Signs and Emotions as the Experience of the Urban Explorer

Although we have the impression that we understand the urban texture in which we live, the city still holds surprises in the way it communicates everyday aspects, situations, and cultural history.The experience of the urban explorer, that flâneur/stroller mentioned by Guy Debord (1955) and the Situationist school, was until recently only a literary experience. The emotion of discovering the unusual in the urban daily life was communicated only in the form of textual narratives (Sinclair, 1997). Recently the psychogeographical approach to the city has become again a topic of interest. Although contemporary design transposed the behavioral codes of urban life into signs, it did not propose emoticons for the phenomenological experience of one who experiences the city. The original purpose of this paper is to translate the phenomenological experience of the urban explorer into infographics (which translates complex concepts into signs with condensed meaning) and to quantify and communicate emotionally and visually, the experience of the "invisible" [out of sight] cultural details to the hurried passerby. This paper will discuss the phenomenological (psychogeographical) experience of the city transferred into visual signs will be presented. The authors insist on the communicative value of infographics in making visible the hidden beauty of the city, the historical and esthetical details that are not seen by the passersby on the street, proposing a new urban visual language accompanied by visual design theory and cultural history explanations.

Literary Tourism

This chapter aims at understanding travelers' literary experience in “The Museum of Innocence,” which is known as a museum based on a book that was written by Orhan Pamuk. To reach the purpose, a qualitative research approach was adopted in this study, and online reviews posted by visitors of the museum were used to explore the main components of their experience in a literary context. The collected data was examined through content analysis. As a result of analysis, visualization, a sense of nostalgia, awe, and memorable components were revealed. These components were interpreted in different ways by visitors. Theoretical and practical implications were provided as well as limitations for future research lines.

Daniel Patrick Moynihan and the Politics of Tragedy

How does tragedy, primarily a dramatic-literary experience, shape politics? While scholars have mostly looked to classical tragedy and expressions of public mourning to answer this, I employ a policy-oriented case study to do so: the politics of Daniel Patrick Moynihan. Widely known for his data-driven social science, I want to suggest the counterintuitive claim that the popular senator from New York was ironically also influenced deeply by literary tragedy. This article demonstrates how Moynihan cultivated a set of tragic sensibilities that informed his realist political calculations and implanted in his policies a tragic awareness that limited the goals of what government could achieve, while helping define what it should and how. Rather than evaluate the validity of his controversial proposals from the 1960s, I offer a critical reexamination that highlights the tragic impulses coloring them. In the process, I conceptualize a politics of tragedy as a “tamed” form of postwar liberalism.

Preference, Passing and Fresh Perspectives: Text Selection by Secondary School English Teachers in Aotearoa New Zealand

<p>The New Zealand Curriculum (NZC) and the national secondary school qualification, the National Certificate of Educational Achievement (NCEA), afford teachers an enormous degree of autonomy over what they teach in their classrooms. This is in line with international trends in curriculum design which shape curricula around generic, open-ended learning outcomes rather than specific content. However, as of yet there is very little research either in New Zealand or internationally into the ways teachers make decisions about what to teach within an environment of great curricular freedom. Accordingly, this thesis investigates how high school English teachers in Aotearoa New Zealand make decisions about which written texts to teach within the context of current curriculum and assessment frameworks. It conducts this investigation from what will be called a modified social realist perspective. This theoretical perspective adapts the classic social realism promoted in the work of Michael Young and others, in order to develop a version of social realism which has explanatory power for humanities subjects, and subject English in particular. The thesis moves through three main sections: context, theory and findings. The first section details the context in which this study is located, with a focus on how the New Zealand Curriculum and NCEA are clear examples of what will be called the New Curriculum: a movement in curricular reform which advocates for the removal prescribed content and positions the teacher as a curriculum maker, rather than a curriculum implementer. This section also includes a literature review. The second section outlines the theoretical position of this thesis. It shows how classic social realism struggles to account for both the non-abstract and subjective nature of literary experience, and moves from this to advance a ‘modified social realism’ which incorporates these features of literary experience into its model. The methodology of the study is also included here. Finally, the third section outlines the study’s findings. It is shown that given the freedom to choose their own texts, teachers make decisions based on, in order of importance, students’ interests, the likelihood of a text succeeding in NCEA assessments, and whether the text will expose students to important perspectives and ideas. This thesis argues that such priorities are problematic, as, from a modified social realist perspective, focusing on student interests and assessment success can limit opportunities for students to be exposed to truly transformative literature. This thesis therefore ends by suggesting three potential reforms which would allow students to encounter such literature more frequently, including enhanced professional development, and a curriculum document with clearer guidelines around the types of texts that students should encounter.</p>

Preference, Passing and Fresh Perspectives: Text Selection by Secondary School English Teachers in Aotearoa New Zealand

<p>The New Zealand Curriculum (NZC) and the national secondary school qualification, the National Certificate of Educational Achievement (NCEA), afford teachers an enormous degree of autonomy over what they teach in their classrooms. This is in line with international trends in curriculum design which shape curricula around generic, open-ended learning outcomes rather than specific content. However, as of yet there is very little research either in New Zealand or internationally into the ways teachers make decisions about what to teach within an environment of great curricular freedom. Accordingly, this thesis investigates how high school English teachers in Aotearoa New Zealand make decisions about which written texts to teach within the context of current curriculum and assessment frameworks. It conducts this investigation from what will be called a modified social realist perspective. This theoretical perspective adapts the classic social realism promoted in the work of Michael Young and others, in order to develop a version of social realism which has explanatory power for humanities subjects, and subject English in particular. The thesis moves through three main sections: context, theory and findings. The first section details the context in which this study is located, with a focus on how the New Zealand Curriculum and NCEA are clear examples of what will be called the New Curriculum: a movement in curricular reform which advocates for the removal prescribed content and positions the teacher as a curriculum maker, rather than a curriculum implementer. This section also includes a literature review. The second section outlines the theoretical position of this thesis. It shows how classic social realism struggles to account for both the non-abstract and subjective nature of literary experience, and moves from this to advance a ‘modified social realism’ which incorporates these features of literary experience into its model. The methodology of the study is also included here. Finally, the third section outlines the study’s findings. It is shown that given the freedom to choose their own texts, teachers make decisions based on, in order of importance, students’ interests, the likelihood of a text succeeding in NCEA assessments, and whether the text will expose students to important perspectives and ideas. This thesis argues that such priorities are problematic, as, from a modified social realist perspective, focusing on student interests and assessment success can limit opportunities for students to be exposed to truly transformative literature. This thesis therefore ends by suggesting three potential reforms which would allow students to encounter such literature more frequently, including enhanced professional development, and a curriculum document with clearer guidelines around the types of texts that students should encounter.</p>

Products of Counterfactual Imagination:The Healing Life of Literature

My papers investigates two of the latter volumes by Romanian author Monica Pillat, Invitație la vis (An Invitation to Dream, 2014), and Croitorul de cărți (The Book Tailor, 2019), in which the literary experience elevates and transcends life itself, as a form of rewriting/healing the past and, maybe, of projecting one’s dreams into the future. It relies on criticism of two stories from the respective volumes, which investigates the sites of memory, such as the family mansion, which is the central piece around which the fantasy world woven by the author gravitates. Since Monica Pillat descends from a whole line of literary masters, her gift for writing is in fact a form of recuperating and also compensating for the family past, in which especially her father (Dinu Pillat) was very much afflicted by political persecution during Communist times. In my paper, I will dwell upon the less factual connection between life and literature – that of a mutual mirroring and influencing – in the attempt to prove that the experience of writing can make up for the losses encountered in reality. In this sense, being a literary author may offer one the chance of re-inventing one’s self (or imaginatively amending the life of your loved ones) and – for Monica Pillat – it certainly offers the greatest reward of all: a continual dwelling inside the family lineage, in the company of the kindred spirits that have guided and protected her since she was born.

A City of Betrayals: Irvine Welsh’s Minor Literature of Leith

This article examines the representation of the city and communities of Edinburgh in Irvine Welsh’s works, more specifically his Trainspotting saga: Trainspotting (1993), Porno (2002), Skagboys (2012) and Dead Men’s Trousers (2018). While Welsh is an integral part of a broader literary tradition of the contemporary urban Scottish novel, which blends together the crime novel genre with the localised concerns of post-industrialism, gripping poverty, Thatcherite austerity, substance abuse and nagging questions of Scottish identity (gender, sexuality, class, nationhood, etc.), his depictions of the former port-town of Leith and its forgotten histories exposes Edinburgh as two distinctly separate and striated communities and geographies: one of opportunity and one of betrayal. Specifically, this essay reads Welsh through the literary, spatial and political theories of Gilles Deleuze and Félix Guattari with regard to Leith’s contentious historical relationship with Edinburgh. In this analysis of Welsh’s Leith as a vernacular, rhizomatic and anti-institutional force, this essay hopes to illustrate how Welsh’s work redirects the popular notions of Scottish national identity and statehood toward a minor literature, a linguistic, political and historical divergence from the dominant Scottish literary experience