scholarly journals A City without Territory. Trade, Tourism and the Use of the Sea: the Case of Trieste

2021 ◽  
pp. 175-185
Author(s):  
Sergio Zilli ◽  
Giovanni Modaffari
Keyword(s):  
Manufacturing Industry ◽  
Point Of View ◽  
Eastern Bloc ◽  
The European Union ◽  
Critical Issues ◽  
Recent Developments ◽  
History Of ◽  
Post War ◽  
Trading Network ◽  
The City

This contribution offers a glimpse into recent developments in the administrative, economic and political history of Trieste, within the framework of the local, regional and – because of the town’s unique circumstances – international communities. In the first parts of this work, the identification of the city with Italy’s eastern border is retraced, following the historical events of the second post-war period, a phase in which Trieste was one of the sites of the confrontation, also from a commercial point of view, between Western democracies and the socialist countries of the Eastern Bloc. From the nineteen-sixties onwards, the city had to re-establish its position both within the autonomous region of which it is now the capital – Friuli Venezia Giulia – and in terms of its relationships with the neighbouring countries of Slovenia and Croatia, which are now members of the European Union alongside Italy. This new situation has highlighted the uncertain nature of Trieste’s hinterland by reason of its limited administrative and political power. As is described in the second part of this work, the city had to redefine an economic system in which critical issues such as the absence of major manufacturing industry, the reduced activity of its port, and a trading network stuck in the local dimension have led to the image of Trieste being reconsidered from the point of view of an outside observer, and to a focus on tourism, also through, and as a consequence of, a new and different use of the sea. In this way, we will see how the redevelopment and gentrification of central areas such as the Cavana district or the triangle of via Torino has progressed at the same pace as the private sporting initiative known as the Barcolana, whose economic success and its promotion of the image of Trieste have contributed to remodelling the relationship between the city and the sea, that is, between its inhabitants and the resource upon which Trieste built its fortune. 

scholarly journals Вопросы эволюции образа Сталинграда-Волгограда в изобразительном искусстве 1940–2020 годов

2020 ◽  
pp. 84-101
Author(s):  
O.P. Malkova
Keyword(s):  
Fine Arts ◽  
Point Of View ◽  
Soviet Period ◽  
Evolutionary Development ◽  
Artistic Life ◽  
History Of ◽  
Post War ◽  
Number Of Publications ◽  
The City ◽  
Contemporary Artists

The article examines the features of artistic perception and representation of the geographical and cultural space of Stalingrad-Volgograd in evolutionary development in 1940–2020; interaction between architectural and artistic texts of the city, the specifics of the Volgograd Union of Artists; the issues of changes in the artistic life of the city that took place in the post-Soviet period. The architecture, history and daily life of post-war Stalingrad are now of great scientific interest. In this article, for the first time, the artistic reflection of the life of the city of this and subsequent periods becomes the subject of independent research. The active work of Stalingrad and Volgograd artists was reflected in numerous publications: newspaper and magazine articles, exhibition catalogues, and monographic publications. A number of publications are devoted to the history of the Volgograd Union of artists. At the same time, relations between artistic creativity and location were not specifically considered. Until now, the issues of transformations of artistic life and art in Volgograd have also remained without proper attention. The work has been done mainly on the basis of the collection of the Volgograd Museum of Fine Arts named after I.I. Mashkov with a review of works from artist's studios. This group of works attracts interest not only from an art criticism point of view, but also from a cultural, sociological, and historical point of view. City views in painting and graphics are considered in chronological order and in accordance with the thematic principle. The methods of comparative analysis have been applied when comparing works of the Soviet period with modern ones. Materials of the imaginative and stylistic of paintings and graphics are compared with the memories of old residents of the city and interviews with contemporary artists. Works of painting and graphics by Stalingrad and Volgograd artists of the second half of the XX – early XXI centuries are introduced into the scientific circulation. The author focuses on native Stalingrad painters and graphic artists who took an active part in the formation of the local branch of the Union of Artists: N. Chernikov, A. Chervonenko, F. Sukhanov, A. Legenchenko, G. Pechennikov and A. Pechennikov, N. Pirogov, B. Osikov, P. Grechkin, V. Strigin, etc. Their works are compared with the works of contemporary artists: N. Zotov, Yu. Sorokin, etc. В статье рассматриваются в эволюционном развитии особенности художественного восприятия и репрезентации географического и культурного пространства Сталинграда-Волгограда в 1940–2020 годы. Затрагиваются вопросы взаимодействия архитектурного и художественного текстов города, специфики Волгоградского союза художников, перемен художественной жизни города, которые произошли в постсоветский период. Архитектура, история и повседневность послевоенного Сталинграда сейчас вызывают большой научный интерес. В настоящей статье впервые становится предметом самостоятельного исследования художественное отражение жизни города этого и последующих периодов. Деятельность сталинградских и волгоградских художников нашла отражение в многочисленных публикациях: газетных и журнальных статьях, каталогах выставок, монографических изданиях. Ряд публикаций посвящен истории Волгоградского союза художников. При этом вопросы связей художественного творчества и территории специально не рассматривались. До сих пор оставались без внимания и вопросы трансформаций художественной жизни и искусства Волгограда. Работа проделана в основном на материале собрания Волгоградского музея изобразительных искусств им. И.И. Машкова с привлечением произведений из мастерских художников. Данный пласт работ представляет интерес не только с искусствоведческой, но и культурологической, социологической, исторической точек зрения. В научный оборот вводятся произведения живописи и графики сталинградских и волгоградских художников второй половины XX – начала XXI веков. Живописные и графические пейзажи, запечатлевшие город, рассмотрены в хронологической последовательности и в соответствии с тематическим принципом. Методы сравнительного анализа были применены при сопоставлении произведений советского периода и работ о городе, созданных сегодня. Материалы образно-стилистического анализа произведений живописи и графики сопоставлены с воспоминаниями старожилов города и интервью с современными художниками.

La citoyenneté et la construction de l'Europe : discussions théoriques

Res Publica ◽  
1994 ◽  
Vol 36 (3-4) ◽  
pp. 361-380
Author(s):  
Paul Magnette
Keyword(s):  
Second World War ◽  
Point Of View ◽  
Nation State ◽  
The European Union ◽  
World War ◽  
Dual Nature ◽  
European Citizenship ◽  
History Of ◽  
The One ◽  
Second World

This paper examines the evolving ideological content of the concept of citizenship and particularly the challenges it faces as a consequence of the building of the European Union. From an epistemological point of view it is first argued that citizenship may be described as a dual concept: it is both a legal institution composed of the rights of the citizen as they are fixed at a certain moment of its history, and a normative ideal which embodies their political aspirations. As a result of this dual nature, citizenship is an essentially dynamicnotion, which is permanently evolving between a state of balance and change.  The history of this concept in contemporary political thought shows that, from the end of the second World War it had raised a synthesis of democratic, liberal and socialist values on the one hand, and that it was historically and logically bound to the Nation-State on the other hand. This double synthesis now seems to be contested, as the themes of the "crisis of the Nation State" and"crisis of the Welfare state" do indicate. The last part of this paper grapples with recent theoretical proposals of new forms of european citizenship, and argues that the concept of citizenship could be renovated and take its challenges into consideration by insisting on the duties and the procedures it contains.

“Satisfied with the Ruins of Berlin”: The German Capital’s Image in Soviet Graphics of 1945

2021 ◽  
Vol 17 (6) ◽  
pp. 564-575
Author(s):  
Irina I. Rutsinskaya
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Point Of View ◽  
The Public ◽  
Historical Justice ◽  
Public Consciousness ◽  
Post War ◽  
The One ◽  
First Time ◽  
The City

An artist who finds themselves in the last days of a war in the enemy’s defeated capital may not just fix its objects dispassionately. Many factors influence the selection and depicturing manner of the objects. One of the factors is satisfaction from the accomplished retribution, awareness of the historical justice triumph. Researchers think such reactions are inevitable. The article offers to consider from this point of view the drawings created by Soviet artists in Berlin in the spring and summer of 1945. Such an analysis of the German capital’s visual image is conducted for the first time. It shows that the above reactions were not the only ones. The graphics of the first post-war days no less clearly and consistently express other feelings and intentions of their authors: the desire to accurately document and fix the image of the city and some of its structures in history, the happiness from the silence of peace, and the simple interest in the monuments of European art.The article examines Berlin scenes as evidences of the transition from front-line graphics focused on the visual recording of the war traces to peacetime graphics; from documentary — to artistry; from the worldview of a person at war — to the one of a person who lived to victory. In this approach, it has been important to consider the graphic images of Berlin in unity with the diary and memoir texts belonging to both artists and ordinary soldiers who participated in the storming of Berlin. The combination of verbal and visual sources helps to present the German capital’s image that existed in the public consciousness, as well as the specificity of its representation by means of visual art.

The Landscape of War and the Transformations of the Public Sphere

2019 ◽  
Vol 44 (2) ◽  
pp. 62-67
Author(s):  
Dijana Alic
Keyword(s):  
The European Union ◽  
Independent State ◽  
The Public ◽  
Time Space ◽  
History Of ◽  
The Public Sphere ◽  
Modern Warfare ◽  
The Impact ◽  
The City ◽  
Edward Soja

On 6 april 1992, the european union (eu) recognised bosnia and hercegovina as a new independent state, no longer a part of the socialist federal republic of Yugoslavia. The event marked the start of the siege of sarajevo, which lasted nearly four years, until late february 1996. It became the longest siege in the history of modern warfare, outlasting the leningrad enclosure by a year. During its 1425 days, more than 11,500 people were killed. The attacks left a trail of destruction across the city, which began to transform it in ways not experienced before. This paper explores how the physical transformation of sarajevo affected the ways in which meaning and significance were assigned to its built fabric. I argue that the changes imposed by war and the daily destruction of the city challenged long-established relationships between the built fabric and those who inhabited the city, introducing new modes of thinking and interpreting the city. Loosely placing the discussion within the framework of ‘Thirdspace', established by urban theorist and cultural geographer edward soja, i discuss the relationship that emerged between the historicality, sociality and spatiality of war-torn sarajevo. Whether responding to the impacts of physical destruction or dramatic social change, the nexus of time, space and being shows that the concept of spatiality is essential to comprehending the world and to adjusting to and resisting the impact of extraordinary circumstances. Recognising the continuation of daily life as essential to survival sheds light on processes of renewal and change in a war-affected landscape. These shattered urban spaces also show the ways in which people make a sense of place in relation to specific socio-historical environments and political contexts.

Retrieving Prostitutes' Live Source Materials and an Approach for Writing the History of the Ah Ku and Karayuki-San of Singapore

Itinerario ◽  
1990 ◽  
Vol 14 (1) ◽  
pp. 96-122 ◽  
Author(s):  
Jim Warren
Keyword(s):  
Social Policy ◽  
Social History ◽  
Critical Importance ◽  
Recent Developments ◽  
History Of ◽  
Colonial Government ◽  
The City ◽  
Gender Specific ◽  
Source Materials

A new found interest in social history, recent developments in historical thought and methodology and a fresh awareness of the importance of gender-specific experience have led historians to question an ‘ordinary woman's place’ in Singa- pore's past. In the historiography of Singapore, there is a need to foreground the critical importance of the ah ku and karayuki-san in the sex,politics and society of the city, stressing not only alterations in their life and circumstance, but also variations in the role of the colonial government, and changes in the ideology of sex and social policy.

Virtual Environments as Enablers of Civic Awareness and Engagement

2022 ◽  
pp. 565-578
Author(s):  
Paolo Bellavista ◽  
Antonio Corradi ◽  
Luca Foschini ◽  
Eliza Helena Gomes ◽  
Elena Lamberti ◽  
...  
Keyword(s):  
Point Of View ◽  
Public Administrators ◽  
Southern Brazil ◽  
Living Lab ◽  
Critical Issues ◽  
Wide Availability ◽  
Civic Awareness ◽  
The City ◽  
Privacy Issues

The wide availability of accurate sensors currently hosted by smartphones are enabling new participative urban management opportunities. Mobile crowdsensing (MCS) allows people to actively participate in any aspect of urban planning, by collecting and sharing data, reporting issues to public administrations, proposing solutions to urban planners, and delivering information of potential social interest to their community. Although collected data can be very helpful to enhance the quality of life of citizens, mobile users are still reluctant to use their devices to take advantages of the opportunities offered by the digitized society, mainly due to privacy issues. From August to December 2018, the city of Florianópolis, capital of Santa Catarina, in southern Brazil, was used as a living lab environment for an MCS application called ParticipACT Brazil, a socio/technical-aware crowdsensing platform. While the current literature focuses on MCS from a purely technical point of view, this research demonstrated that a multidisciplinary approach that includes both human sciences and ICT is needed in order to better identify critical issues, highlights the untapped potential of MCS paradigm, and suggests research methodologies that could provide benefits for all the actors involved (researchers, public administrators, and citizens).

‘A new image of the living theatre’: the Genesis and Design of the Belgrade Theatre, Coventry, 1948–58

2011 ◽  
Vol 54 ◽  
pp. 347-382 ◽  
Author(s):  
Alistair Fair
Keyword(s):  
Modern Architecture ◽  
City Council ◽  
Local Context ◽  
Eastern European ◽  
The Arts ◽  
Living Theatre ◽  
History Of ◽  
New Ideas ◽  
Post War ◽  
The City

When it opened in March 1958, the Belgrade Theatre, Coventry, was the first new professional theatre to be constructed in Britain for nearly two decades and the country’s first all-new civic theatre (Figs 1 and 2). Financially supported by Coventry City Council and designed in the City Architect’s office, it included a 910-seat auditorium with associated backstage facilities. Two features of the building were especially innovative, namely its extensive public foyers and the provision of a number of small flats for actors. The theatre, whose name commemorated a major gift of timber to the city of Coventry from the Yugoslav authorities, was regarded as the herald of a new age and indeed marked the beginning of a boom in British theatre construction which lasted until the late 1970s. Yet its architecture has hitherto been little considered by historians of theatre, while accounts of post-war Coventry have instead focused on other topics: the city’s politics; its replanning after severe wartime bombing; and the architecture of its new cathedral, designed by Basil Spence in 1950 and executed amidst international interest as a symbol of the city’s post-war recovery. However, the Belgrade also attracted considerable attention when it opened. The Observer’s drama critic, Kenneth Tynan, was especially effusive, asking ‘in what tranced moment did the City Council decided to spend £220,000 on a bauble as superfluous as a civic playhouse?’ For him, it was ‘one of the great decisions in the history of local government’. This article considers the architectural implications of that ‘great decision’. The main design moves are charted and related to the local context, in which the Belgrade was intended to function as a civic and community focus. In this respect, the Labour Party councillors’ wish to become involved in housing the arts reflected prevailing local and national party philosophy but was possibly amplified by knowledge of eastern European authorities’ involvement in accommodating and subsidizing theatre. In addition, close examination of the Belgrade’s external design, foyers and auditorium illuminates a number of broader debates in the architectural history of the period. The auditorium, for example, reveals something of the extent to which Modern architecture could be informed by precedent. Furthermore, the terms in which the building was received are also significant. Tynan commented: ‘enter most theatres, and you enter the gilded cupidacious past. Enter this one, and you are surrounded by the future’. Although it was perhaps inevitable that the Belgrade was thought to be unlike older theatres, given that there had been a two-decade hiatus in theatre-building, the resulting contrast was nonetheless rather appropriate, allowing the building to connote new ideas whilst also permitting us to read the Belgrade in terms of contemporary debates about the nature of the ‘modern monument’.

Virtual Environments as Enablers of Civic Awareness and Engagement

2020 ◽  
Vol 1 (1) ◽  
pp. 22-34
Author(s):  
Paolo Bellavista ◽  
Antonio Corradi ◽  
Luca Foschini ◽  
Eliza Helena Gomes ◽  
Elena Lamberti ◽  
...  
Keyword(s):  
Multidisciplinary Approach ◽  
Point Of View ◽  
Public Administrators ◽  
Living Lab ◽  
Critical Issues ◽  
Wide Availability ◽  
Civic Awareness ◽  
The City ◽  
Privacy Issues

The wide availability of accurate sensors currently hosted by smartphones are enabling new participative urban management opportunities. Mobile crowdsensing (MCS) allows people to actively participate in any aspect of urban planning, by collecting and sharing data, reporting issues to public administrations, proposing solutions to urban planners, and delivering information of potential social interest to their community. Although collected data can be very helpful to enhance the quality of life of citizens, mobile users are still reluctant to use their devices to take advantages of the opportunities offered by the digitized society, mainly due to privacy issues. From August to December 2018, the city of Florianópolis, capital of Santa Catarina, in southern Brazil, was used as a living lab environment for an MCS application called ParticipACT Brazil, a socio/technical-aware crowdsensing platform. While the current literature focuses on MCS from a purely technical point of view, this research demonstrated that a multidisciplinary approach that includes both human sciences and ICT is needed in order to better identify critical issues, highlights the untapped potential of MCS paradigm, and suggests research methodologies that could provide benefits for all the actors involved (researchers, public administrators, and citizens).

An Unexpected Path to Modernisation: The Case of German Artisans during the Second World War

1996 ◽  
Vol 5 (3) ◽  
pp. 401-426 ◽  
Author(s):  
Frederick L. Mckitrick
Keyword(s):  
Second World War ◽  
Point Of View ◽  
West Germany ◽  
Class Relations ◽  
World War ◽  
New Era ◽  
The Social ◽  
History Of ◽  
Post War ◽  
Second World

On 10 July 1950, at the celebrations marking the fiftieth anniversary of the founding of the Wiesbaden Chamber of Artisans (Handwerkskammer), its president Karl Schöppler announced: ‘Today industry is in no way the enemy of Handwerk. Handwerk is not the enemy of industry.…’ These words, which accurately reflected the predominant point of view of the post-war chamber membership, and certainly of its politically influential leadership, marked a new era in the social, economic and political history of German artisans and, it is not too much to say, in the history of class relations in (West) Germany in general. Schöppler's immediate frame of reference was the long-standing and extremely consequential antipathy on the part of artisans towards industrial capitalism, an antipathy of which his listeners were well aware.

Biography and (Global) Microhistory

2017 ◽  
Vol 11 (3) ◽  
Author(s):  
Mark Gamsa
Keyword(s):  
Life History ◽  
Northeast China ◽  
The Other ◽  
Historical Writing ◽  
Forthcoming Book ◽  
Recent Developments ◽  
History Of ◽  
German Origin ◽  
The One ◽  
The City

AbstractThis article has two goals. It reflects on the recent developments and agenda of an approach to historical writing that is now becoming known by the name global microhistory, and it analyses the attention which this approach pays to individual lives. It also explores some of the challenges in writing the biography of a city alongside the life history of a person. The city is Harbin, a former Russian-managed railway hub in Manchuria, today a province capital in Northeast China. The person is Baron Roger Budberg (1867–1926), a physician of Baltic German origin who arrived in Harbin during the Russo-Japanese war and remained there until his death, leaving published works and unpublished correspondence in German and Russian. My forthcoming book about Budberg and Harbin challenges the distinction between writing “biography”, on the one hand, and “history”, on the other, while navigating between the “micro” and “macro” layers of historical enquiry.

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