Epilogue

Author(s):  
Rashad Shabazz

This epilogue focuses on Chicago's changing racial geography, arguing that this change is creating not only gentrification in parts of the city, but also openings for Black Chicagoans to augment their geography. Since the mid-1990s abandoned lots all over Chicago have been turned into spaces of agricultural production. Not limited to middle-class white neighborhoods, urban gardens have sprung up in poor and working-class communities on the South and West Sides of the city. This is not the first time Chicagoans have performed agriculture in the city. The city has a long history of urban agriculture. This epilogue shows that green spaces can undo the consequences of carceral space by enabling Black Chicagoans to eat fresh fruits and vegetables in places with little retail access to them and creating environments of stress reduction for the entire community. It also demonstrates that the poor and the working class can be architects and planners, that they can augment their geographies in ways that produce healthy people and vital, vibrant communities—on their own terms.

Modern Drama ◽  
2021 ◽  
Vol 64 (4) ◽  
pp. 442-457
Author(s):  
William McEvoy

This article argues that the work of Welsh theatre director and playwright Peter Gill occupies a unique place in post-1960s’ British playwriting. It explores Gill’s plays as – using theatre critic Susannah Clapp’s phrase – the “missing link” between kitchen-sink realism and more self-consciously poetic forms of theatre text. Gill’s plays make an important contribution to the history of working-class representation in UK theatre for three main reasons: first, the centrality he gives to Wales, Welsh working-class characters, and the city of Cardiff; second, his emphasis on the experience of women, especially mothers; and third, his focus on young male characters expressing and exploring the complexities of same-sex desire. The plays make advances in terms of realist dialogue and structure while also experimenting with layout, repetition, fragmentation, poetic description, and monologue narration. Gill’s work realistically documents the impact of poverty, cramped housing conditions, and social deprivation on his characters as part of a political project to show the lives of Welsh working-class people on stage. While doing so, Gill innovates in his handling of time, perspective, viewpoint, and genre. His plays occupy a distinctive place in the history of British, working-class, gay theatre, helping us to rethink what each of these three key terms means.


Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 19
Author(s):  
Déirdre Kelly

It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.


2013 ◽  
Vol 48 (5) ◽  
pp. 1435-1449 ◽  
Author(s):  
DOUGLAS E. HAYNES

AbstractThis review examines three major books on the history of Bombay. Historians of the city have tended to focus primarily on the period before 1930; this tendency has seriously limited our understanding of the dramatic transformations that have taken place in Bombay over the course of the twentieth century. Each of the studies reviewed here devotes considerable attention to developments since the 1920s. Collectively these works make a significant contribution to the appreciation of such matters as working-class politics, the changing character of workers’ neighbourhoods, land use, urban planning, and the ways the city has been imagined and experienced by its citizens. At the same time, these works all shift their analytic frameworks as they approach more contemporary periods and this restricts the authors' ability to assess fully the character of urban change. This paper calls upon historians to continue to apply the tools of social history, particularly its reliance on close microcosmic studies of particular places and groups over long periods of time, as they try to bridge the gap between the early twentieth century and the later twentieth century. At the same time, it suggests that historians need to consider Gyan Prakash's view of cities as ‘patched-up societies’ whose entirety cannot be understood through single, linear models of change.


2018 ◽  
Vol 45 (1) ◽  
pp. 132-145
Author(s):  
Gyula Szvák

It would be too early to try and summarize the way in which the issue of Russia’s “state historical and remembrance policy” has evolved or foresee its possible outcomes, as the standard uniform set of schoolbooks has not yet been approved. The media-voting competitions presented in this essay, however, clearly demonstrate the national social climate and its trends, which would have to be moulded into some form of an “all-Russian socium” by such a new approach to history. As contemporaries we might curiously await the next rounds of the “identity battle,” but as historians we must give voice to scepticism in regards to hopes of any form of quick success. Yet most of all, we have to stand by the deep conviction that only a pluralistic approach to history based on free research and the freedom to present freely conceived alternatives can help in the crystallization of a realistic national self-image. P.S.: For the first time in the history of Russia a statue has been erected for Ivan IV (the Terrible, the Fearsome) in the city of Oryol on 15 October 2016. The countdown has begun.


2002 ◽  
Vol 55 (3) ◽  
pp. 936-968 ◽  
Author(s):  
Eugene J. Johnson

The teatro all'italiana, or Italian opera house with boxes, was one of the most successful building types invented during the Renaissance, but fragmentary and ambiguous evidence has made locating its origins difficult. This article proposes that those origins are to be found in two theaters for commedia dell'arte built in Venice in 1580 and destroyed by order of the Council of Ten in 1585 (m.v.). The history of these two theaters is sketched here for the first time by means of documents recently found in the Archivio di Stato, Venice, that also include new information related to Palladia's Teatro Olimpico in Vicenza. The role the two Venetian theaters played in the economic, political and social history of the city is suggested.


Author(s):  
Н. Н. Грибов ◽  
Т. А. Марьенкина ◽  
Н. В. Иванова

В статье представлены предварительные результаты первых масштабных археологических исследований в нижней части Нижегородского кремля. Раскоп, заложенный в зоне воссоздания храма Святого Симеона Столпника, вскрыл культурные отложения двух периодов - XIII - начала XV в. и XVI - середины XVIII в. Впервые средневековая усадебная застройка Нижнего Новгорода зафиксирована на таком элементе волжской долины, как береговой склон. Выдающееся значение для нижегородской археологии имеют обнаружение стратифицированных культурных напластований XIII - начала XV в. и зафиксированный на стратиграфических разрезах перерыв в активном освоении городской территории, соответствующий большей части XV в. Предложена реконструкция истории освоения раскопанного участка. Выяснилось, что связанный с храмом малоизвестный нижегородский Симеоновский монастырь вряд ли существовал до строительства Нижегородского кремля. Наиболее раннее, предположительно, монастырское сооружение, возникшее после исчезновения усадебной застройки XIII - начала XV в., датировано концом XV - серединой XVI в. С этим периодом связано строительство деревянного моста, обеспечивавшего транспортное сообщение между «нагорным» и приречным районами города. Обнаружение остатков этого свайного сооружения существенно корректирует известную реконструкцию застройки кремлевской территории начала XVII в., выполненную по письменным источникам. Дано обоснование времени функционирования обнаруженного некрополя Симеоновского монастыря в пределах середины XVI - начала XVIII в., приведена общая характеристика изученных погребений. В общеисторическом контексте материалы исследований представляют интерес для изучения процессов, сопровождающих превращение удельных городских центров в города Московской Руси. The article presents preliminary results of the first large-scale archaeological research in the lower part of the Nizhniy Novgorod Kremlin. The excavation, laid in the area of the reconstruction of the Church of St. Simeon the Stylite, uncovered cultural layer of two periods - the XIII - early XV centuries and the XVI - mid XVIII centuries. For the first time, the medieval estate development of Nizhniy Novgorod was recorded on such an element of the Volga valley as the coastal slope. The discovery of stratified cultural strata of the XIII - early XV centuries and the break in the active development of urban territory recorded on stratigraphic sections, corresponding to most of the XV century, are of outstanding significance for Nizhniy Novgorod archeology. The reconstruction of the history of development of the excavated site is proposed. It turned out that the little-known Nizhniy Novgorod Simeon monastery associated with the temple hardly existed before the construction of the Nizhniy Novgorod Kremlin. The earliest, presumably, monastic structure that arose after the disappearance of the manor buildings of the XIII -early XV centuries., dated to the end of the XV - mid XVI centuries. This period is associated with the construction of a wooden bridge that provided transport links between the «Nagorny» and riverine districts of the city. The discovery of the remains of this pile structure significantly corrects the well-known reconstruction of the Kremlin territory of the beginning of the XVII century, made according to written sources. The justification for the functioning of the necropolis discovered Simeon monastery in the middle of the XVI century - beginning of the XVIII centuries, the general characteristics of the studied burials. In the general historical context, the research materials are of interest for studying the processes that accompany the transformation of specific urban centers into cities of Muscovite Russia.


Author(s):  
S. Zhunusbaev ◽  

In this article, the author, using widely the materials of the multivolume essay "Turkestan Collection" stored in a single copy in the city of Tashkent, could in a detailed plan provide a real historical picture of the past, activities, household, culture and life, family and household characteristics, national character , morals and spiritual and moral values, and ideals of nomadic Kazakhs. The works of N.M. Przhevalsky, I.V. Mushketov, travel notes by P.P. Semenov and N.A. Severtsov – researchers of the Tien Shan, the works of N.A. Maev on the Turkestan Territory, and others were published. At the same time in periodicals many articles have appeared, often for the first time touching upon and covering political and economic issues, history, ethnography and culture of Central Asia


Author(s):  
Sergei G. Bocharov

The article covers the main points of the town-planning history of Karasubazar, the city of the Crimean khanate, and, most importantly, offers a graphic reconstruction of its master plan for the last quarter of the 18th century, the final stage of the state’s existence. Reconstruction of the historical topography of the late medieval city was carried out for the first time on the basis of three types of sources – written, cartographic, and archaeological. All the basic elements of the city’s historical topography as well as the plan of quarterly residential development and a network of streets are reconstructed. Characteristic features of the location of the quarters inhabited by the Greek, Armenian and Jewish population among the main population of the Tatar inhabitants are revealed. City mosques, bathhouses, fountains supplying the citizens with water, hotels-caravanserais, shopping malls, and production workshops are localized. It is found out that Karasubazar was the second largest settlement in the state, its capital Bakhchisarai being the largest one. By the final stage of the Crimean khanate’s existence the area of the urban development of Karasubazar was 109.0 hectares


2021 ◽  
Vol 13 (2) ◽  
pp. 305-320
Author(s):  
Ömer TÜRKMENOĞLU ◽  
Zümra AZİZOĞLU

The Turkish world's opera history gave its first example in 1908 with the opera "Leyli and Majnun" by Azerbaijani composer Üzeyir Hacıbeyli. According to many sources, "Leyli and Majnun" is described as the first opera of the Turkish world and the Islamic world, and the east. The most important feature of this opera is the masterful synthesis of classical western music and folk music. The opera, which was composed for the first time in this way, influenced the east with its staging and ensured that the art of opera was adopted by the public. The great composer Uzeyir Hajibeyli was born in the city of Shusha in Azerbaijan, which was developed in the field of literature and music and called the "natural conservatory." He developed his existing talent here and built it on solid foundations. He was interested in music and literature, wrote many books, articles, and was a writer for newspapers. The subject of the opera Leyli and Majnun is taken from Fuzuli's "Leyli and Majnun" poetry of the same name. At the age of 13, the composer decided to write this opera, influenced by the theater show "At the tomb of Majnun Leyli'' which he watched in Shusha, his home city. He started working on opera in 1907 when he was only 22 years old. By bringing a different perspective to opera, he used the tonal structure of western music with 'mugham,' also known as Azerbaijani folk music. This type of opera is also called "Mugam Opera.'' The opera, which was composed and performed despite the conditions of the period, preserved its originality by combining two cultures and was performed many times in other countries. Operas from the Turkish world are rarely staged in our country, and there is a need for such an article because the opera "Leyli and Majnun" has not been staged much in Turkey and there are very few theses, articles, and books about it. In this study; Different titles have been created such as the history of Azerbaijan opera, the life of Uzeyir Hajibeyli, the composer's process of creating the opera, and the content of the opera Leyli and Majnun. Keywords: Leyli and Majnun, Uzeyir Hajibeyli, Turkish World, Opera


Author(s):  
Fabio Raimondi

This work begins with a question posed by Machiavelli: ‘In what mode a free state, if there is one, can be maintained in corrupt cities; or, if there is not, in what mode to order it.’ The book analyses the different solutions proposed by Machiavelli starting with the hypothesis of the ‘civil principality’, passing through both the definition of the republican ‘civil and free way of life’ and the examination of the history of the Florentine institutions, to two short writings from the years 1520–22. In the Discursus florentinarum rerum and the Minuta di provisione per la riforma dello Stato di Firenze, Machiavelli exposed publicly for the first time, his proposals to bring back republican freedom to Florence after the fall of the first republic and the Medici’s return. The main thesis put forward in this work is that Machiavelli, when he worked for the Medici, was always a committed republican, even if he believed that the city’s constitution needed to change after the fall of Soderini. In the Discursus and in the Minuta Machiavelli proposed a constitution in which the ‘humours’ were forced to mix together in order to generate a new form of ‘equality’ that according to Machiavelli is the main characteristic of a free, just, and stable republic. The aim was not to obtain equilibrium among the parts of the city leaving them unaltered, but to mix them.


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