Public Space, Public Time: Constitution and the Relay of Authority in Arendt’s On Revolution

2020 ◽  
pp. 43-60
Author(s):  
Emily Zakin
Keyword(s):  
Public Space ◽  
Infinite Regress ◽  
Vicious Circle ◽  
Constituent Power ◽  
Political Body ◽  
The Public ◽  
The Past ◽  
Political Time ◽  
Political Form ◽  
Public Time

In On Revolution, Hannah Arendt addresses the central conundrum of legitimacy: the source of authority to found a new political form. On Arendt’s account, for revolutionary founding to evade the twin dangers of an infinite regress or a vicious circle, and to succeed in the constitution of a political body, it must enact and invoke both a worldly and a temporal component. To understand the bond between authority, constitution, and constituent power, Arendt thus analyzes the exchange between political space and political time. For the inauguration of a stable and secure public space, the events of founding must permit the independence of what it founds, unbinding the founding deed from the worldly object. For the inauguration of enduring public time, the constitutional document must contain a principle of self-preservation or endurance, allowing the present to appeal to both the past (ancestors) and the future (descendants). By thus distinguishing the authority of a constituted document, which maintains jurisdiction through time, both from the public theater within which the people’s plurality, creativity, and power can flourish, and from inaugural violence, the authoritative relay between space and time also sustains a politics of inheritance that moves between binding and unbinding.

scholarly journals UNDERSTANDING LAW AND RELIGION AS CULTURE: MAKING ROOM FOR MEANING IN THE PUBLIC SPHERE

2011 ◽  
Vol 15 (1, 2 & 3) ◽  
pp. 2006
Author(s):  
Benjamin L. Berger
Keyword(s):  
Public Sphere ◽  
Public Space ◽  
Public Discourse ◽  
Religious Groups ◽  
The Public ◽  
The Past ◽  
Law And Politics ◽  
Important Relationship ◽  
The Public Sphere ◽  
The Relationship

The relationship between law and religion in contemporary civil society has been a topic of increasing social interest and importance in Canada in the past many years. We have seen the practices and commitments of religious groups and individuals become highly salient on many issues of public policy, including the nature of the institution of marriage, the content of public education, and the uses of public space, to name just a few. As the vehicle for this discussion, I want to ask a straightforward question: When we listen to our public discourse, what is the story that we hear about the relationship between law and religion? How does this topic tend to be spoken about in law and politics – what is our idiom around this issue – and does this story serve us well? Though straightforward, this question has gone all but unanswered in our political and academic discussions. We take for granted our approach to speaking about – and, therefore, our way of thinking about – the relationship between law and religion. In my view, this is most unfortunate because this taken-for-grantedness is the source of our failure to properly understand the critically important relationship between law and religion.

Transformations of Public Space and the Limits of Resistance in Biographic Narratives of Workers

2017 ◽  
Vol 20 (2) ◽  
pp. 156-169 ◽  
Author(s):  
Lars Meier
Keyword(s):  
Public Space ◽  
The South ◽  
Industrial Transformation ◽  
The Public ◽  
The Past ◽  
Social Positioning

This essay analyses biographic memories of practices of resistance of workers in the industrial transformation region in the south of Nuremberg. These memories are marked by a nostalgic view of public space in former times, which is put in contrast with public space as it is today. While former practices of resistance are remembered with nostalgia, present-day resistance practices are described as threatening practices performed by others. It turns out that nostalgia for resistance in the public space in the past is also a social positioning in the present.

‘A Church in a Cinema Hall?’ Pentecostal Appropriation of Public Space in Nigeria

2012 ◽  
Vol 42 (2) ◽  
pp. 145-171 ◽  
Author(s):  
Olufunke Adeboye
Keyword(s):  
Public Sphere ◽  
Public Space ◽  
Public Spaces ◽  
Media Technology ◽  
The Public ◽  
The Past ◽  
The Public Sphere ◽  
The Church

AbstractOver the past two decades Nigeria has become a hotbed of Pentecostal activity. It is the view of this study that Pentecostal visibility in Nigeria has been enhanced not just by Pentecostals’ aggressive utilization of media technology for proselytization as claimed by previous scholars, but also by their appropriation of public spaces for worship. This study not only focuses on the church in the cinema hall, but also on churches in nightclubs, hotels, and other such places previously demonized as ‘abode[s] of sin’ by classical Pentecostals. This paper argues that users’ perception of public spaces having rigid meanings and unchanging usage was responsible for much of the tensions experienced. It would be more useful for academic analysts and various ‘publics’ to construe such spaces as dynamic sites, at once reflecting mutations in the public sphere, responsive to local and global socio-economic processes, and amenable to periodic reinventions and negotiations.

scholarly journals CITRA DAN TANDA MALIOBORO DALAM KONSTRUKSI FOTOGRAFI

2018 ◽  
Vol 14 (1) ◽  
pp. 1
Author(s):  
Edial Rusli
Keyword(s):  
Public Space ◽  
Digital Imaging ◽  
Sense Of Belonging ◽  
Visual Images ◽  
Construction Process ◽  
The Public ◽  
Visual Imagination ◽  
The Past ◽  
New Meanings ◽  
Urban People

Perkembangan zaman akan mengubah citra dan simbol Malioboro. Citra kawasan yang dulunya asri dan nyaman itu sekarang berubah menjadi semrawut dan tidak nyaman lagi. Keadaan ini menstimulasi ide penciptaan karya bahwa ruang publik Malioboro yang semrawut dan tidak nyaman itu dipersonifikasikan sebagai rumah besar yang ruang-ruangnya telah disekat-sekat layaknya kamar pribadi yang nyaman dengan kamar yang memiliki keunikan sendiri-sendiri. Konsep penciptaan dan perwujudan ini merupakan kumpulan objek imaji visual fotografi yang realistis untuk dikonstruksikan kembali dengan tujuan menghasilkan realitas imajiner. Pendekatan teori penciptaan ini adalah citra, konstruksi fotografi, dan makna. Proses eksperimentasi dan pembentukan karya diawali dari imaji-imaji visual fotografi yang dikumpulkan, diseleksi, dan direpresentasikan dengan citra objek kaum urban yang berjuang untuk hidup dan ruang cagar budaya yang terpinggirkan oleh bangunan modern di Malioboro melalui imaji visual fotografi. Imaji-imaji visual fotografi dari suatu realitas imaji masa lalu tersebut diimajinasikan ke masa yang akan datang untuk dikonstruksi kembali menjadi kesatuan dengan menggunakan teknik montase dan kolase digital imaging ke bentuk imajinasi visual fotografi yang imajinatif dan bernilai kreatif estetis untuk dimaknai kembali pada keadaan sekarang. Penciptaan karya ini tidak lagi berbicara tentang tataran teknis saja, namun juga berbicara tentang estetika, citra, tanda-tanda dan makna baru di dalamnya. Melalui penciptaan karya ini, masyarakat diharapkan dapat mengetahui citra, proses konstruksi, penyajian penciptaan karya, dan makna yang dihadirkan kembali dari perwujudan imaji ke bentuk karya imajinasi visual fotografi yang bernilai kreatif estetis. Karya imajinasi visual fotografi ini diharapkan menjadi media untuk mengungkapkan perasaan atau ekspresi dan emosi estetis pencipta dalam bentuk parodi visual. Penciptaan ini diharapkan dapat bermanfaat untuk memperkaya khazanah citra/imaji/makna baru dan untuk membangun rasa memiliki serta kesadaran akan permasalahan tata kehidupan dan tata ruang Malioboro sekarang ini.AbstractImage and Symbols of Malioboro in the Construction of Photography. Change of time will change the image and symbol of Malioboro. The image of this area that once was beautiful and comfortable now has changed into a chaotic and an uncomfortable one. This situation has stimulated an idea of creating artworks that the public space of Malioboro which is chaotic and uncomfortable is personified as a big house with separated rooms as in private bedrooms with their own uniqueness. The concept of the creation and the embodiment is a compilation of objects from photography visual images, which are realistic to be reconstructed with the aim of generating an imaginary reality. The approach for this creation is a photography construction’s image and its meaning. The processes of experimentation and the formation of the works were started with the visual images of photography which were collected, selected, and represented with the images of urban people who struggle to live there and the cultural heritage which is marginalized by modern buildings in Malioboro through visual images of photography. Visual images of photography from the past reality of those images were imagined into the future time to be reconstructed as a unity by using techniques of montage and collage in digital imaging which would transform them into creative and aesthetic photography visual imagination to be reinterpreted in recent time. This creation does not only articulate the technique itself, but also to articulate the aesthetics, images, signs and new meanings in them. Through this creation, society is expected to know the images, the construction process, the presentation, and the meaning which are brought back from the visualization of images to the form of creative and aesthetic photography visual imagination. It is expected to be a media to express the artist’s aesthetic feeling and emotion in the form of visual parody. This creation is expected to be beneficial in enriching the corpus of new images/meanings and to raise the sense of belonging as well as awareness of the problem of life order and the spatial layout of current Malioboro.

scholarly journals Murals make (Our) history: paintings on the wall as media of cultural memory. Interpreting the current state of Warsaw’s commemorative murals

2017 ◽  
Vol 13 (4) ◽  
pp. 114-135
Author(s):  
Ilija Upalevski
Keyword(s):  
Content Analysis ◽  
Public Space ◽  
Cultural Memory ◽  
Public Domain ◽  
Secondary Memory ◽  
Cultural Institutions ◽  
Complex State ◽  
The Public ◽  
The Past ◽  
Current State

The aim of this paper is to closely examine the ways in which the outdoor mural as a form of art. has been used for commemorative purposes in the context of the Polish capital. Drawing on content analysis this paper will argue that regardless of their democratic potential and potential to act subversively in the public domain, the commemorative murals in the case of Warsaw are predominantly reflecting the official narrations/representations of the past and thus reproducing the state-supported, nation-centered, male-dominated perspective of history. Referring to Wulf Kansteiner methodological instructions, the paper introduces the notion of “secondary” memory makers in order to describe the position the mural makers are occupying in the field of Warsaw’s cultural memory. It will also be argued that mural makers, by adapting their works to the demands of the cultural institutions responsible for the memory production and dominant discourses of memory from mainly pragmatic reasons, are forgoing a fair portion of the democratic and subversive potential of the murals. As such, the paintings on the walls are, intentionally or not, further involved in more complex state-sponsored strategies of nationalizing the public space.

An Aristocrat of the Spirit. Touches to the Creative Portrait of Prof. Dsc. Andrey Pantev

Epohi ◽  
2021 ◽  
Vol 29 (1) ◽  
Author(s):  
Nikola Avreyski ◽  
Keyword(s):  
Public Space ◽  
World History ◽  
Public Figure ◽  
The Public ◽  
The Past ◽  
Before And After

In the article an attempt for a creative and civic portrait of the most popular Bulgarian historian and one of our most respected intellectuals – Prof. DSc. Andrey Pantev (hist.), is made. The stages of his construction as a scientist are characterized. The unusual breadth of his research interests, extending to the new and modern Bulgarian, Balkan, European and world history, is outlined. His unusual style of restoring the past stands out. It is understood in his specific creative laboratory. On this basis, his elegant difference among colleagues from the professional guild is shown. Special attention is paid to his civic position before and after the beginning of the democratic renewal of the country, as well as his fascinating and artistic stay in the public space and his bright presence in the development of the new Bulgarian parliamentarism. Professor Andrey Pantev is shown as a gifted modern historian, an original scientist with his contributions in other fields of science, a prominent public figure and one of the greatest intellectuals of modern Bulgaria, as a true aristocrat of the spirit of European and world greatness.

Images between Religion and Art

2017 ◽  
Keyword(s):  
Mass Media ◽  
Public Space ◽  
Contemporary Art ◽  
Religious Art ◽  
Critical Potential ◽  
The Public ◽  
The Past ◽  
The Relationship ◽  
Religion And Art ◽  
Contemporary Artists

This chapter discusses the different ways contemporary artists re-use religious motifs and the effects of such citations. In the majority of cases their artworks function as a context to turn that religion into a topic, and an object of discussion. The critical potential of contemporary artworks that deal with religious themes lies somewhere apart from art’s rejection or mocking of religion, as blasphemy retains its proximity to the specifically religious power of images. When contemporary artists reuse religious motifs they become counter-motifs. The interest in religion, in its various traditions and guises, indicates a desire for self-understanding by re-staging the past. The multifaceted relationship between contemporary art and religion is examined through a detailed discussion of twelve exhibitions organised between 1999 and 2010, which approach religion and religious art from a variety of perspectives. Many of the curators claim that they are emphatically not religious, nor trying to send a religious message. Including religion in the infrastructure of display associated with contemporary art creates a different visibility in the public space and asks questions concerning such visual practices as iconoclasm; the relationship between commercialism, mass media and religion, and the afterlife of religious art, among many others.

scholarly journals A Bridge to the Past: Public Memory and Nostalgia for the Communist Times in Modern Georgia

2018 ◽  
Vol 12 (1) ◽  
pp. 31-51
Author(s):  
Elisabeth Kovtiak
Keyword(s):  
Public Space ◽  
Main Argument ◽  
Ordinary People ◽  
Politics Of Memory ◽  
The Public ◽  
Official Discourse ◽  
Soviet People ◽  
The Past ◽  
Ideological Background ◽  
Flea Market

AbstractThis paper deals with the politics of memory in contemporary Georgia’s public space. It explores the relations between official and vernacular commemorations of the Soviet past in Tbilisi. In this paper, I have studied the forms of materialization of vernacular memories in the public space and provided a frame in which they exist, including the ideological background of decommunization in Georgia and peculiarities of the Soviet era museumizing in state museums. The official discourse demonizes the previous epoque and neglects all its benefits, whereas the ordinary people are quite nuanced in their memories of their past – this contradiction leads to manifestations of vernacular memories. Therefore, this paper focuses mostly on Tbilisi’s Dry Bridge, a famous flea market where the memory of the recent Soviet past is negotiated. The main argument is that this particular flea market and its artifacts might be regarded as a “vernacular memorial” and “lieu de memoire” where nostalgia for an officially demonized era can be expressed and materialized. This paper explores the items that are on sale, explaining their meaning for the post-Soviet people, and describes the intangible practices that can be observed there. In addition, this paper unpacks that these nostalgic practices should not be considered as “unhealthy” or “retrospective” as it helps people to adapt to modernity and develop by considering more than one hegemonic version of their past.

Ciprian Porumbescu. Mică poveste despre rochia Berthei (o incursiune printre manuscrise, ediții etc.)

Transilvania ◽  
2021 ◽  
pp. 79-96
Author(s):  
Mircea Diaconu
Keyword(s):  
Public Space ◽  
Premature Death ◽  
German Society ◽  
Political Life ◽  
Original Text ◽  
The Public ◽  
The Past ◽  
Cultural Life ◽  
Analytical Recovery ◽  
History Of

A young Romanian composer from the Austrian Bucovina, Ciprian Porumbescu (1853-1883) is an important figure of the local cultural mythology. This fact, we believe, is due to the association of his image with some ill-fated aspects of his life, such as an impossible love, his premature death, his exultant talent, maybe even his ardent patriotism. In my attempts at recovering the past cultural life of Bucovina, I discovered the journal of Ciprian Porumbescu (that probably includes a rich correspondence as well), written around 1878-1883. I am not talking about a journal on creation, nor about one related to political life. That, in spite of the fact that he was arrested for being the president of a student’s society that had a nationalist nature, yet he didn’t hesitate afterwards being one of the leaders of an international German society. Unfortunately, the above mentioned journal is absent from the public space and the history of its recovery and editing is in itself a history of a failure. That is why, this study is an analysis of the different existing editions of it – that could be described as fragmented, or improvised. In what regards the title of the article, it hints at the imprecisions in transcribing the original text, the difficulties posed by the German existing versions and also at the deficiency of the Romanian translations. Yet, besides all of these, the journal of Ciprian Porumbescu is an exceptional biographical document. Thus, the critique of the existing editions could represent a fist attempt at a textual and analytical recovery of the actual journal.

scholarly journals Symbolika przestrzeni miejskiej a symbol w przestrzeni publicznej

Politeja ◽  
2021 ◽  
Vol 18 (5(74)) ◽  
pp. 177-192
Author(s):  
Ilona Dardzińska
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Space Versus ◽  
European Countries ◽  
The Public ◽  
The Past ◽  
Original Analysis

The Symbolism of Urban Space Versus the Symbol of Public Space The article presents an original analysis of the symbolism of urban space and types of symbols complementing public space. It describes the symbolism of a space, what creates it, how it can be interpreted and what role it played in the past and now. Extremely interesting examples of symbolic structures in Poland and other European countries are presented. The features and functions of the symbol in the public space are distinguished and its meaning for the recipient is indicated.

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