Dissertations / Theses on the topic 'Urban spectacle'
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Feinberg, Matthew Isaiah. "LAVAPIÉS, MADRID AS TWENTY-FIRST CENTURY URBAN SPECTACLE." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/216.
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Informed by the theories of Henri Lefebvre regarding the production of space and the theories of scale found in current scholarship in Cultural Geography, my methodology analyzes both dramatic texts and theater spaces to investigate how cultural production and capital converge in the “spectacle” of urban space. While employing this term “spectacle” to describe how dramatic texts, theater productions, and modern architecture transform the urban landscape into a metaphoric theater space for the production of local, national, and global identities, this project examines the relationship between theater and urban change in Lavapiés, an iconic, multicultural, and oftenunderserved neighborhood located in the Embajadores district of Madrid, Spain. Against the historical backdrop of the neighborhood’s long and important relationship with theater and theater spaces from the seventeenth century onwards, I analyze a range of urban spectacles taking place in Madrid between 1997 and 2006. This analysis includes close readings of contemporary plays that represent the urban space of Lavapiés and Madrid, an analysis of the architecture of power articulated in the the municipal government’s Plan General de Ordenación Urbana de Madrid 1997 [Plan for Urban Development for Madrid 1997] and the recently constructed Teatro Valle-Inclán Centro Dramático Nacional [National Drama Center]. Finally, I look at the cultural activities of the squatters (okupas) of the Laboratorio 03 who between 2002 and 2003 transformed an abandoned warehouse into a space for art, theater, and cyber resistance that sought to shatter the illusion of capitalist spectacle projected by the gleaming steel and glass of the new condominiums and cultural institutions represented by the aforementioned Teatro Valle-Inclán. Overall, this project looks to this range of traditional and nontraditional texts to illustrate how Madrid’s historical dynamic between urban space, power, and theater continues to be manifested in the contemporary spectacle of Lavapiés.
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Lasansky, D. Medina. "Italian Renaissance refashioned : Fascist architecture and urban spectacle /." View online version; access limited to Brown University users, 1999. http://wwwlib.umi.com/dissertations/fullcit/9936645.
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Foy, Elizabeth. "Spectacle: Framing the Midwestern Art Community." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283356889.
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Grause, Mackenzie M. "The Identity and Spectacle of Sport as a Modern Piazza." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522337031765992.
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Hallett, Mark. "The spectacle of difference : graphic satire and urban culture in London, 1700-51." Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307176.
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Lowes, Mark Douglas. "Indy dreams and urban nightmares, speed merchants, spectacle, and the struggle over public space." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0027/NQ51892.pdf.
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Wildman, C. E. "The 'spectacle' of interwar Manchester and Liverpool : urban fantasies, consumer cultures and gendered identities." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503596.
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Karalambo, Paul N. "Sub[urban] Detroit mediating the expression /." Cincinnati, Ohio : University of Cincinnati, 2007. http://rave.ohiolink.edu/etdc//view?acc_num=ucin1179386856.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Advisor: Michael McInturf . Title from electronic thesis title page (viewed May 31, 2010). Includes abstract. Keywords: Detroit; visual spectacle; mediated subject; satellite design studios. Includes bibliographic references.
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Ferguson, Tiffany (Tiffany M. ). "Local public space, global spectacle : a case study on South Africa's first shipping container shopping center." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118209.
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Thesis: M.C.P., Massachusetts Institute of Technology, Department of Urban Studies and Planning, 2018.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 63-67).
This thesis is the explication of a journey to reconcile Johannesburg's aspiration to become a 'spatially just world class African city' through the lens of the under-performing 27 Boxes, a globally inspired yet locally contested retail center in the popular Johannesburg suburb of Melville. By examining the project's public space, market, retail, and design features -- features that play a critical role in its imagined local economic development promise -- I argue that the project's 'failure' can be seen through a prism of factors that are simultaneously local and global. Furthermore, the perceived failure and reinvention of the center exemplify the tensions inherent in municipal, developer, and community aspirations for who such projects should serve and subsequently, who is welcome to access and utilize Melville public spaces. What began as a project intended to offer an anti-mall experience to a broad-ranging group of patrons is now being reconstituted as a space for Melville residents who yearn for the village-like community environment that flourished years before. These tensions between nostalgia for the past, the politics of spatial justice, and world class African urbanism provoke us to think deeply about if, when, and how divergent market and state priorities can be aligned and exploited for local social and economic impact. The research raises critical questions about how to develop and promote urban amenities, like alternative urban retail formats, that might simultaneously create value for the city's global brand and local residents; and, ideas for mitigating the friction among seemingly competing stakeholder aspirations.
by Tiffany Ferguson.
M.C.P.
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NASO, MONICA. "Curated in China. Manipulating the City through the Shenzhen Bi-City Biennale of Urbanism Architecture." Doctoral thesis, Politecnico di Torino, 2021. http://hdl.handle.net/11583/2957775.
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Bartlett, Voon Pow. "Spectacle as myth : Guanxi, the relational and the urban quotidian in contemporary Chinese art (2005-2008)." Thesis, University of the Arts London, 2008. http://ualresearchonline.arts.ac.uk/2311/.
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This thesis is an interrogation of the spectacle of Chinese contemporary art and the concept of a Chinese modernity, in terms of the legacy from the Communist era, China's social fabric and its urban quotidian. It contributes to knowledge in a way of understanding Chinese contemporary art that is firmly rooted in both Chinese and Western historical and cultural theories and from the point of view of a Chinese from the diaspora. Its originality also derives from the manner in which it questions the validity of imposing a Western modernity on a Chinese context and its identification of a more complex causal framework influencing fine art discourses globally. The principle has been to reconstitute the idea of the Orient, in this case China, as a significant Other, not at the periphery of Western culture but with equal stature in terms of hegemony, history and heritage. This has necessitated an interdisciplinary interrogation that accounts for a range of influences such as the Chinese political, social and cultural elements within China's dynamic economic growth and alongside influences of globalisation and Western modernism. The research is built on the author's academic scholarship in western art theory and practice, Chinese art history and culture and a particular personal connection with China. The first is an undergraduate First Class Honours degree in Fine Art from Central St. Martins and subsequent professional practice as an artist and lecturer, the second a Masters degree in Chinese Art and Archaeology from the School of Oriental and African Studies, University of London, and the third as a Chinese from the diaspora, born in a Beijing hutong and whose father's early professional life was inextricably linked to that of Mao.
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Guano, Emanuela. "Emplacing modernity : the Buenos Aires' middle-class and the politics of urban spectacle in neoliberal Argentina /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Reisin, Vanessa Raquel. "theatre: analogy of the city reflected inward." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/34834.
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this thesis is an exploration of rational architectural forms and urban ideas. reflections of density, circulation, rhythm, pattern, and punctuation. the formal consequence of two ideas, city and spectacle, manifest in a theatre for the acrobatic performing arts. on the exterior, an autonomous construction where the architecture is a confrontation to the urban world. internally, a world where spectator and spectacle exist playfully through drawing, modeling, and collage. the project brings the structure of the city to the structure of the theatre. theatre as analogy, a city turned inward.Master of Architecture
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Reeve, Alan Richard. "Urban design and places of spectacle : social control as an aspect of the design and management of mundane leisure space in contemporary British context." Thesis, Oxford Brookes University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363778.
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Svobodova, Karolina. "Des lieux intermédiaires dans un pays en chantier. Nouvelles réponses spatiales aux défis culturels, artistiques et urbains dans la Belgique des années 1970-1980." Doctoral thesis, Universite Libre de Bruxelles, 2021. https://dipot.ulb.ac.be/dspace/bitstream/2013/320963/7/Contrat.pdf.
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Cette thèse étudie les enjeux et processus de création de lieux intermédiaires (friches culturelles, tiers-lieux) dans le contexte spécifique de la Belgique des années 1970. Dans une situation de revendications sociales, culturelles et artistiques et de luttes urbaines, alors que le pays est en plein chantier institutionnel conséquemment à la première révision de la Constitution, de nouveaux acteurs réclament leur place dans la cité et leur droit à la ville. Les études sur les lieux intermédiaires se multiplient depuis vingt ans en lien avec les enjeux d’aménagement du territoire. L’état de l’art révèle que tandis que les géographes, urbanistes et sociologues investissent des lieux contemporains pour analyser à quelles dynamiques territoriales – et plus spécifiquement urbaines – ils participent, les historiens de l’art et du théâtre rédigent des monographies sur l’invention de ces nouveaux espaces et sur leurs enjeux et effets dans le monde de l’art.En étudiant, à l’aide de fonds d’archives actuellement non traités et de l’histoire orale, trois lieux intermédiaires fondés en Belgique durant les années 1970 – les Halles de Schaerbeek, le Cirque Divers et la Raffinerie du Plan K – cette thèse propose d’articuler ces deux démarches en montrant comment, par l’esthétique, les choix d’aménagement et les modes de sociabilité développés dans ces lieux, ces derniers élaboraient un imaginaire urbain spécifique, participaient à l’expérience de la cité et s’inscrivaient dans le monde de l’art.La mise en place de ces infrastructures constituait une solution spatiale qui devait permettre de développer de nouvelles pratiques artistiques, susciter d’autres rapports à la culture et privilégier des modes festifs de sociabilité dans un contexte culturel peu dynamique. La thèse montre comment la logique Do It Yourself qui animait la création des lieux intermédiaires ainsi que leur manque de moyens structurels rendaient ces derniers particulièrement sensibles à leur environnement (institutionnel, urbain, socio-culturel, artistique) et les ouvraient sur la vie et les besoins de la cité. On observe que les trois lieux résultaient d’une dynamique de coopération et des appropriations des usagers, davantage que d’une logique oppositionnelle. Face au contexte actuel du city marketing et des ambitions de la ville créative qui mobilise les infrastructures et événements culturels à des fins économiques et promotionnelles, la perspective historique de cette thèse vise à réinterroger le statut de ressource que représente le lieu de culture. À partir de l’histoire de ces trois lieux, elle invite à penser les conditions de possibilité de l’infrastructure culturelle comme commun.This dissertation examines the challenges and creative processes of intermediate places (cultural sites, third-places) in the specific situation of Belgium during the 1970s. In a context of social, cultural and artistic demands and urban conflicts, as the country was undergoing institutional reforms following the first revision of the Constitution, new actors claimed their place in the city and their right to the city.Studies on intermediate places have proliferated over the past twenty years with regard to land use planning issues. A review of the state of the art reveals that while geographers, urban planners and sociologists invested contemporary spaces to analyze the territorial - and more specifically urban - dynamics to which they contribute, art and theater historians produced monographs on the invention of such new spaces and about their significance and effects in the art world.Using unedited archive collections and oral history to study three intermediate places founded in Belgium in the 1970s - the Halles de Schaerbeek, the Cirque Divers and the Raffinerie du Plan K - this research suggests to combine these two approaches by showing how, through aesthetics, design choices and the modes of sociability implemented in these places, they developed a specific urban imaginary, contributed to the experience of the city and entered the art world.The implementation of such infrastructures provided a spatial solution that would enable the development of new artistic practices, encourage other attitudes towards culture and favor celebratory modes of sociability, in a poorly dynamic cultural context. The dissertation shows how the "Do It Yourself" movement that promoted the development of intermediate places as well as their lack of organizational means made them particularly sensitive to their - institutional, urban, socio-cultural, artistic - environment and exposed them to the life and needs of the city. Consequently, it can be stated that the three cultural sites arose from a dynamic of cooperation and appropriation by the users, rather than from an oppositional logic. In light of the current model of city marketing and the aspirations of the creative city, which relies on the use of public infrastructures and cultural events for economic and marketing purposes, the historical approach of this work aims at reexamining the value of cultural places as a resource. Drawing on the history of these three sites, it calls for a reflection on the conditions of possibility of cultural infrastructure as a common.Keywords: intermediate places, requalification, common, development, appropriation, 1970, creative city, celebration, spectacle, urban imaginary, Brussels, Liege, Belgium
Doctorat en Arts du spectacle et technique de diffusion et de communication
info:eu-repo/semantics/nonPublished
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Dimenstein, Marcela. "Experiências urbanas de idosos no centro de João Pessoa." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/315.
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The landscape of contemporary cities, included João Pessoa, has been marked by conditions that demonstrate how the scale of man is being lost and how public space is not being guarded as a place for meetings and interaction between individuals. Nevertheless, it is still possible to find people who resist homogenization and standardization of this city model, enjoying their spaces and experiencing them. Accordingly, the aim of this study is to identify people who use and experience the city making the streets, sidewalks and plazas their sites to see and be seen. The focus of the investigation are the elderly and the search location is the center area of that capital. Methodological strategies as field observations and semi-structured interview, important tools in the field of architecture and urbanism were complemented by photography, drawing and photomontage were used. Thus, it is considered that this study rethinks policy issues such as the recent renovation of the central spaces in the city and their use / update the elderly population. Seeks to contribute to research that show the perception of the population in the city, especially from the memories and stories of their elders. Thus it was possible to investigate changes and continuities on the central space, discover elements of the history and culture of the area, such as parties, social relations of work and leisure, transportation, security, and see the relationship between the elderly and the location studied as a devious way to the problem of impoverishment of urban action.
A paisagem das cidades contemporâneas, incluso João Pessoa, tem sido marcada por condições que evidenciam como a escala do homem está sendo perdida e como o espaço público não vem sendo resguardado enquanto lugar de encontros e de interação entre os indivíduos. Apesar disso, ainda é possível encontrar pessoas que resistem à homogeneização e padronização desse modelo de cidade, usufruindo de seus espaços e vivenciando-os. Nesse sentido, o objetivo desse estudo é identificar pessoas que usam e experimentam a cidade fazendo das ruas, calçadas e praças seus locais de ver e ser visto. O foco da investigação são os idosos e o local de pesquisa é a área central da referida capital. Como estratégias metodológicas foram utilizadas a observação de campo e a entrevista semiestruturada, ferramentas importantes no campo da arquitetura e urbanismo que foram complementadas pela fotografia, o desenho e a fotomontagem. Assim, considera-se que esse estudo repensa questões como a política recente de renovação dos espaços centrais na cidade e a sua utilização/atualização pela população idosa. Busca contribuir com pesquisas que evidenciam a percepção da população na cidade, sobretudo a partir de memórias e relatos dos mais velhos. Dessa forma foi possível investigar mudanças e permanências relativas ao espaço central, descobrir elementos da história e cultura da área, como as festas, relações sociais de trabalho e lazer, transporte, segurança, e enxergar a relação entre os idosos e o local estudado como uma forma desviante à problemática do empobrecimento da ação urbana.
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Binder, Kendall Joseph. "Rural Hysteria: Genre of the Reimagined Past, Spectacle of AIDS, and Queer Politics in Diana Lee Inosanto's The Sensei." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367081027.
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Henderson-Smith, Barbara, and n/a. "From Booth to Shop to Shopping Mall: Continuities in Consumer Spaces from 1650 to 2000." Griffith University. School of Film, Media and Cultural Studies, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040618.134501.
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This thesis sets out to evaluate the role of consumer spaces in twentieth-century daily life. It is not concerned with the act of consumption but rather with the ways in which the social, cultural and educative role of the retail spaces is used as a marketing tool. The links that have been established between civic and commercial space over the last three hundred years are charted in order to locate the reasoning behind the growing tendency to design shopping malls as social and cultural spaces in the twentieth century. Three principal benefits to developers of the retails spaces from the promotion of consumer spaces as public spaces are identified in the thesis. First, links between the public and commercial developed to encourage potential customers into a particular retail space as opposed to its competition. Second, consumer spaces are developed as social and leisure spaces to encourage consumer loyalty. That is, they are developed as a means of encouraging repeat visits. Third, they are developed as a tactic to keep potential shoppers in the retail space for a longer duration. The logic behind this strategy being the more time spent in a consumer space the more goods purchased. The origins of this merchandising practice are traced back to the seventeenth and eighteenth centuries well before the advent of the department store form. The thesis located a number of strategies developed in the seventeenth century by tradesmen and merchants to sell their wares. At this time, it is evident that the consumer space was opened up to the public who were encouraged to enter without the obligation to purchase. Further, it is evident that, by the eighteenth century, shopkeepers and manufacturers' workshops included showrooms where potential customers could sit and take tea. Public spaces were also designed within the retail space so that potential customers could see and be seen. British shopkeepers often linked the retail space with the social practice of promenading by strategically situating their premises in an already established thoroughfare or site used for promenading. By the late eighteenth century, consumer spaces housed entertainment facilities such as art galleries, exhibitions and lounging rooms. After tracing the development of this merchandising strategy to the eighteenth and nineteenth centuries, the links that can be made between twentieth-century consumer spaces is examined. In addition, the early developments of shopping centres in the 1940s and 1950s are surveyed and their developmental logic and merchandising strategies are compared with more recent forms of shopping malls developed from the 1970s and 1980s.
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Henderson-Smith, Barbara. "From Booth to Shop to Shopping Mall: Continuities in Consumer Spaces from 1650 to 2000." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367834.
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This thesis sets out to evaluate the role of consumer spaces in twentieth-century daily life. It is not concerned with the act of consumption but rather with the ways in which the social, cultural and educative role of the retail spaces is used as a marketing tool. The links that have been established between civic and commercial space over the last three hundred years are charted in order to locate the reasoning behind the growing tendency to design shopping malls as social and cultural spaces in the twentieth century. Three principal benefits to developers of the retails spaces from the promotion of consumer spaces as public spaces are identified in the thesis. First, links between the public and commercial developed to encourage potential customers into a particular retail space as opposed to its competition. Second, consumer spaces are developed as social and leisure spaces to encourage consumer loyalty. That is, they are developed as a means of encouraging repeat visits. Third, they are developed as a tactic to keep potential shoppers in the retail space for a longer duration. The logic behind this strategy being the more time spent in a consumer space the more goods purchased. The origins of this merchandising practice are traced back to the seventeenth and eighteenth centuries well before the advent of the department store form. The thesis located a number of strategies developed in the seventeenth century by tradesmen and merchants to sell their wares. At this time, it is evident that the consumer space was opened up to the public who were encouraged to enter without the obligation to purchase. Further, it is evident that, by the eighteenth century, shopkeepers and manufacturers' workshops included showrooms where potential customers could sit and take tea. Public spaces were also designed within the retail space so that potential customers could see and be seen. British shopkeepers often linked the retail space with the social practice of promenading by strategically situating their premises in an already established thoroughfare or site used for promenading. By the late eighteenth century, consumer spaces housed entertainment facilities such as art galleries, exhibitions and lounging rooms. After tracing the development of this merchandising strategy to the eighteenth and nineteenth centuries, the links that can be made between twentieth-century consumer spaces is examined. In addition, the early developments of shopping centres in the 1940s and 1950s are surveyed and their developmental logic and merchandising strategies are compared with more recent forms of shopping malls developed from the 1970s and 1980s.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
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Spina, Danton Christopher. "Confused Spaces: Theatricality as a device for defining different types of public space." DigitalCommons@CalPoly, 2013. https://digitalcommons.calpoly.edu/theses/1136.
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Confused Spaces has come to the conclusion that theatricality can be a device for defining different types of public space. This book aims to define theatricality in architectural terms by taking principles from the disciplines of theater and urban design. It limits the scope of the definition to a specific set of elements of theatricality that include spectacle, transition, flexibility, and compactability. After attempting to define why these elements of theatricality are valid architectural concepts, the text then pushes to understand the experience that these elements can create. Through the use of historical and contemporary references, an argument for theatricality can already be found to exist but simply has not been clearly defined. The best methods of studying the design concepts are initially discussed. It is believed that in addition to a thorough case study of an existing structure which practices theatricality, the best way to explain the concepts of the idea as well as analyze them would be through several design attempts. Architectural competitions become the venue for experimentation. Three competition entries are submitted that attempt to implement theatricality. One more competition is created and results in an exhibition of the entries as well as an installation which can be studied and analyzed in a physical space. By using principles distilled from all the preceding research and design analysis, a theoretical large-scale design is explored. The design combines significant site data with all the design principles defended in the text up to this point. The design becomes the most complete visual representation of the core concept for theatricality. In conclusion, it is determined that the principles of theatricality clearly have a significant impact on the public and the pedestrian experience. It is encouraged for the concept to be used as a design device for creating pedestrian-friendly spaces in the future.
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Flach, Guilherme Augusto. "Sobre containers e medianeras : intervenções urbanas subjetivações limiares." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/158671.
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A presente pesquisa tem por objetivo explorar as intervenções urbanas na cidade de Porto Alegre e seus efeitos sobre os modos de vida na cidade. Quer-se problematizar e construir entendimentos das forças que constituem essas intervenções, que por vezes escapam do controle e padronização urbanístico, por outras integram grandes projetos de revitalização e ocupação do espaço urbano. Tais intervenções podem estar em sintonia com a arte urbana, o a(r)tivismo, o efêmero, o urbanístico, a arquitetura e os movimentos de ocupação dos espaços públicos. Através de uma metodologia baseada na errância e na cartografia, em que o pesquisador se propõe a fazer do próprio corpo superfície aos acontecimentos, constroem-se narrativas acerca das forças que compõem a cidade. Busca-se, assim, captar os efeitos das intervenções em suas possibilidades de enfrentamento aos imperativos homogeneízadores da cidade - atrelados às premissas do biopoder e da produção capitalística - ou as possibilidades de criação e defesa da potência de vida, propondo novas estilísticas e formas de enfrentamento do niilismo passivo contemporâneo. Em suas andanças, o pesquisador-errante capta efeitos de abertura de limiares, de possibilidades de encontros, de dissipação do medo, de produção de espetáculo, de emergência de microfacismos, de gentrificação, entrelaçando-se à produção do novo nas subjetividades emergentes no meio urbano. Tal produção conjura subjetividades-containers, isto é, subjetividades blindadas e descartáveis, de acordo com a lógica do consumo, do espetáculo e de uma saúde reduzida ao corpo. Entretanto, também operam heterogeneidades, produzem desvios potencializadores da vida, quando se colocam como medianeras, promovendo possibilidades de criação e de defesa da potência de vida. Problematiza-se, portanto, como as intervenções urbanas produzem narrativas acerca dos modos de vida na cidade, descrevendo suas singularidades discrepantes e paradoxais.This research aims to explore the urban interventions in the city of Porto Alegre and its effects on ways of lives in the city. The intention is to discuss and build understandings of the forces that constitute these interventions, which often escape control and urban standardization, in other times are part of larger revitalization projects and occupation of urban space. Such interventions can be in tune with the urban art, activism art, the ephemeral, the urban, architecture and public spaces occupation movements. Through a methodology based on wanderings and cartography, in which the researcher intends to make his own body the surface of the events, narratives are constructed about the forces that make up the city. It seeks, therefore, to capture the effects of the interventions in their coping possibilities to homogenizing imperatives of the city – linked to premises of biopower and capitalistic production - or the possibility of creating and defending the potential of life, proposing new stylistic and forms of confrontation of contemporary passive nihilism. In his walks, the researcher-wandering captures effects of opening thresholds, of meeting possibilities, of dissipation of fear, spectacle production, emergency of microfacisms, gentrification, intertwining with the production of the new in the emerging subjectivities in the urban environment. For now, this production conjures subjectivities-containers, this means, armored and disposable subjectivities, according to the logic of consumption, spectacle and health reduced to the body. However, they also operate heterogeneities, produce deviations of potentiators of life when posing as sidewalls, promoting opportunities for the creation and defense of potential of life. It is problematized, therefore, how urban interventions produce narratives about the ways of life in the city, describing their disparate and paradoxical singularities.
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Gündogan, Göknur. "Santralistanbul : une usine en déclin, une friche culturelle en évolution : la reconversion de la friche industrielle de Silahtarağa en Santralistanbul; un espace culturel pluridisciplinaire et campus." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30066/document.
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La reconversion des friches industrielles constitue depuis les années 1950 un phénomène important en Europe. Bien qu’elle soit connue comme un mouvement de réaménagement urbain, elle porte aussi un sens particulier en ce qui concerne les pratiques culturelles et artistiques d’aujourd’hui. Ces vastes espaces abandonnés par la science et les industries de l’époque moderne deviennent de plus en plus des lieux d’expression alternatifs qui sont propices aux échanges entre l’art, l’industrie et la science de l’époque contemporaine. Ainsi, ces lieux de mémoires incarnent par leurs caractéristiques particulières l’entité des sociétés occidentales contemporaines. A commencer par leurs infrastructures, le modèle d’organisation de travail, et l’approche de production industrielle qu’ils reflètent ; ces usines, laboratoires et centrales sont au croisement de plusieurs questionnements artistiques. L’objectif principal de la présente thèse est d’analyser la possibilité d’une interaction entre l’art, la science, l’industrie mais aussi avec l’ institution académique au sein d’un projet de friche culturelle particulier réalisé à Istanbul en Turquie en mettant l’accent sur les retombées socio‐économiques d’une telle reconversion au niveau urbain. En partant de l’exemple unique de Santralistanbul ‐une initiative de l’université de Bilgi Istanbul qui a redonné vie à l’ancienne centrale électrique de Silahtarağa‐, il s’agit de mettreen lumière les particularités du projet et de se focaliser principalement sur ce qui concerne le domaine des arts du spectacleSince the 1950’s, the conversion of industrial wastelands constitute an important phenomenon in Europe. Even if it is more known as a movement of urban redevelopment, it also holds a particular meaning for today’s cultural and artistic practices. These huge (vast) spaces that were abandoned by science and industries of the modern era start to become the places of alternative expressions which are convenient for exchanges between art, industry and science of contemporary times. Thus, these memorial places‐ through their particular characteristics incarnate the entity of the western contemporary societies. Starting by their facilities, the model of organization of work, and the industrial production approach that they reflect; their factories, laboratories and centers are at the crossroads of several artistic questions. The major objective of this thesis is to analyze the possibility of an interaction between art, science, and industry but also academia within the project of a particular cultural wasteland realized in Istanbul in Turkey by putting the emphasis on social –economicalechoes of such a conversion at urban level. Observing the unique example of Santralistanbul – an initiative of Bilgi University that gave life again to the ancient electricity power station of Silahtaraga‐, the point is to highlight theparticularities of the project and to focus principally on the activities concerning the domain of performing arts
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Ivanov, Georgi. "Freedom of Interpretation." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2808.
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The photographic series Ideal Cities that I started in 2011 is inspired by the conflict between my idea of the “west” and my evolving experience in the United States. What struck me was the popularity of what I see as model experience – a spatial experience controlled by the Spectacle. In the terms of the Situationist International and its most prominent figure Guy Debord, the Spectacle is the collapse of reality into the streams of images, products and activities sanctioned by centralized monopolist business or state bureaucracy. Thus, personal experience is replaced with preconceived notions, which control the way people perceive and understand their surroundings.
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Spina, Olivier. "Glorieuses cérémonies et honnêtes divertissements. Les Londoniens et les spectacles à Londres sous les Tudor (1525-1603)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040185.
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Au XVIe siècle, Londres est soumis à plusieurs mouvements de grande ampleur. La croissance démographique de la ville, fondée sur des flux migratoires de personnes jeunes et parfois pauvres, est sans précédent, de même que le développement économique de la ville. À cela s’ajoute le passage à la réforme, initié par les souverains Tudor à partir des années 1525-1530. Dans un tel contexte, on doit s’interroger sur deux mouvements parallèles qui affectent alors Londres : le nombre et la qualité des cérémonies publiques (entrées royales, spectacles civiques pour l’élection du Lord maire) ne cesse de croître alors que se développe une abondante et inédite offre en spectacles payants (théâtre, combats d’animaux, escrime…). Si un certain nombre de travaux se sont interrogés sur les connexions possibles entre les mutations que connait Londres et la prise d’importance des spectacles publics, peu d’études ont été consacrées à la comparaison des deux types de spectacles d’un point de vue politique, économique, social et culturel.Une telle comparaison révèle l’importance des spectacles dans la fabrique d’une société londonienne animée de grandes mutations. Tout d’abord, les cérémonies sont l’occasion pour les magistrats de Londres d’élaborer un discours théorique sur un gouvernement idéal au service du « bien commun » du corps civique. Mais les magistrats entendent le réaliser pratiquement, en optant pour un mode d’organisation et de financement qui fait participer toutes les institutions et un maximum de Londoniens à un même idéal civique. Ensuite, les spectacles payants, qui se plient à des contraintes économiques, politiques et religieuses, contribuent également à la fabrique sociale du Londres Tudor. La monarchie et les différentes institutions londoniennes considèrent que la fréquentation des spectacles comme un « honnête divertissement », qui contribue au maintien de la paix sociale dans Londres. Une étude précise des acteurs dans ces différents spectacles montre que ce sont les mêmes « spécialistes » du spectacle qui participent aux cérémonies et donnent des représentations payantes dans Londres.Toutefois, dans le dernier tiers du XVIe siècle, ce modus vivendi se fissure. Alors que la situation financière de Londres se dégrade, les cérémonies deviennent un objet de discorde entre institutions et au sein des institutions civiques. Parallèlement, les spectacles publics échappent en partie au contrôle du pouvoir, révélant le manque de coopération entre les différents acteurs institutionnels. La municipalité semble dès lors considérer les spectacles plus comme un danger pour l’ordre public que comme un moyen de l’assurerSixteenth-century London underwent three important transformations. First, a dramatic demographic expansion was due to the arrival of thousands of young migrants, often poor, who settled every year in the city. Second, under the Tudor dynasty, London became the economic center of England, and the number of prosperous Londoners soared. Finally, Henry VIII initiated a process of religious reformation.From 1533, a growing number of expensive ceremonies (royal entries and civic spectacles) were organized by London authorities. In the same way, public representations of drama, bear baiting or fencers prizes are more and more numerous. This thesis would like to investigate the link between the economic, political and religious transformations and the development of a market-economy of spectacles in London.The study of the people involved in the organization of the ceremonies reveals that they are the same than those that give public representations in London and private spectacles at the royal court.Comparing ceremonies and public recreations demonstrates that, from Henri VIII to Elizabeth I, spectacles played a major role in the social integration of migrants in the urban society. On one hand, ceremonies were the occasion for London magistrates to elaborate new civic rhetoric and ideology in which the common wealth was the core value. For civic magistrates and corporations officers, the common wealth was not simply a set of discourses, it had to be achieved through the organization and the funding of the ceremonies. On the other hand, public spectacles which were constrained by economic, religious and political imperatives, contributed to the same civic integration. The Privy Council and the London institutions considered public spectacles as a form of “honest recreation” that should be encouraged. The existence of such cheap spectacles was thought to be useful to maintain the public order in an ever growing metropolis. In the 1580-1590’s, the modus vivendi surrounding spectacles was broken. The dire economic and financial situation of the city created some tensions regarding funding of ceremonies in the London institutions among the members, and between the monarchy and the City. The public spectacles became also a problem, because livery companies and parish vestries refused to collaborate with the civic magistrates. For the City fathers, the public spectacles were becoming a menace more a menace that an asset in the effort to enforce social order
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Cavaillé, Fabien. "Alexandre Hardy et le rêve perdu de la Renaissance. Spectacles violents, émotions et concorde civile au début du XVIIème siècle." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030099.
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Écrivain prolifique, Alexandre Hardy [15 ?? – 1632] a régné sur le théâtre français pendant une trentaine d’années, fournissant aux premières troupes professionnelles leur répertoire. Cette thèse aborde l’œuvre du dramaturge comme celle d’un poète professionnel, devant écrire pour faciliter le jeu des comédiens et pour intéresser les spectateurs des premiers théâtres de ville. Les scènes d’action violente d’Alexandre Hardy apparaissent comme une invention propre à l’écriture professionnelle, invention répétée et variée dans les tragédies, tragi-comédies et pastorales que le poète publie entre 1623 et 1628. Longtemps considérée comme une concession à un goût soi-disant populaire, cette scène pathétique relève, au contraire, d’un théâtre du Public qui, par l’évidence des spectacles de violence et les émotions ainsi suscitées, interroge les spectateurs sur le[s] sens de leur communauté. Cette étude dégage comment, au XVIe et au XVIIe siècles, les controverses théoriques sur la représentation scénique des violences débattent de son lien avec une esthétique de la merveille et de son pouvoir pathétique. Elle examine la poétique et la rhétorique du spectacle violent dans l’œuvre de Hardy, en montrant comment cette scène pathétique donne sens au rassemblement de spectateurs institués en témoins. La quête d’une expérience collective des émotions se rattache à une conception du théâtre de ville comme lieu où les spectateurs font l’essai de leur concorde, idéal urbain encore vivace à la fin de la Renaissance. Lire l’œuvre d’Alexandre Hardy fait apparaître les ambitions du théâtre de ville et leurs évolutions au début du XVIIe siècleA prolific writer, Alexandre Hardy [15??-1632] has dominated French theatre for about thirty years, providing the first professional companies with their repertoire. This dissertation studies his work as one of a professional poet, who had to make matters easier for the actors and to arouse the interest of the audience of the first urban theatres. These professional requirements account for the invention of scenes of violence which appear repeatedly, albeit with some variation, throughout the tragedies, tragi-comedies and pastorals published between 1623 and 1628. Critics have long considered such a use of pathos as a concession made to popular taste. In fact, it takes part in the creation of a theatre of the Public which, through the evidence and emotional impact of violent representation, leads the spectators to question the meaning of the community they form. I have first put into light how, in theoretical writings dealing with the problem of staging violence, such a poetical choice was related to the aethetics of marvel [meraviglia]. I have then studied the poetics and rhetoric of violence in Alexandre Hardy’s plays and shown that theatrical pathos summoned the spectators as witnesses of the action performed on stage, giving sense to their reunion. Finally I have related the search for collective emotions to a conception of urban theater which was still vivid at the end of the Renaissance – theatre as a place where spectators experimented concord. Thus Alexandre Hardy’s work reveals the ambitions and mutations of urban theatre at the beginning of the seventeenth century
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Lee, Hee-Kyung. "Les arts de la rue en France : 1968-2005 : étude socio-historique." Paris 8, 2009. http://octaviana.fr/document/143290819#?c=0&m=0&s=0&cv=0.
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La présente thèse dresse l'inventaire de la construction d'un univers social, relativement récent, qui se développe après 1965, depuis sa naissance avec le théâtre de rue, jusqu'en 2005. Le terrain empirique est constitué par les compagnies historiques, les jeunes compagnies, les institutions officielles, les marchés, et les dispositifs politiques. Le cadre théorique fait référence aux travaux de Pierre Bourdieu, à l'histoire sociale de Norbert Elias, aux travaux sur la dimension collective artistique de Norbert Bandier, et à l'analyse des rapports de générations de Karl Mannheim. On examine les facteurs qui permettent la formation d'un groupe d'innovateurs qui se retrouvent autour de la pratique du théâtre dans la rue, en opposition avec les traits dominants de l'histoire du genre théâtral en France. On s'attache à cerner la construction de réseaux basés sur les affinités et des conditions de travail identiques, la création de circuits de financements et de "lieux de fabrique", l'émergence d'une visibilité dans le cadre des politiques culturelles de certaines municipalités. La dernière partie de l'étude porte sur les relations et regards croisés entre les nouvelles compagnies, qui n'ont pas participé aux péripéties de l'histoire fondatrice de cette pratique artistique, et les agents historiques plus anciens, toujours présents, et placés désormais dans une position de pouvoir. La thèse conclut avec des éléments pour une appréciation de ce débat, engagé entres les "agents historiques", dont on ne peut pas ignorer la contribution, et les "jeunes" dont on connaît aussi précisément, avec cette recherche, les orientations et les capacitésThe present thesis examines the socio-historical process of the construction of a relatively recent social field, from its gradual birth to the rationalization as the field of Street Arts. The empirical observations on historic companies, young companies, markets, institutions, and political devices and the theories of the field by Pierre Bourdieu, the social history by Norbert Elias, the collective dimension of art by Norbert Bandier and Rémy Ponton, and the generations of Mannheim are combined to pursue the central aims of this study: the analysis of explicit logic and objective determinations of the process of the construction of this social field and the analysis of implicit logic of the process through the confrontation between the old historic agents and newcomers This thesis consists of four parts. The analysis of the generational contents allowing individuals with different courses to come to unite into a real group and create a particular affinity, the construction of the network of Street Arts, the development of the field of Street Arts through a struggle of positioning, finally the investigation of the relationship between a new generation of artists who did not participate in this construction and the historic generations
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Hernández, González Edna. "Comment l'illumination nocturne est devenue une politique urbaine : la circulation de modèles d'aménagement de Lyon (France) à Puebla, Morelia et San Luis Potosí (Mexique)." Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST1106/document.
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Durant les vingt dernières années, la nuit urbaine a été à l'origine en France d'un nouveau discours, portant notamment sur les nouvelles fonctions de la lumière dans la ville. L'évolution des modes de vie vers des horaires nocturnes, l'offre de services et de loisirs durant la nuit, la promotion de l'image nocturne des villes, à l'occasion de festivals lumière, du développement de plans d'illumination ou d'événements culturels nocturnes est au centre de toute une série d'enjeux culturels, politiques et environnementaux. La thèse s'intéresse à l'émergence de la nuit comme un nouveau champ d'action pour les politiques urbaines. Les politiques d'illumination mises en œuvre par les villes françaises, et notamment l'expérience de la ville de Lyon, apparaissent aujourd'hui comme un modèle de référence à l'international. En mobilisant les travaux sur la circulation et la diffusion des idées et des modèles, le transfert des politiques publiques ou encore les travaux sur les expertises urbaines, cette thèse s'interroge sur la mise en circulation de l'expérience lyonnaise et sur le processus de réappropriation de cette expérience dans trois villes mexicaines : Puebla, Morelia et San Luis Potosí. En s'appuyant sur ces différents terrains, nous procédons à l'analyse du processus de production d'un référentiel autour de l'aménagement de la ville par la lumière dans le contexte lyonnais ainsi que de sa mise en circulation à l'échelle internationale. Les modalités de réception et d'appropriation de ce référentiel sont ensuite étudiées dans le contexte mexicain. Pour rendre compte de toute la complexité des mécanismes de transfert d'une expertise lumière il faut comprendre les transformations que lui font subir les acteurs locaux en lien avec des concepteurs professionnels présents à l'international. L'aménagement de la ville par la lumière, processus qui se joue en partie dans des instances internationales, apparaît ainsi comme un « analyseur » des changements de l'action publique localeDuring the last twenty years, the urban night originally appeared in France as a new discourse in particular concerning the new functions of lighting in the city. The evolution of the rhythms of lifestyles toward night-time schedules, the offer of services and leisure activities during night, the promotion of the night-time image of cities or at the night-time cultural events in the town-centre and the development of Illumination Master Plans are at the centre of a series of questions on cultural, political and environmental policies. The objective of this doctoral dissertation is the study of the emergence of night-time as a new sphere of action for urban policies. The adoption of the policies of illumination by the French cities, in particular the experience of the city of Lyon, appears as an international reference model. This study is based on the research work relating to diffusion and mobility of ideas and models, the transfer process of the public politics as well the work regarding the urban expertise. This dissertation aims to address questions concerning diffusion of the Lyon's experience and its re-appropriation processes in three Mexican cities: Puebla, Morelia and San Luis Potosi. This research uses the city of Lyon (France) as a case study to investigate the physical planning strategies of lighting design in the city and takes into account the production of the reference model. It then analyse the modalities of reception and appropriation of this model in the cities of Puebla, Morelia and San Luis Potosi. This is essential to show the complexities of the production of transfer of expertise of lighting design as well the dynamic contribution by local actors and the lighting designers to the production processes to the lighting policies. The urban planning based on lighting design, is a process which takes place in the international context of an "analyzer" of the local changes through the public action
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Le, Guevel Yves. "La musique traditionnelle instrumentale canadienne-française en milieu urbain : le cas de Québec (1930-1960)." Master's thesis, Université Laval, 1997. http://hdl.handle.net/20.500.11794/28433.
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Rossignoli, Sabina. "Diasporic identification and gender construction in the Caribbean nightlife of Paris." Thesis, Paris 5, 2013. http://www.theses.fr/2013PA05H021.
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Cette thèse explore les formes d’identification adoptées par des antillais fréquentant les lieux de divertissements caribéens en région parisienne. Cela, dans une perspective d’études des questions de genre et diasporiques. Mon hypothèse est que la vie nocturne est un espace culturel encourageant les liens transnationaux et diasporiques. Ma méthodologie a été de fréquenter ces lieux selon les méthodes de l’observation participante et de l’entretien en région parisienne ainsi qu’en Martinique. D’abord, j’ai investigué la géographie humaine des lieux de divertissements antillais en banlieue parisienne en enquêtant sur les lieux d’habitation ainsi que sur l’origine sociale de mes informateurs. Par la suite, j’ai lié les pratiques de la vie nocturne aux phénomènes migratoires des antillais de France. Le fort caractère transnational de ces lieux de divertissement témoigne de constructions diasporiques qui n’ont pas été évoquées auparavant. Néanmoins, ma thèse souligne que ces constructions étaient problématiques pour mes informatrices qui devaient négocier leur sorties avec plusieurs contraintes. La deuxième partie de la thèse se concentre sur le caractère transnational et diasporique du zouk, un genre musical de la Caraïbe française. Je conclue en étudiant les inégalités de genre dans les discothèques et les stratégies que les femmes emploient pour participer aux soirées dancehallThis thesis explores the forms of identification adopted by French Caribbean clubbers in the Parisian region in relation to the issues of gender and diaspora. My hypothesis is that clubbing is a cultural space that fosters diasporic identities and transnational socialities. Methodologically the thesis is the result of fourteen months of participant observation in Paris and one in Martinique. First I have investigated the human geographies of Antillean clubs in the banlieues of Paris by analyzing in detail the residential patterns and sense of class belonging of my informants. Next I have inscribed the night-time leisure practices in the migration patterns of these informants. I argue that the transnational character of Caribbean nightlife is a testimony to relevant diasporic constructions that have not previously been explored. However my thesis underlines how these constructions were not unproblematic for female participants. The second part of the thesis focuses on the specific transnational and diasporic character of zouk, a French Caribbean music genre. I conclude having investigated issues of gender inequality in clubs and the strategies women employ in order to participate in the dancehall scene
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Erbeznik, Elizabeth Anne. "Between boulevard and boudoir : working women as urban spectacle in nineteenth-century French and British literature." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-3936.
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Between Boulevard and Boudoir examines the nineteenth-century obsession with documenting the modern metropolis and analyses visual and verbal portraits of working women to investigate how urban literature invented the seamstress as a type. Approaching the nineteenth-century city as a site of passive voyeurism where social relationships were increasingly mediated by print culture, I argue that sketches of French grisettes and British sempstresses replaced the endless variety among working-class women with a repetitive sameness through the fictionalization of these urban figures. Transforming producers of commodities into objects of consumption, popular fiction showcased the visibility of the city’s working women while ignoring their actual labor. These women were thus portrayed as exploited bodies, rather than exploited workers, destined to adorn, and then disappear into, the crowded city.
This dissertation looks first at what Walter Benjamin dubbed “panoramic literature” — texts that sought to describe the metropolis and its inhabitants through a categorization of people and places based on appearances — and asserts that these fragmentary depictions created a widely recognizable urban typology that gained cultural currency and, ultimately, influenced other authors. Analyzing French and British urban text, I maintain, however, that even the most stereotyped representations destabilized the structures of classification that defined the working woman as a type. While novelists Eugène Sue, G.W.M. Reynolds, Charles Dickens, and Elizabeth Barrett Browning all seem to valorize self-supporting women, I demonstrate that, by turning their workers into wives and expelling them from the city, they discredit the premise of an urban destiny that confined these women to a type. This examination of the unique position of working women in Paris and London not only challenges established notions about nineteenth-century constructions of gender but also provides insight into the anxieties – vis-à-vis the rapidly changing city – that plagued the writers who codified these women as types. Investigating the fictionalization of working women, this study opens up urban literature to considerations of how gender and class determine inclusion within the city as it was produced by print culture.text
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Chiu, Yung-Teen, and 邱詠婷. "The Urban Dialectics in Globalizing Taipei: The Construction of the Spectacle and The Production of An Alternative Project." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/03853029194151731516.
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博士國立臺灣大學
建築與城鄉研究所
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The dissertation revisits Metromarxists such as Lefebvre, Production of Space; Benjamin’s dialectical seeing and Debord’s theorization of Spectacle- in speculating the emerging globalizing consumption space of Taipei. Through urban readings of the four malls newly constructed after the millennium, the research attempts to theorize Taipei as emerging postmodern capitalist city in the construction of the ‘appearance’ , by creating one spectacular global mega-project based mainly on the spatial imagination of the Modernity, bourgeois lifestyles, and Globalization, yet only to disguise the disappearance of civil society. Unmasked by city’s urban design process which become an arena of the contested site for cultural meanings in the old paper mills factory –turned shopping mall redevelopment project: questioning who has the right to design public space of the city and who has right to interpret urban memory. Through cultural representation of space between the old paper mills workers and architect/capitalist in which the worker’s alternative project of representational spaces comprising of collective memories and identities rise above the capitalistic symbolic capital and redefine Taipei as work of art. By critical reading of malls, the malling of Taipei has manifested the globalization in spatial transformation which made the social polarization ever so apparent. This appearance is based on the hidden relaxation of local urban planning policy, professional’s regressive attitude as well as the passé imagination toward spatial form of architectural spectacles. The outside-in experience has allowed such tabular rasa the unique rhythm of Taipei rather than exception. The inside-out reading has allow one to see the forces of global luxury brand boutique became Taipei bourgeois’s imaginable ‘home’—a phantasmorphia which is under subjugating and homogenizing power . The Urban dialectics between the tradition/modern, culture/capital, private/public, preservation/development and finally the subjectivity/dulcification which can be read vividly in the ‘malling of Taipei’ is ultimately an issue of class struggle over space in consumer society. The research, based on the myrid methodologies such as textual analysis, and participatory observation find the Taipei Globalization Project , through the spatial transformation has brought Taipei not in the direction of the progress where global/Pacific Rim economic competitiveness is ever so illusive, but rather in malling the city –increasingly commodified, in which public space has become privatized and gentrified. Through the shopping mall redevelopment where people’s stories could be heard in the private project and the participatory design process not only present worker’s memories but also represent the collective work of art: ‘Taipei’ can be created, by transforming the capitalist mode of production and pointing the new design alternative project for Taipei as the emerging socially just global-city.
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Huang, Wei-Jung, and 黃微容. "Critique and Reconstruction of Urban Spectacle: Case Studies of Art Made Street and Community Building in Tainan Hai-An Road and Shen-Nong Street (1999-2013)." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/xp9372.
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碩士國立臺灣藝術大學
藝術管理與文化政策研究所
102
Rethinking the expansion of Neoliberalism influence in the local place, the new trend of cultural strategy applied into urban and regional redevelopment is to put cultural institution and art installment in degenerate area to stimulate capitals accumulation for shaping city landscape. The study aims to explore the urban planning and social mobilization in Tainan city; thus, the research traces the paths of local actions—art made street and community building in Tainan Hai-An Road and Shen-Nong Street by going to the neighborhoods to investigate power and capitals configuration, disposition, and mobility in order to observe Taiwan grassroots’ urban spectacle construction. The research built a urban spectacle model based on the dual viewpoints from the top-down strategic invasion and the bottom-up tactical resistance. To solve the questions about how governors and actors produced or countered spectacle, how power and capitals assimilated and excluded local culture, how they critically engaged, and how communities reacted. All for seeking an outlet for breaking the spectacle-embedded everyday life under the dominance of political governance and economic development. According to the case studies of art made street in Hai-An Road and community building in Shen-Nong Street, there’s new operation in reconstructing urban spectacle. In the thesis, due to the failed city policy which undermined the hard core of Old City Center, it engendered local actions with participation and intervention of civil groups. The public sector empowered people so that the civil society could take the positions as cultural “surrogates”, and the city government receded and acted as a manager, supervisor and investor. The result shows that after the 1999s, the action of civil society has turned its interest from sense of community cohesion to spectacle development, and everyday life has been askng to act reflectively. This is a transformation of community governance, civil society assembles the cultural elements of everyday life by remaking the spirit of Neolberalism to divert the poltical economy consfiguration. And there’s an outlet for everyday life is to escape the dominace of governors by depending on the actions of civil society.
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Steenkamp, Hilke. "The urban underclass and post-authoritarian Johannesburg : train surfing (Soweto style) as an extreme spatial practice." Diss., 2011. http://hdl.handle.net/2263/30350.
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This dissertation aims to position train surfing as a visual spectacle that is practised by Sowetan train surfers within the context of post-authoritarian Johannesburg. The author argues that train surfing is a visual and spatial phenomenon that is theoretically under-researched. As such, this study aims to decode seven train surfing videos to establish what train surfing looks like, where train surfing occurs and why individuals participate in such a high risk activity. This study, furthermore, aims to frame train surfing as a spectacle by investigating the similarities between train surfing and rites of passage (initiation rites). The author also regards train surfing as a very specific form of storytelling. The narratives conveyed in the seven videos are, therefore, interpreted to establish that train surfing is practised to ‘voice’ fatalistic feelings, societal as well as individual crises. After establishing the visual aspects of train surfing, the author focuses on the spatial context of train surfing. Johannesburg is described as both an authoritarian and post-authoritarian construct by tracing the spatial and political history of the city. When the discussion turns to the post-authoritarian city, townships and squatter settlements are analysed as being both marginal and hybrid spaces. It is argued that townships are marginal spaces due to their location, they are inhabited by the underclass and they are formed by processes of capitalism and urbanisation, and as a result of these factors, township residents might have fatalistic mindsets (Gulick 1989). The author, however, contends that township space is an ambivalent construct, and as such, it can also be read as hybrid space. Here, hybrid space is interpreted as a platform from which township residents can resist oppressing spatial and political ideologies. In this context, train surfing is regarded as one way in which train surfers use hybrid space to express tactics of resistance. After establishing the spatial context of train surfing, the socio-economic and material living conditions of train surfers are investigated. The discussion firstly, explores the underclass, as theorised by Jencks and Peterson (1990), and thereafter highlights why train surfers can be classified as being part of this sub-category. It is, furthermore, argued that Sowetan train surfers are part of a new lost generation due to high unemployment rates, the HIV/AIDS pandemic and bleak future outlooks. The author aims to establish that, as a result of their socio-economic status and material living conditions, train surfers are fatalistic, and practice an extreme activity to exert control over one area of their lives, namely their bodies. Lastly, the dissertation aims to explore train surfing as being both a risk-taking activity and a new spatial practice. The dynamics of adolescent risk-taking behaviour is explored by emphasising the psychological motivations behind high risk activities. The author argues that alienating space can be regarded as an additional factor that usher adolescents into risk-taking activities. As such, the place(s) and space(s) inhabited by train surfers, namely Johannesburg, Soweto and township train stations, are discussed as alienating spaces. Moreover, it is argued that alienating spaces create opportunities for resistance (following the power-resistance dialectic inherent to space), and as such, train surfing is interpreted as a de-alienating spatial practice that enables the marginalised train surfer to exert control over his surroundings.Dissertation (MA)--University of Pretoria, 2012.
Visual Arts
unrestricted
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Soyöz, Ufuk. "Drama on the urban stage : architecture, spectacles and power in Hellenistic Pergamon." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1179.
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My dissertation investigates the production, representation and experience of space in Hellenistic urbanism, architecture, artworks. Considering festivals as spatialized practices, I argue that the Hellenistic urban setting was carefully designed as stages or arenas for the celebration and performance of state ceremonials. To this end, architects used symbolically charged design technologies, such as skenographia which was deeply informed by ancient optical science. I demonstrate that the perspectival developments in architecture, painting and sculpture were closely allied through application of skenographia, forming a unified visual discourse that was highly attentive to the eye of the spectator. I reconstruct the spatial practices in three major sites of Hellenistic Pergamon, namely, the sanctuary of Athena Nikephoros (bringer of Victory), the famous Altar of Zeus, and the sanctuary complex of the theater of Dionysus. Through these reconstructions, I demonstrate that the spatial order of the Hellenistic urban sanctuary facilitated Attalid kings’ appropriation of Pergamene urban setting as a constituent of their sovereign power.text
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Yu, Qi Fen, and 余其芬. "The imagination and reconstruction of Shanghai Urban Space——The representation of Nostalgia and spectacles in JinYuchen’s FanHua." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/983dda.
Full textAbstract:
碩士國立政治大學
傳播學院傳播碩士學位學程
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Despite its rapid reconstruction of urban space over the recent times, life and culture of Shanghai have always been illustrated in literary texts. The book Fanhua, published in 2013, has depicted the life of Shanghai residents from 1960s to 1990s. It has received several literary awards and provoked a wave of nostalgia. FanHua was written in Shanghai dialect, revealing stories about ABao, HuSheng, XiaoMao and others in a dual narratives form. This study adopted text analysis mode, examining how the characters’ spatial practices could construct the differences between urban space and identity. The author, Jin has introduced a new writing genre in Shanghai Literature by leaving the traditional Masculine Narrative but at the same time, inheriting the Shanghai aesthetics of details. Via material and spatial symbolism, Jin analyses his perspectives on microcosmic daily life, power and sexual relationship and also the relationship between Shanghai and the rest of the world. While old lanes and alleys have been gradually replaced by modern skycrapers, Shanghai residents practise their own way of routine, reminiscing, remembering the details of the old Shanghai, which has become the core of Shanghai culture.
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Poirier, Josianne. "Montréal fantasmagorique : illuminations monumentales et récits de ville au début du XXIe siècle." Thèse, 2018. http://hdl.handle.net/1866/21734.
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