Berlin: Narratives of metropolitan transition and national unity

The fall of the Berlin Wall in 1989 and the reunification of Germany in 1990 profoundly changed the role of Berlin. The move of the capital from Bonn to Berlin was to take nearly a decade. In the process, the complex national agenda of reunification was projected onto a city rich in meaningful landmarks and cultural developments. In the 1990s, carefully orchestrated building and marketing strategies focused on urban revival at select locations, including the new government quarter and Potsdamer Platz. Today, however, 1990s Berlin is remembered for the contemporary countercultures that serve to epitomize the city’s creativity over time. This article explores how Berlin developed post-Wall narratives of new beginnings that affirmed a sense of identity well beyond that of the role of national capital.

Build the imaginary: Urban futures and New Towns in post-war French spatial planning

Post-war France was reshaped by a sustained period of spatial planning and modernization. This was particularly so during the presidency of Charles de Gaulle (1958–69), as the country positioned itself as a modern European nation after decolonization. In its approach and execution, French spatial planning represented the sort of imperious state intervention critiqued by radical spatial theorists such as Henri Lefebvre. Yet it remained the case that the planners articulated a rich vision of France’s future, filled with space and light. Not only that, but they had the means to bring their vision into being. During the mid-1960s, the building of New Towns became central to their thinking. This article revisits spatial planning as a realm of the imagination and considers how the nation’s future was portrayed in textual and visual forms. It explores how the translation of dreams into built realities became a source of political tension, and how those tensions found public expression in the visual media.

Leaving the group: Bologna as an urban mythscape for 1990s Italian youth

Since the end of the 1970s, Bologna has represented an ‘urban mythscape’ for left-wing subcultural youth in the Italian cultural imaginary. This article examines representations of spaces of encounter and conflict for young people in Bologna in Silvia Ballestra’s La guerra degli Antò (1992) and Enrico Brizzi’s Jack Frusciante è uscito dal gruppo (1994). Set in the 1990s, these novels mark a significant change in Bologna’s urban mythscape, in that they do not refer back to the 1970s like the majority of cultural representations of youth set in Bologna. The protagonists’ desire to ‘leave society’ and withdraw into private spaces reflects an evolution in representations of Italian subcultural youth, which mirrors the emergence of Italian ‘Generation X’ and their experience of social and political commitment.

Naples/Italy: An accented approach to city and nation

Naples presents an intriguing case for the study of city and nation in cultural perspective. Historically viewed as a problem city and occupying an ambiguous place in the discursive construction of the nation, it has come to represent Italy in contemporary media and culture. This article reviews the historical construction of Naples in national discourse and interrogates new critical perspectives that re-evaluate the city in the light of postcolonial theory. Identifying the limitations of such theorization with respect to cultural representations of Naples’ relationship with Italy, I draw on theories of cultural accentedness to propose a new approach to Naples, premised upon a reframing of national culture in terms of differently accented practices, discourses and interpretations. The approach is intended as a model for critical interrogation of the relationship between city and nation more broadly.

The right to urban public space and aesthetic dissensus for democratic citizenship

In the last three decades, across the world, there have emerged mass movements, uprisings and revolts targeting neo-liberal global capitalism and its radical reorganization of urban hierarchies. As a result, cities have become the central stage for sociopolitical struggles. While the scholarship on new social movements has recognized the aesthetic potential of political organizing since the beginning of the anti-globalization movement in 1999, new approaches are needed to understand the aesthetic dissensus of contemporary activism within the urban space. This article theorizes aesthetics as a potentially radicalizing force in proposing a democratic citizenship in the city. Indebted to the theories of Henri Lefebvre, David Harvey, James Holston, Mark Purcell and Jacques Rancière, it discusses the new synthesis of political and aesthetic forms, action and experience in urban social movement praxis. Taking Gezi Park resistance in Turkey (2013) as a case study, it seeks to understand the relationship of activist aesthetics to changing practices and conceptions of citizenship.

City and nation in cultural perspective: Introduction

This Special Issue explores how cultural production and practice understand and articulate the changing relationship between city and nation, in the light of globalization and the increasing freedom of cities to build, brand and promote themselves independent of the nation state. The Introduction maps the scholarship pertaining to cultural engagements with city and nation, highlighting their separation into two distinct spheres. It reviews the existing scholarship on city‐nation relations in the field of urban studies (where discussion has centred on the emergence of ‘world cities’ and their implications for nation states) and in urban history. It locates in Vivian Bickford-Smith’s work on cities and nationalism in South Africa a rich source of inspiration for the volume’s complementary study of the role played by cultural production and practice in articulating, shaping and negotiating understandings of city and nation in contemporary Europe. It closes with an overview of the contributing articles.

Troubling national commemoration in Dublin, London and Liverpool: ANU Production and CoisCéim Dance Theatre’s These Rooms

The cultural production These Rooms challenged traditional nationalistic commemorations of war and rebellion during the ‘Decade of the Centenaries’. Created by the Dublin-based ANU Productions and CoisCéim Dance Theatre, and funded by the Irish and UK governments, this series of theatre/dance performances, installations and public outreach projects in unconventional urban venues ran from 2016 to 2019 in Dublin, London and Liverpool, cities with mixed British and Irish populations. Fragmentary, embodied stories about the 1916 Easter Rising in Dublin communicated the perspectives of working-class Irish civilian women and confused young British soldiers through intimate domestic encounters that productively disrupted heroic narratives. Audiences were instead invited to create temporary communities of encounter and ‘unlearn’ dominant concepts supporting colonial, imperial and national spaces–times. As a critical agonistic artistic intervention, These Rooms offered more inclusive ‘potential histories’ and forms of belonging across political, social and temporal borders during the geopolitically uncertain times associated with Brexit.

Reform, revolution and reaction in the urban space of Madrid, de corte a checa (1938) by Agustín de Foxá

The first literary manifestations to emerge in the context of the Spanish Civil War endeavored to create a legitimizing discourse for each of two contending Spains, the National Spain and the Republican Spain, by means of poetic appropriation of urban spaces. Nevertheless, this was not a Spain divided only in two, between leftists and rightists or Socialists and Cedistas, but rather a territory comprised of many parallel wars sparked prior to 1936. According to historian Enrique Moradiellos, the nuclei of three disparate and opposing political agendas arose from the physical foundation of these two Spains, ‘the reformist-democratic, the reactionary-authoritarian and the revolutionary-collectivist [agendas] that responded to the same triad of models that emerged in Europe in the wake of the devastating impact of the Great War of 1914 and that competed to achieve political and institutional stabilization’ (2004: 125). This ‘reform, reaction and revolution’ triangle that acted as the protagonist of the Great War would also settle into the fratricidal spaces of Spain and its cultural products. In this context, my essay will analyse the mechanisms of appropriation of Madrid’s spaces employed by each of these three political agendas as they are presented in Madrid, de Corte a Checa (1938) by Agustín de Foxá. Following the map of the capital we will see how both, the agenda of a modern anti-traditional space driven by the Second Republic and the anti-bourgeois revolutionary agenda that stood for the destruction of the status quo and the implementation of a Communist Orthodox regime, present a threat to the conservative ideal that represented the monarcho-Catholic centralism of the third agenda. This threat is manifested in the dismantling of Madrid through the ‘de-Hispanicization’ (Foxá) of the mythical spaces of the sacred (churches and convents), historic (statues and palaces) and domestic (house interiors) cityscapes.

Tito Caula’s photographic imaginary and mid-century Caraqueño modernity

The photography of the Argentinian photographer Francisco ‘Tito’ Caula tracked some of the key social and physical changes that Caracas underwent during the middle decades of the twentieth century. This period saw the country transition from dictatorship to democracy. Caula’s advertising photographs together with his images of spectacular spaces and buildings such as the Sabana Grande and the Centro Simón Bolívar presented Caracas as a mecca of mid-century ‘petro-modernity’ (LeMenager 2014). In contrast to late nineteenth- and early-twentieth-century modernity, which was predominantly European in influence, Caraqueño modernity at mid-century was more cosmopolitan, taking particular inspiration from the United States. Caula’s photographs speak to the process of Americanization, defined as the adoption of North American cultural products, urban forms and patterns of living that Venezuela underwent during the years Caula spent in the country. Venezuela witnessed an economic boom in the 1960s and 70s, which was fuelled by the US acquisition of Venezuelan oil. In Venezuela, the boom facilitated the growth of a consumer society as well as the development of such quintessentially North American urban forms as freeways, shopping malls, drive-in movie theatres, suburbs and skyscrapers. It was also accompanied by the adoption of violent security tactics by the state’s security apparatus and the political marginalization of the radical left. Given that Caula held left-wing views, it is perhaps surprising that his photographs (at least those that have been published) do not explore the tensions at the heart of the Pacto de Punto Fijo, instituted to ensure that the transition from dictatorship to democracy would hold following elections in 1958. The celebration of North American influence within Caula’s photographs puts them in dialogue with critical perspectives that have seen US cultural influence rather more negatively. Moreover, their celebration of prosperity and their presentation of Caracas as an exciting city means that, for some, they have taken on a nostalgic hue.

Sensing the (media) city

This article, originally delivered at the 16th international conference of the Architectural Humanities Research Association (University of Dundee, November 2019), seeks to engage with the ‘emotive’, ‘sensorial’ and ‘affective turn’, as defined by authors in the humanities, social and cultural studies in order to consider the emotional responses to the mediated experiences of place and to inquire into how individuals and collectives react to a changing sensory environment. It adopts a multi-disciplinary approach that blends historical, cultural and mediated dimensions of urban spaces and places while maintaining a focus on the kind of locative/interactive art which is less concerned with representation and more with radical construction, social engagement and communication. The purpose is to try and provide an answer to the question: what does ‘sensing the city’ exactly entail when the city’s form, as Baudelaire memorably put it, ‘changes faster than the human heart?’