interest that both show in their productions about issues on the citizenship, the collective memory, and the urban space where converge the longings and interests of those that inhabit it. Regarding the methodology employed, it has been based in the qualitatively analysis of the works, of the thought and of the type of language used by both artists.The symbol, the image and the word through the appropriation of advertising resources are inherent characteristics to the work of both. It is a matter of making visible those social problems inserted in the urban space, through the poetics of the language. Therefore, we appreciate that the city, the community and the public space become one of the main keys in the productions of both artists. That is, the search for communication between artist and citizenship based on rhetorical figures (allegories, metaphors, paradoxes, ironies, etc.) where language is protagonist alongside the appropriation of images as a way of making visible the invisibilities within their works inserted in the contemporary urban art.

scholarly journals Vectors of City Development in Kosovo in the 20th and 21st Centuries: Origins and Consequences

2021 ◽  
Vol 17 (48) ◽  
pp. 179-210
Author(s):  
Denis Ermolin
Keyword(s):  
Urban Space ◽  
Political Elites ◽  
Behavioral Models ◽  
City Development ◽  
Spatial Changes ◽  
The Social ◽  
The Everyday ◽  
History Of ◽  
Ideological Attitudes ◽  
The City

The article explores the social and spatial phenomena in the development of three cities on the territory of Kosovo (and Metohija) — Pristina, Prizren and (Kosovska) Mitrovica in the history of the region in the 20th and 21st centuries. All these cities used to contain Turkish, Albanian, Serbian (and more broadly Slavic-speaking), Jewish and Gypsy quarters with shared urban (as opposed to rural) identities. The paper argues is that the interweaving (sometimes even conflicting) of two vectors — “inner logic” and “the logic of the victor” — forms the image of the city, thereby largely determining the everyday life and behavioral models of its inhabitants. Moreover, the evolving urban space itself can be viewed as an actor segmenting various social, ethnic and confessional communities. Thus, the author poses the following questions: What are the historical prerequisites for the transformations of the sociocultural landscape of the cities of Kosovo at the turn of the XX–XXI centuries? What spatial changes in urban space have followed the new social realities and the armed conflict in Kosovo? How can urban space be used to form and broadcast ideological attitudes by political elites?

scholarly journals PRACTICES OF URBAN COMMEMORATION: FEATURES OF THE CITY CULTURAL MEMORY FORMATION

2020 ◽  
pp. 130-143
Author(s):  
Natalia G. Fedotova ◽  
Keyword(s):  
Urban Space ◽  
Cultural Memory ◽  
Memory Formation ◽  
Cultural Meanings ◽  
Institutional Practices ◽  
The Social ◽  
Cultural Construct ◽  
The Media ◽  
Symbolic Resource ◽  
The City

From the standpoint of the cultural approach, the cultural memory of the city is a complex space for storing, transmitting and updating the cultural meanings of the city (events, dates, legends, myths, famous personalities, places, etc.). The scientific interest in its research is explained by the fact that the cultural memory of the city is a symbolic resource capable of determining the urban reality, identifying the present and future of the city. The presence of current and potential layers gives the cultural memory of the city the property of mobility, which makes it necessary to artificial support the city cultural meanings and, on the contrary, opens up the possibility to update their repertoire in the urban space. This function is performed by the practice of urban commemoration as a means of forming the cultural memory of the city. Since the cultural memory of the city is a socio-cultural construct, there-fore, the role of urban commemoration increases, which, through the actualization of episodes of the past, determines what to remember and how to perceive cultural meanings. The identification and analysis of urban commemoration practices can be carried out on the basis of studying the specifics and conditions of broadcasting commemorative information, through an in-terdisciplinary synthesis of available fragmentary studies. Thus, a variety of urban commemoration practices should be presented using the following typology: a) visual and verbal practices; b) emotion-al and cognitive practices; c) institutional practices; d) performative practices; e) symbolic practices. Separately, it is necessary to highlight the practices of urban commemoration, which purposefully shape the cultural memory of the city and are directly related to the memorial culture of the city, which sets the contours of the social policy of memory. The general condition of commemorative practices is communication, which provides the process of structuring cultural memory itself. It is in the process of communication that symbolic marking of the cultural meanings of the city is carried out through the transformation of individual memories into collective ones, as well as through the cultivation of the city memory fragments (actual or latent). In the era of the information society, a special communica-tive role belongs to the media as a powerful generator of cultural meanings that accumulates com-memorative practices. Becoming a part of the media field, a fragment of cultural memory can acquire a certain value, become famous, get a peculiar assessment and interpretation. The presented typology of practices of urban commemoration and the revealed features of their representation in the urban environment are primary in nature and are an attempt to unite separate studies into a single continuum, thus creating the conditions for a comprehensive understanding of the mechanism of the city cultural memory formation.

scholarly journals KHARKIV AS CAPITAL: UTOPIA, CONSTRUCTIVISM, MEMORY (1919-1934)

2020 ◽  
pp. 36-44
Author(s):  
Anastasiia Bozhenko
Keyword(s):  
Collective Memory ◽  
Urban Space ◽  
Mass Action ◽  
Avant Garde ◽  
Architectural Styles ◽  
Imperial Period ◽  
Short Period ◽  
City History ◽  
The City ◽  
Official Status

The discourse of «First capital» is one of the main in the identity of contemporary Kharkivites and its appearance in memory politics is systematic. The short period in city history, when it had official status of capital, left an unproportionally big mark in the collective memory. We would like to study how the capital status was «built» in Kharkiv architecture. Kharkiv, which during the imperial period was a huge regional centre for so-called «Russian South» or «Slobids’ka Ukraine region», was growing rapidly at the beginning of the Soviet era. Its territory was increased in 5,7 times from 1910 till 1930. The city was changed not only in sizes but by its planning structure. The «old» city was criticized for its chaotic structure and architectural styles. Thus new one was imagined as a proletarian utopia with planned quarters and residential complexes. KhTZ was visioned in the crossing of several urban concepts: city garden, desurbanisation and linear city. Industrial objects such as Serp i Molot, KhTZ, Kharkiv Locomotive Factory marked the urban space and created industrial cityscape. Among the main architectural markers of new capital were Derzhprom, Building of Cooperation and Projects and Theater of mass action. The competition for Theater of Mass Action attracted more than 145 architects, among them 100 foreign ones. The image of Kharkiv as capital was avantgarde, utopian, industrial and proletarian one. Contemporary urban palimpsest is cleared most of avant-garde buildings and visitor imagines Kharkiv as the city of Stalin ampir, not the constructivist one. Mentioning «First capital» is not necessary reference to the period of 1920s-1930s, mostly it is about nostalgia for Soviet past at all.

scholarly journals O źródłach pamięci miasta w nowoczesności

2011 ◽  
Vol 55 (4) ◽  
pp. 93-106
Author(s):  
Magdalena Saryusz-Wolska
Keyword(s):  
Collective Memory ◽  
Urban Space ◽  
Urban Experience ◽  
History Of ◽  
The Media ◽  
And Migration ◽  
City Memory ◽  
The Relationship ◽  
The City

The analysis of urban experience of modernity developed simultaneously with the analysis of collective memory. Urban space is related with a palimpsest metaphor, which includes urban memory in the history of memory understood as a history of the media. In recent years the relationship between memory and a city is analyzed on the examples featuring multiculturalism and migration movements of the cities of the Central Europe, e.g. in the Vienna monograph ca. 1900 Das Gedächtnis der Städte (The Memory of the City) by Moritz Csaky. On the other hand, the media paradigm is used by Christine Boyer, who analyses visual manifestations of city memory in her book The City of Collective Memory. Juxtaposition of the two mutually complementing scientific attitudes invokes a need to postulate a deeper analysis of the role of popular culture and visuality in shaping the memory of cities, as well as conducting further studies on cross-country and transnational “cultural tangles”.

Transnational Habitus and Sociability in the City: Zimbabwean Migrants’ Experiences in Johannesburg, South Africa

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Khangelani Moyo
Keyword(s):  
South Africa ◽  
Urban Space ◽  
Field Research ◽  
The South ◽  
Economic Networks ◽  
Social Field ◽  
Transnational Migrants ◽  
Telephone Calls ◽  
The City

Drawing on field research and a survey of 150 Zimbabwean migrants in Johannesburg, this paper explores the dimensions of migrants’ transnational experiences in the urban space. I discuss the use of communication platforms such as WhatsApp and Facebook as well as other means such as telephone calls in fostering the embedding of transnational migrants within both the Johannesburg and the Zimbabwean socio-economic environments. I engage this migrant-embedding using Bourdieusian concepts of “transnational habitus” and “transnational social field,” which are migration specific variations of Bourdieu’s original concepts of “habitus” and “social field.” In deploying these Bourdieusian conceptual tools, I observe that the dynamics of South–South migration as observed in the Zimbabwean migrants are different to those in the South–North migration streams and it is important to move away from using the same lens in interpreting different realities. For Johannesburg-based migrants to operate within the socio-economic networks produced in South Africa and in Zimbabwe, they need to actively acquire a transnational habitus. I argue that migrants’ cultivation of networks in Johannesburg is instrumental, purposive, and geared towards achieving specific and immediate goals, and latently leads to the development and sustenance of flexible forms of permanency in the transnational urban space.

Ukraina Wschodnia jako przestrzeń symboliczna w prozie Serhija Żadana – na podstawie powieści Woroszyłowgrad i Mezopotamia

2020 ◽  
pp. 233-248
Author(s):  
Marta Zambrzycka ◽  
Paulina Olechowska
Keyword(s):  
Urban Space ◽  
City Space ◽  
Current Events ◽  
The Subject ◽  
The City

The subject of the article is an analysis of the three aspects of depicting urban space of Eastern Ukraine, focusing specifi cally on the Donbass region and the city of Kharkov as depicted in the novels Voroshilovgrad (2010) and Mesopotamia (2014) by Serhiy Zhadan. The urban space of Eastern Ukraine overlaps with the most important values that shape a person’s personality and aff ect her or his self-identifi cation. The city space is also a “place of memory” and experiences of generations that infl uence current events. In addition to the historical and axiological dimension, the imaginative aspect of space is also important. This approach is used by the author to describe the urban space as a functioning imagination or stereotypes associated with it as opposed to its realistic depiction.

Categorias analíticas do espaço e Turismo: o exemplo da Fortaleza de Santa Cruz, Niterói/RJ

GEOgraphia ◽  
2010 ◽  
Vol 8 (16) ◽  
Author(s):  
Miguel Ângelo Ribeiro
Keyword(s):  
Social Sciences ◽  
Urban Space ◽  
Rio De Janeiro ◽  
Future Generations ◽  
Guanabara Bay ◽  
Single Family ◽  
Spatial Dynamic ◽  
Santa Cruz ◽  
Military Installations ◽  
The City

O objetivo que permeia a presente pesquisa é utilizar a Fortaleza de Santa Cruz, localizada no bairro de Jurujuba, em Niterói, construída em 1555, na entrada da barra da Baía de Guanabara, como foco de antílise, ressaltando a importância deste fixo social enquanto atração turística e de lazer, incluindo a cidade de Niterói no circuito destas atividades, complementares à cidade do Rio de Janeiro; além de abordar conceitos e categorias analíticas, oriundos das ciências sociais, principalmente provenientes da Geografia, pertinentes ao estudo das atividades em tela. Neste contexto, na dinâmica espacial da cidade de Niterói, o processo de mudança de função dos fixos sociais têm sido extraordinário. Residencias unifamiliares, prédios e até mesmo fortificações militares, verdadeiras monumentalidades, foram refuncionalizadas, passando por um processo de turistificação. Assim, a refuncionalização da respectiva Fortaleza em espaço cultural toma-se um importante atrativo da história, do patrimônio, da cultura, marcando no espaço urbano sua expressões e monumentalidade, criada pelo homem como símbolo de seus ideais, objetivos e atos, constituindo-se em um legado as gerações futuras, formando um elo entre passado, presente e futuro. Abstract This paper focuses on Santa Cruz Fortress, built in 1555 in Jurujuba (Niterói), to guard the entrance of Guanabara bay, and stresses its role as a towist attraction and leisure' area, as a social fix which links the city of Niterói to the complementary circuit of these activities in the city of Rio de Janeiro. The study uses important concepts and analytic categories fiom social sciences, particularly fiom Geography.In the spatial dynamic of the city of Niterói, change in functions of social fuces has been extraordinary. Single-family dwellings, buildings and even military installations have been re-functionalized, undergoing a process of touristification. In that way, the refunctionalization of the Fortress as a cultural space provides an important attraction in the domains of history, patrimony, and culture, providing the urban space with an expression of monumentality, created by man as a symbol of his ideals, aims and actions, a legacy to future generations forming a link between past, present and future.

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