Of Bliss and Blushing: Cities and Affect in Katherine Mansfield and Jean Rhys

2019 ◽  
pp. 163-180
Author(s):  
Andrew Thacker
Keyword(s):  
Affect Theory ◽  
Jean Rhys ◽  
Cultural Institutions ◽  
Katherine Mansfield ◽  
French Writer ◽  
The City ◽  
Shakespeare And Company

This paper explores the significance of Katherine Mansfield and Jean Rhys as colonial outsiders in the modernist metropolis of Paris. The paper draws upon a number of ideas from contemporary affect theory (such as work on the idea of shame) to present an original account of how, in texts such as ‘Je ne parle pas français’ and ‘Feuille d’Album’ (Mansfield) and Quartet (Rhys), both writers responded, in differing ways, to the moods of the modernist spaces of the city. It also discusses the importance of their engagement with the cultural institutions of modernism in Paris, such as that of Sylvia Beach’s bookshop, Shakespeare and Company, and explores their shared connections to the French writer Francis Carco.

Modernism, Space and the City

2019 ◽  
Author(s):  
Andrew Thacker
Keyword(s):  
Built Environment ◽  
Joseph Conrad ◽  
Jean Rhys ◽  
Transport Systems ◽  
Cultural Institutions ◽  
European Cities ◽  
Blaise Cendrars ◽  
Stephen Spender ◽  
Christopher Isherwood ◽  
The City

This innovative book examines the development of modernism in four European cities: London, Paris, Berlin, and Vienna. Focusing upon how literary and cultural outsiders represented various spaces in these cities, it draws upon contemporary theories of affect, mood, and literary geography to offer an original account of the geographical emotions of modernism. It considers three broad features of urban modernism: the built environment of the particular cities, such as cafés or transport systems; the cultural institutions of publishing that underpinned the development of modernism in these locations; and the complex perceptions of writers and artists who were outsiders to the four cities. Particular attention is thus given to the transnational qualities of modernism by examining figures whose view of the cities considered is that of migrants, exiles, or strangers. The writers and artists discussed include Mulk Raj Anand, Gwendolyn Bennett, Bryher, Blaise Cendrars, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirlees, Noami Mitchison, Jean Rhys, Sam Selon, and Stephen Spender.

Paris

2019 ◽  
pp. 24-75
Author(s):  
Andrew Thacker
Keyword(s):  
Cultural Geography ◽  
Jean Rhys ◽  
Cultural Institutions ◽  
Blaise Cendrars ◽  
Guillaume Apollinaire ◽  
Good Morning ◽  
Cafe Culture ◽  
The City

This chapter explores the affective pull that Paris exerted upon modernist writers and artists, attracting outsiders from around the globe to experience its cultural institutions and openness to creative experimentation. The chapter first discusses the writers T. S. Eliot, Guillaume Apollinaire, and Blaise Cendrars as ‘outsider-insiders’ (in Peter Gay’s terms), figures who come to the city as outsiders but who, by virtue of status or identity, are able to function as insiders within its cultural geography. The second group of writers discusses include Hope Mirrlees (in her poem Paris), Jean Rhys (in novels such as After Leaving Mr Mackenzie and Good Morning, Midnight), and Gwendolyn Bennett (in her story ‘Wedding Day’), female modernists who remain marked as outsiders in the city. The chapter discusses how all of these writers engaged affectively with various aspects of the technological modernity of Paris, including features such as the Eiffel Tower, café culture, hotel rooms, and the Grands Boulevards.

Outreach in Major American Cities

1980 ◽  
Vol 10 (3-4) ◽  
pp. 9-12
Author(s):  
Donald J. Cosentino
Keyword(s):  
San Francisco ◽  
Ad Hoc ◽  
State University ◽  
Cultural Institutions ◽  
Dense Population ◽  
Jane Jacobs ◽  
Political Processes ◽  
The Hill ◽  
American Cities ◽  
The City

The question immediately suggests itself: what constitutes a major American city? Subjectively, but with a long side glance at Jane Jacobs, I would define such a metropolitan area by several attributes. One obviously is population density, though the actual number of people that make up the city is less important than the diversity within the population that allows for a great diversity in culture. Major American cities are composed of many cultural, racial, and economic constituencies coexisting in a single polity. Thus, even though Peoria and San Francisco are dense population centers, one is a major farm town, and the other is a major city. This multiplicity of ethnic constituencies is reflected in a city’s educational, economic, religious, political, and cultural institutions which are likewise fragmented, though interdependent. Such cities with enormous and highly diverse constituencies are likely to be more self-sufficient culturally, politically, and economically than other American towns. They supply their own news and publications, stage their own cultural events, concentrate more on their own political processes, and establish autonomous norms of behavior. In fact, what happens in these cities more often creates the news, the culture, the mores, and the politics for the rest of the land. A university operating in such a milieu is not just a light on the hill. It is a constituency within a mosaic of constituencies. It is linked to those other constituencies politically, socially, culturally, and economically, just by being where it is. It must frequently act on an ad hoc basis, responding to requests and solicitations that are sometimes immediate, and sometimes imperative. The parameters of its actions are clearly traceable in the mosaic of relationships which describe the city. It is not as free as the state university in the college town to define its own program, but by its existential commitment to its locale it draws whatever important qualities it will have for itself, for its community, and for the nation.

scholarly journals Hacia una lectura de las instituciones culturales. la oficina de propaganda cultural en el municipio de Bogotá (1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 29
Author(s):  
Marta Lucía Bustos
Keyword(s):  
20Th Century ◽  
Cultural Institutions ◽  
Cultural Policies ◽  
Intellectual Elite ◽  
State Authority ◽  
The Creation ◽  
Siglo Xx ◽  
The City ◽  
Social Sectors

ResumenEl texto examina el surgimiento de la institucionalidad cultural en el municipio de Bogotá como parte del proyecto colonial y señala cómo los discursos y prácticas que legitiman la creación de la Oficina de Propaganda Cultural en la década de los años treinta del siglo XX están anclados en la colonialidad del poder de una autoridad estatal que buscó educar a sectores sociales clasificados en la negativa categoría de masas populares. Al revisar el conjunto de prescripciones, afirmaciones, hechos, deseos e intenciones de una élite intelectual que promovió la creación de oficinas culturales, se identifica una idea de la cultura que se relaciona con un saber oculto y con una serie de prácticas en que la acción cultural destaca como vehículo para transfigurar el alma de un pueblo racialmente concebido y, por lo tanto, desposeído de cultura. Este texto hace parte de una serie de indagaciones sobre la institucionalidad cultural pública en Bogotá que tienen como propósito contribuir a ampliar el mapa interpretativo de las políticas culturales en la capital, y comprender mejor cómo se configuraron y desarrollaron formas, reglas y entidades que ordenan nuestro presente.           Palabras claves Políticas culturales; institucionalidad cultural; Bogotá; colonialidad del poder  Towards a Reading of Cultural Institutions. The Office of Cultural Propaganda in the Municipality of Bogotá (1933)Marta Lucía Bustos GómezAbstractThis article examines the emergence of cultural institutions in the city of Bogota as part of the colonial project and points out how the discourses and practices that legitimize the creation of the Office of Cultural Propaganda in the early 30s of the 20th century are anchored in the coloniality of power of a state authority that sought to educate social sectors classified in the negative category of popular masses. In reviewing the set of prescriptions, statements, facts, desires and intentions of an intellectual elite that promoted the creation of cultural offices, an idea of culture that is associated with an occult lore and a number of practices in which cultural action stands out as a vehicle to transfigure the soul of a racially conceived people and, therefore, one which is deprived of culture. This text is part of a series of inquiries into public cultural institutions in Bogota that are intended to help expand the interpretive map of cultural policies in the capital, and better understand how norms, rules and institutions that command our present were configured and developed.KeywordsCultural policies; cultural institutions; Bogotá, coloniality of power Sug  lecturakuna chi institución  culturalkuna. Chi oficina  propaganda cultural sug Municipio Bogotape (1933)Marta Lucia Bustos GómezMaillallachiska:Kai kilkaska examiname llugsirii chi institucionalidad cultural sug Municipio Bogotape sug aparte proyecto colonial  y señalanme sug discurso  y practica legitimandakuna uiñachingapa sug oficina propagandapa sulturalchi uata kimsa chunga y atun uatasiglo XX kamkuna anclareska colonialidadpe chi autoridad estatalpe markaska aichachingapa sector social clasificado negaspa  categoría masa popularkuna. Maskaspa chi conjunto prescripción, afirmación, ruraska munaikuna y Iuiaikuna sug elite iuiaiug Nirka uiñachingapa oficina cultural y regserenme sug idea chi cultural relacioname sug iachai pakalla y sug practikakuna chi acción culturalka kauachinmi sug autosina trukangapa alma pueblota racial iachaskata  y chasak mana culturaua kangapa.Kai  kilkaska  kame parte indagaska sug institucionalidad  cultural pública Bogotape y kanme aidachingapa atuniachingapa chi mapa interpretativo chi política cultural capitalpe, y entengapa imasa configuraska y desarrollaska forma, regla y entidadkuna Nukanchipa nukaurra.Rimangapa Ministidukuna:Políticas culturales; institucionalidad cultural; Bogota; colonialidad poderpe Vers une lecture des institutions culturelles. Le Bureau de propaganda culturelle à la municipalité de Bogotá (1933)Marta Lucía Bustos GómezRésuméLe texte examine l'émergence d'institutions culturelles dans la ville de Bogota dans le cadre du projet colonial et souligne la façon dont les discours et les pratiques qui légitiment la création du Bureau de propagande culturelle au début des années 30 du XXe siècle sont ancrées dans la colonialité du pouvoir d'une autorité étatique qui cherchait à éduquer les secteurs sociaux classés dans la catégorie négative des masses populaires. En examinant l'ensemble des ordonnances, des déclarations, des faits, des désirs et des intentions d'une élite intellectuelle qui a favorisé la création de bureaux culturels, une idée de la culture qui est associée à une tradition occulte et un certain nombre de pratiques don l'action culturelle se distingue comme un véhicule pour transfigurer l'âme d'un peuple racialement conçu et, par conséquent, privé de culture. Ce texte fait partie d'une série d'enquêtes sur les institutions culturelles publiques à Bogota qui sont destinés à aider à étendre la carte d'interprétation des politiques culturelles dans la capitale, et de mieux comprendre comment elles se sont configurées et ont développé des formes, des règles et des institutions qui commandent notre présent.Mots clésPolitiques culturelles; institutions culturelles; Bogotá; colonialité du pouvoirÀ LEITURA DAS INSTITUIÇÕES CULTURAIS. O ESCRITÓRIO DE PROPAGANDA CULTURAL NO MUNÍCIPIO DE BOGOTÁ (1933)Marta Lucía Bustos GómezO texto examina o surgimento da institucionalidade cultural no munícipio de Bogotá como parte do projeto colonial e assinala cómo os discursos e práticas que legitimam a criação do Escritório de Propaganda Cultural na década dos anos trinta do século XX estão ancorado na colonialidade do poder de uma autoridade no Estado que procurou educar a setores sociais classificados na negativa categoria de massas populares. Ao revisar o conjunto de prescrições, afirmações, fatos, desejos e intenções de uma élite intelectual que promoveu a criação de Escrtórios Culturais, se identifica uma ideia da cultura que se relaciona con um saber oculto e com uma série de práticas em que a ação cultural destaca como veículo para transfigurar a alma de um povo racialmente concebido e, pelo tanto, despossuídos de cultura. Este texto faz parte de uma série de inquéritos sobre a institucionalidade cultural pública em Bogotá que têm como propósito contribuir para expandir o mapa interpretativo das políticas culturais na capital, e compreender melhor como se configuraram e desenvolveram formas, regras e entidades que ordenam nosso presente. Palavras-chavePolíticas culturais; institucionalidade cultural, Bogotá; colonialidade do poder

The influence of the regional culture of Argentina in the 30—60s of the twentieth century on nationwide artistic culture and arts

2021 ◽  
pp. 67
Author(s):  
Natalya Rozenberg
Keyword(s):  
Cultural Policy ◽  
Art Criticism ◽  
Buenos Aires ◽  
Regional Culture ◽  
Cultural Institutions ◽  
History Of ◽  
New Type ◽  
Human And Nature ◽  
The City ◽  
Art Schools

The history of art in Argentina in the XX-XXI centuries is studied mainly in three directions: the genre system, the spiritual and content aspect of works and creative biographies of outstanding masters. Special attention is paid to the links between the art of the Old and New World. Nowadays, the issue of connecting the artistic culture of the regions of Argentina — the center of the country, the northeast, and the northwest - is becoming urgent. The provinces not only perceived the trends of the capital's cultural policy, but also built their own cultural institutions that contributed to the creation and translation of the meanings of works about the uniqueness of human and nature connections far from Buenos Aires, and what is especially significant - about the diversity of ethnic types and characters. Such outstanding masters as Lino Enea Spilimbergo, Antonio Berni, Raul Monsegur, Eddie Torre taught in provincial art schools. They moved quite often from city to city, from province to province. We can assume that in the 40-50s of the XX century. in Cordoba, Mendoza, Tucuman and Resistencia, there were already professionals in all kinds of art. Argentine domestic scientists began to study these processes not so long ago. In this article, special attention is paid to the analysis of cultural heritage and the museum collection of the association El Fogón de los Arrieros (EFA, "Hearth of teamsters", hereinafter - Fogón), located in Resistencia, the capital of the province of Chaco, now known in the country as the City of Sculptures. Fogón became famous for its diverse cultural, educational activities, which began in 1943 and continues to this day. In the history of Fogón, a new type of educator has developed in the person of Aldo Boletti, Juan de Dios Mena, Hilda Torres Varela. The study used the historical and typological method and the method of art criticism analysis.

Michel Butor’s “Improvisations sur Rimbaud”: interpretation of the poet’s works and language

2021 ◽  
pp. 44-49
Author(s):  
Olga A. Vasileva ◽  
Keyword(s):  
Literary Criticism ◽  
Classical System ◽  
Mathematical Structure ◽  
Literary Forms ◽  
The Arts ◽  
French Writer ◽  
Aesthetic Principle ◽  
The City ◽  
Experimental Prose

This article discusses one relatively unknown aspect of the French writer and philosopher, Michel Butor’s works — his literary criticism through the example of “Improvisations sur Rimbaud”. Poet’s works are investigated by Butor unattainable apart from the stages of his life, and the most significant poems — in the context of the epistolary heritage of Rimbaud. Most attention is paid to the chapter “Improvisations”, dedicated to the collection of Rimbaud’s “Illuminations”: to the development of the theme of the city and its transformation, the role of structural rhyme and reprise at the beginning of the line overturning the classical system of versification, the appearance in the texts of Rimbaud mathematical structure. The new poetic language, the innovative artistic techniques of the poet , which are used in the composition of a number of texts in the collection, comprehensively explored by Butor, had an undeniable influence on the direction of the research for new literary forms in the works of Butor: his novel “Degrès”, which uses the numerical structure as a method of total description of reality as well as a number of texts written in the genre of experimental prose in which fragmentation is elevated to an aesthetic principle, the idea of synthesizing the arts is implemented and endless intertextual interactions are created.

Epilogue

2018 ◽  
pp. 198-208
Author(s):  
Justin T. Clark
Keyword(s):  
Middle Class ◽  
Art Criticism ◽  
Urban Landscape ◽  
Cultural Institutions ◽  
Antebellum Period ◽  
Winslow Homer ◽  
New Generation ◽  
The City

By the end of the antebellum period, Bostonians’ habit of idealizing the urban landscape was yielding to the new transatlantic fashion of realism. Rather than idealize the city, realist writers and artists such as Winslow Homer documented it in detached and comprehensive detail. The declining commitment to a collective and idealized way of seeing can be read in a variety of domains, including art criticism, psychology, and even ophthalmology. The epilogue explains the rise of realism in Boston in terms of the development of middle class cultural institutions, suburbanization and geographic stratification. Less concerned with how Bostonians saw, a new generation of reformers and censors (such as the Watch and Ward Society) became exclusively preoccupied with what Bostonians saw.

scholarly journals Proximity tourism and cultural amenities: Evidence from a regional museum card

2019 ◽  
pp. 135481661989023
Author(s):  
Enrico Bertacchini ◽  
Massimiliano Nuccio ◽  
Alessandra Durio
Keyword(s):  
Extensive Literature ◽  
Cultural Institutions ◽  
Data Set ◽  
Heritage Sites ◽  
Home Based ◽  
Lower Socioeconomic ◽  
Cultural Amenities ◽  
Surrounding Areas ◽  
Rural Destinations ◽  
The City

Although cultural tourism has generated extensive literature, it has often overlooked proximity tourism practices and the determinants of visits to near-home cultural amenities, often located in rural destinations with lower market appeal. This article investigates visiting behaviors and characteristics of intra-regional flows from urban settings toward museums and heritage sites located in surrounding areas. We use a unique transactional data set of about 76,000 subscribers to a regional museum card in Piedmont (Italy) to analyze visiting patterns in the 2011–2014 period from the city of Turin to out-of-town cultural institutions. Our empirical analysis shows that being male, having lower socioeconomic status, visiting home-based museums, and loyalty to the card program are the most relevant factors explaining propensity to out-of-town visits. At the same time, a clear polarization of visits between a limited number of cultural attractors and the tail of minor heritage sites suggests that differences in museum characteristics can generate distinct motivations for visits to the two types of cultural institutions. From a policy perspective, although a definitive evaluation of the effect of the museum card on proximity tourism cannot be undertaken, findings suggest that bundle of minor attractions and major urban museums can generate indirect network advantages, foster cultivation of taste, and eventually stimulate both the demand for regional destinations and the development of original cultural programs.

Musical borderness: Contesting spaces through cultural engagement

2019 ◽  
Vol 10 (2) ◽  
pp. 261-279
Author(s):  
Carolin Müller
Keyword(s):  
Music Education ◽  
Political Institutions ◽  
Focal Point ◽  
Educational Practice ◽  
Social Imaginary ◽  
Right Wing ◽  
Cultural Institutions ◽  
Mass Migration ◽  
The Impact ◽  
The City

Across European nations, the binary distinction between ‘us’ and ‘them’ has been reinforced by right-wing populists seeking to frame global mass migration waves as the backdrop against which increased social fragmentation can be explained. While persisting resentments and continuing ethnicization of different social groups amplify hatred towards migrants, refugees and people of colour, many artistic and cultural institutions have taken a stand against such discriminatory rhetoric, trying to use their programmes as gateways to imagine new forms of solidarity and possibilities of organizing living with difference. This account focuses on developments in the city of Dresden, Germany, one of the hotspots for understanding the impact of racist and right-wing extremist legacies on contemporary responses to migration into Europe. Following the influx of refugees in 2015, Dresden became the centre of right-wing extremist protest, but also a focal point of its resistance in the arts and cultural institutions. In theatre and music, people have organized protests, founded community groups and established recurring programmes that focus on pivotal issues of belonging, citizenship, gender and home to reframe the social imaginary of what life with people of different backgrounds would look like in the city. This article draws on ethnographic work with three music initiatives in the city whose work centres on issues of ‘borders’ to show how ‘borderness’, a term used by social anthropologist Sarah Green to describe the sense of border, is experienced through and lived in music, educational practice and political activism. Findings show that collaborations between resident and refugee musicians resulted in narrations of border-experiences and transformed music repertoire. Spaces of music-making could become cultural borderlands themselves. Projects engaged in dismantling ‘the everyday construction of borders through ideology, cultural mediation, discourses, political institutions, attitudes and everyday forms of transnationalism […] that create and recreate new social-cultural boundaries and borders’ (Yuval-Davis et al. 2018: 229) in music education, which yielded a transcultural dialogue in the classroom in politically heated neighbourhoods. Theatre projects addressed gender-specific needs that provided women with opportunities to participate.

Catering as a basis of tourist space formation in Sochi

10.12737/4311 ◽  
2014 ◽  
Vol 8 (2) ◽  
pp. 60-68 ◽  
Author(s):  
Анна Давидович ◽  
Anna Davidovich
Keyword(s):  
Hospitality Industry ◽  
Service Area ◽  
Urban Structure ◽  
Sports Facilities ◽  
Cultural Institutions ◽  
Current Development ◽  
Network Location ◽  
Specialized Service ◽  
Traditional Approaches ◽  
The City

The article presents the new and traditional approaches to catering placing, studied the principles of catering network location in an urban structure are investigated. The study analyzes the current development and distribution of food businesses in Sochi and their connection with catering facilities of hospitality industry (accommodation facilities, cultural institutions, architectural and natural monuments, sports facilities, business centers) and the structure of intercity transport links. In conclusion, the author offers to form a new specialized service area for tourists´restand catering in the touristarea of the city.

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