Renzo Guerrini and Francesco Zellini
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195342765
- eISBN:
- 9780199863617
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195342765.003.0003
- Subject:
- Neuroscience, Disorders of the Nervous System
Abnormal cortical development represents a major cause of epilepsy. Most such abnormalities may now be detected using magnetic resonance imaging (MRI), although some remain undetectable even with the ...
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Abnormal cortical development represents a major cause of epilepsy. Most such abnormalities may now be detected using magnetic resonance imaging (MRI), although some remain undetectable even with the best imaging techniques. The largest malformation groups express different perturbations of developmental stages and carry a variable propensity to epileptogenesis, preservation or reorganization of cortical function and for atypical cortical organization. Some patients have obvious neurological impairment, whereas others show unexpected deficits that are detectable only by screening. Drug-resistant epilepsy is frequent but might be amenable to surgical treatment in some patients. Surgical planning should be based on assessments of structural, and if possible functional imaging, as well as clinical and electrographic features. Most malformations of cortical development are caused by genetic defects and brain imaging has been instrumental to the identification of causative genes. Nowadays many patients with epilepsy due to malformations of cortical development can be offered genetic counseling.Less
Abnormal cortical development represents a major cause of epilepsy. Most such abnormalities may now be detected using magnetic resonance imaging (MRI), although some remain undetectable even with the best imaging techniques. The largest malformation groups express different perturbations of developmental stages and carry a variable propensity to epileptogenesis, preservation or reorganization of cortical function and for atypical cortical organization. Some patients have obvious neurological impairment, whereas others show unexpected deficits that are detectable only by screening. Drug-resistant epilepsy is frequent but might be amenable to surgical treatment in some patients. Surgical planning should be based on assessments of structural, and if possible functional imaging, as well as clinical and electrographic features. Most malformations of cortical development are caused by genetic defects and brain imaging has been instrumental to the identification of causative genes. Nowadays many patients with epilepsy due to malformations of cortical development can be offered genetic counseling.
Corinne G. Dempsey
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199860333
- eISBN:
- 9780199919598
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199860333.003.0004
- Subject:
- Religion, Religion and Society
Chapter 3 explores traditions that confer sacred meaning and power onto landscapes; the communities compared—one largely Euroamerican and the other South Asian—both strove to transplant their South ...
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Chapter 3 explores traditions that confer sacred meaning and power onto landscapes; the communities compared—one largely Euroamerican and the other South Asian—both strove to transplant their South Asian traditions onto North American terrain during the late twentieth century. Here, the increasingly utopian Rajneesh community that briefly settled in eastern Oregon in the 1980s is contrasted with diasporic Hindu communities whose ongoing religiously informed settlements are labeled as heterotopian. This chapter argues that whereas the Rajneesh community's abstracted utopian vision enabled settler dynamics reminiscent of colonial times, Hindu diaspora communities’ sense of sacred terrain that is historically and religiously—and therefore more realistically—layered creates settlements that tend to steer clear of colonizing impositions. Despite these differences that ultimately distinguish failed and successful settlements, a shared challenge faced by these communities has been an ironic “indigenous” nationalism that likewise expresses itself in religiously laden, utopian claims on the land.Less
Chapter 3 explores traditions that confer sacred meaning and power onto landscapes; the communities compared—one largely Euroamerican and the other South Asian—both strove to transplant their South Asian traditions onto North American terrain during the late twentieth century. Here, the increasingly utopian Rajneesh community that briefly settled in eastern Oregon in the 1980s is contrasted with diasporic Hindu communities whose ongoing religiously informed settlements are labeled as heterotopian. This chapter argues that whereas the Rajneesh community's abstracted utopian vision enabled settler dynamics reminiscent of colonial times, Hindu diaspora communities’ sense of sacred terrain that is historically and religiously—and therefore more realistically—layered creates settlements that tend to steer clear of colonizing impositions. Despite these differences that ultimately distinguish failed and successful settlements, a shared challenge faced by these communities has been an ironic “indigenous” nationalism that likewise expresses itself in religiously laden, utopian claims on the land.
Catherine Dousteyssier-Khoze
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748692606
- eISBN:
- 9781474444651
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748692606.001.0001
- Subject:
- Film, Television and Radio, Film
Chabrol's cinema, which started (with) the Nouvelle Vague, is generally associated with a type of psychological thriller, set in the French provinces and marked by a fascination with evil, incest, ...
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Chabrol's cinema, which started (with) the Nouvelle Vague, is generally associated with a type of psychological thriller, set in the French provinces and marked by a fascination with evil, incest, fragmented families, and inscrutable female characters. This first reappraisal of his filmography (1958-2009) seeks to explore a brand new Chabrol, influenced not only by the usual suspects (Renoir, Lang and Hitchcock) but, more intriguingly, by Kubrick (in Le Boucher) and also, more conceptually and beyond film, by Balzac (the œuvre as mosaic) and Magritte (the œuvre as trompe-l’œil). An aesthetic of opacity is brought to the fore, which deconstructs the apparent clarity and ‘comfort’ of the genre film. Chabrol's films, are indeed both deceptively-accessible and deeply reflexive, to the point of opacity. His ‘crystal-images’ (Deleuze) and unstable, fantastic/Gothic spaces or heterotopias (Foucault), ultimately encourage the viewer to reflect on the relationship between illusion and ‘reality’, the process of theatricalisation and the status of the film image. Case studies include a detailed analysis of some of his latest, little studied films (La Fleur du mal; La Demoiselle d’honneur; La Fille coupée en deux and Bellamy). Through the critical fortunes of the adjective ‘Chabrolean’, the book also provides a survey of Chabrol’s lasting influence and legacy on the contemporary French thriller (with specific reference to Anne Fontaine and Denis Dercourt).Less
Chabrol's cinema, which started (with) the Nouvelle Vague, is generally associated with a type of psychological thriller, set in the French provinces and marked by a fascination with evil, incest, fragmented families, and inscrutable female characters. This first reappraisal of his filmography (1958-2009) seeks to explore a brand new Chabrol, influenced not only by the usual suspects (Renoir, Lang and Hitchcock) but, more intriguingly, by Kubrick (in Le Boucher) and also, more conceptually and beyond film, by Balzac (the œuvre as mosaic) and Magritte (the œuvre as trompe-l’œil). An aesthetic of opacity is brought to the fore, which deconstructs the apparent clarity and ‘comfort’ of the genre film. Chabrol's films, are indeed both deceptively-accessible and deeply reflexive, to the point of opacity. His ‘crystal-images’ (Deleuze) and unstable, fantastic/Gothic spaces or heterotopias (Foucault), ultimately encourage the viewer to reflect on the relationship between illusion and ‘reality’, the process of theatricalisation and the status of the film image. Case studies include a detailed analysis of some of his latest, little studied films (La Fleur du mal; La Demoiselle d’honneur; La Fille coupée en deux and Bellamy). Through the critical fortunes of the adjective ‘Chabrolean’, the book also provides a survey of Chabrol’s lasting influence and legacy on the contemporary French thriller (with specific reference to Anne Fontaine and Denis Dercourt).
David E. Nye
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9780262037419
- eISBN:
- 9780262344784
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262037419.001.0001
- Subject:
- History, History of Science, Technology, and Medicine
Illuminations originated in Renaissance Italy and spread to all the courts of Europe more than a century before oil lamps provided the first street lighting. The transition to gas after 1800 and to ...
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Illuminations originated in Renaissance Italy and spread to all the courts of Europe more than a century before oil lamps provided the first street lighting. The transition to gas after 1800 and to electricity after 1875 offered new possibilities for public celebrations. Americans rejected monarchical pomp but adapted spectacular lighting to democratic and commercial culture between 1875 and 1915. In the 1880s some cities were evenly lighted by powerful tower arc lights providing the equivalent of bright moonlight. But these towers were soon replaced by more commercial forms of gas and electric lighting. American cities rapidly became the most intensely lighted in the world, as measured by engineers, attested by foreign travellers, and demonstrated at spectacular events such as the Veiled Prophet parades in St. Louis, the Hudson-Fulton celebration, and expositions in New Orleans, Chicago, Omaha, Buffalo, St. Louis, and San Francisco. Yet neither moonlight towers nor world’s fairs provided the model for downtown, where shops, theaters, and dance halls adopted electric signs and corporations spotlighted their skyscrapers. Despite opposition from the City Beautiful movement, a heterotopian landscape emerged that changed its appearance at night. This kaleidoscopic cityscape differed radically from Europe, expressing a culture of individualism, competition, private enterprise, and constant change that soon became naturalized. Photographs and postcards celebrated the cubist skyline, as spectacular lighting became emblematic of American culture’s apparent release from the rhythms of nature. Elements of this commercial culture of illumination were adapted to political campaigns, presidential inaugurations, and the propaganda of World War I.Less
Illuminations originated in Renaissance Italy and spread to all the courts of Europe more than a century before oil lamps provided the first street lighting. The transition to gas after 1800 and to electricity after 1875 offered new possibilities for public celebrations. Americans rejected monarchical pomp but adapted spectacular lighting to democratic and commercial culture between 1875 and 1915. In the 1880s some cities were evenly lighted by powerful tower arc lights providing the equivalent of bright moonlight. But these towers were soon replaced by more commercial forms of gas and electric lighting. American cities rapidly became the most intensely lighted in the world, as measured by engineers, attested by foreign travellers, and demonstrated at spectacular events such as the Veiled Prophet parades in St. Louis, the Hudson-Fulton celebration, and expositions in New Orleans, Chicago, Omaha, Buffalo, St. Louis, and San Francisco. Yet neither moonlight towers nor world’s fairs provided the model for downtown, where shops, theaters, and dance halls adopted electric signs and corporations spotlighted their skyscrapers. Despite opposition from the City Beautiful movement, a heterotopian landscape emerged that changed its appearance at night. This kaleidoscopic cityscape differed radically from Europe, expressing a culture of individualism, competition, private enterprise, and constant change that soon became naturalized. Photographs and postcards celebrated the cubist skyline, as spectacular lighting became emblematic of American culture’s apparent release from the rhythms of nature. Elements of this commercial culture of illumination were adapted to political campaigns, presidential inaugurations, and the propaganda of World War I.
Kátia da Costa Bezerra
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780823276547
- eISBN:
- 9780823277223
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823276547.003.0002
- Subject:
- Sociology, Urban and Rural Studies
The chapter studies two photographic projects organized by groups of favela photojournalists in Rio de Janeiro. Moro na Favela (I Live in a Favela) was an itinerant exhibit that was displayed in ...
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The chapter studies two photographic projects organized by groups of favela photojournalists in Rio de Janeiro. Moro na Favela (I Live in a Favela) was an itinerant exhibit that was displayed in various communities and cultural centers from 2006 to 2008, and Imagens do Povo (Images of the People), a book published in 2012, contains 102 photographs taken by 25 community photographers. The chapter examines the ways in which the photographs propose an alternative aesthetic of representation, challenging a regime of seeing through which the city has traditionally sought to recognize itself. It illustrates how the two photographic projects expose aspects that are part of the realm of daily life that are traditionally over/mislooked. The chapter also addresses briefly the spaces of circulation of the two cultural productions.Less
The chapter studies two photographic projects organized by groups of favela photojournalists in Rio de Janeiro. Moro na Favela (I Live in a Favela) was an itinerant exhibit that was displayed in various communities and cultural centers from 2006 to 2008, and Imagens do Povo (Images of the People), a book published in 2012, contains 102 photographs taken by 25 community photographers. The chapter examines the ways in which the photographs propose an alternative aesthetic of representation, challenging a regime of seeing through which the city has traditionally sought to recognize itself. It illustrates how the two photographic projects expose aspects that are part of the realm of daily life that are traditionally over/mislooked. The chapter also addresses briefly the spaces of circulation of the two cultural productions.
Térésa Faucon
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781526106858
- eISBN:
- 9781526135995
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526106858.003.0011
- Subject:
- Film, Television and Radio, Film
Far from a simple backdrop, the lived environment was for Jean-Luc Godard capable of eliciting specific modes of cinematographic thought; choice of locations could impact the shape and feel of a film ...
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Far from a simple backdrop, the lived environment was for Jean-Luc Godard capable of eliciting specific modes of cinematographic thought; choice of locations could impact the shape and feel of a film more than its screenplay. Prevalent in his works of the 1960s are suburban landscapes and locales, from the villas, cafés and roadways frequented by the characters of Bande à part (1964) to the high-rises of La Courneuve shown in the essay in phenomenology 2 ou 3 choses que je sais d’elle (1967). Without positing an equivalence between suburban heterogeneity and Godard’s jarring late-modern aesthetic, the author argues for the generative, transgressive capacity of a capitalist space in the throes of transformation and shot through with fragments of history. Shooting near Joinville-le-Pont and Vincennes in Bande à part, Godard pays homage to those pioneers who came before him, like Mack Sennett or Louis Feuillade. In other contexts, like the science-fiction sendup Alphaville (1965), he finds signs of the future in the present, showing Lemmy Caution moving through sleek, well-lit neighbourhoods of high-rises. The spatio-temporal rupture characteristic of Godard’s approach to suburban space resurfaces to surprising effect in Holy Motors (Leos Carax, 2012).Less
Far from a simple backdrop, the lived environment was for Jean-Luc Godard capable of eliciting specific modes of cinematographic thought; choice of locations could impact the shape and feel of a film more than its screenplay. Prevalent in his works of the 1960s are suburban landscapes and locales, from the villas, cafés and roadways frequented by the characters of Bande à part (1964) to the high-rises of La Courneuve shown in the essay in phenomenology 2 ou 3 choses que je sais d’elle (1967). Without positing an equivalence between suburban heterogeneity and Godard’s jarring late-modern aesthetic, the author argues for the generative, transgressive capacity of a capitalist space in the throes of transformation and shot through with fragments of history. Shooting near Joinville-le-Pont and Vincennes in Bande à part, Godard pays homage to those pioneers who came before him, like Mack Sennett or Louis Feuillade. In other contexts, like the science-fiction sendup Alphaville (1965), he finds signs of the future in the present, showing Lemmy Caution moving through sleek, well-lit neighbourhoods of high-rises. The spatio-temporal rupture characteristic of Godard’s approach to suburban space resurfaces to surprising effect in Holy Motors (Leos Carax, 2012).
Ulf Olsson
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780520286641
- eISBN:
- 9780520961760
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520286641.003.0003
- Subject:
- Music, Popular
Stubbornly maintaining that the band was not into politics of any kind, the Grateful Dead still performed for many different more-or-less political causes and in environments characterized by ...
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Stubbornly maintaining that the band was not into politics of any kind, the Grateful Dead still performed for many different more-or-less political causes and in environments characterized by distinct political aspects. The band and its culture can be seen as a form of “republic” based on practices of “citizenship”: the formation of subjects (in Foucault’s sense) is a central aspect of the Dead as political phenomenon. The band opened a space that served as a resistance to mainstream America, and supported the testing of alternative identities: a heterotopia. Drugs, as a way of intensifying experience, were a central aspect of this growing culture. But the Dead became political by doing service for their community as well, such as the many benefit concerts they performed.Less
Stubbornly maintaining that the band was not into politics of any kind, the Grateful Dead still performed for many different more-or-less political causes and in environments characterized by distinct political aspects. The band and its culture can be seen as a form of “republic” based on practices of “citizenship”: the formation of subjects (in Foucault’s sense) is a central aspect of the Dead as political phenomenon. The band opened a space that served as a resistance to mainstream America, and supported the testing of alternative identities: a heterotopia. Drugs, as a way of intensifying experience, were a central aspect of this growing culture. But the Dead became political by doing service for their community as well, such as the many benefit concerts they performed.
Susanne C. Knittel
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262786
- eISBN:
- 9780823266500
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262786.003.0002
- Subject:
- History, European Modern History
Chapter 1 presents a detailed history of the Nazi euthanasia program and of its commemoration by means of an analysis of the former killing center of Grafeneck in southern Germany and various recent ...
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Chapter 1 presents a detailed history of the Nazi euthanasia program and of its commemoration by means of an analysis of the former killing center of Grafeneck in southern Germany and various recent commemorative events associated with it. This analysis facilitates an exploration of the historical reasons for the marginalization of the memory of Nazi euthanasia within the discourse on the Holocaust, as well as the various steps that have been and are being taken to overcome this marginalization. The chapter incorporates not only Grafeneck's postwar history but also its present-day function as a home for the disabled. This ambiguous status challenges visitors’ assumptions about what commemoration is or should be and how it invites them to consider the place of disability in contemporary society. The chapter concludes with a reading of Grafeneck as what Michel Foucault terms heterotopia, a liminal space suspended between reality and unreality, past and present. This offers a key to understanding the uncanny character of the site.Less
Chapter 1 presents a detailed history of the Nazi euthanasia program and of its commemoration by means of an analysis of the former killing center of Grafeneck in southern Germany and various recent commemorative events associated with it. This analysis facilitates an exploration of the historical reasons for the marginalization of the memory of Nazi euthanasia within the discourse on the Holocaust, as well as the various steps that have been and are being taken to overcome this marginalization. The chapter incorporates not only Grafeneck's postwar history but also its present-day function as a home for the disabled. This ambiguous status challenges visitors’ assumptions about what commemoration is or should be and how it invites them to consider the place of disability in contemporary society. The chapter concludes with a reading of Grafeneck as what Michel Foucault terms heterotopia, a liminal space suspended between reality and unreality, past and present. This offers a key to understanding the uncanny character of the site.
Seth Brodsky
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520279360
- eISBN:
- 9780520966505
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520279360.003.0010
- Subject:
- Music, History, Western
This chapter adopts Michel Foucault's canonical conception of heterotopia as another heuristic, a way of suggesting that New Music, as an otherwise extremely heterogeneous field of labor and mode of ...
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This chapter adopts Michel Foucault's canonical conception of heterotopia as another heuristic, a way of suggesting that New Music, as an otherwise extremely heterogeneous field of labor and mode of cultural production, could be considered precisely such an “other space,” one in which the more robust and hegemonic cultural fantasies of greater Europe are analyzed, broken apart and broken down, eventually traversed. It further suggests that these hegemonic fantasies first come to New Music as music. That is, it is in the medium, the form and format of (older) music, that these fantasies are made accessible to New Music in the first place. New Music encounters “joyful brotherhood” not primarily as a complex signifier, but insofar as it has a sound, a body, a coordinate in the symbolic order “music” that is, in this case, Beethoven's Ninth.Less
This chapter adopts Michel Foucault's canonical conception of heterotopia as another heuristic, a way of suggesting that New Music, as an otherwise extremely heterogeneous field of labor and mode of cultural production, could be considered precisely such an “other space,” one in which the more robust and hegemonic cultural fantasies of greater Europe are analyzed, broken apart and broken down, eventually traversed. It further suggests that these hegemonic fantasies first come to New Music as music. That is, it is in the medium, the form and format of (older) music, that these fantasies are made accessible to New Music in the first place. New Music encounters “joyful brotherhood” not primarily as a complex signifier, but insofar as it has a sound, a body, a coordinate in the symbolic order “music” that is, in this case, Beethoven's Ninth.
Sam Grabowska and John Doering-White
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780813061603
- eISBN:
- 9780813051222
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061603.003.0010
- Subject:
- History, Cultural History
Drawing from ethnographic and archaeological data collected by The Undocumented Migration Project in the U.S.-Mexico borderlands, this chapter investigates the ways in which unauthorized ...
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Drawing from ethnographic and archaeological data collected by The Undocumented Migration Project in the U.S.-Mexico borderlands, this chapter investigates the ways in which unauthorized border-crossing is remembered. The memories are posited as heterotopic, that is, as institutional counter-sites with various actors who have competing aims, different experiences, and polarized socio-political positions. Grabowska and Doering-White highlight how identity, landscape, and materiality oscillate while memory works through personal recollection, cultural construction, and analytic interpretation. Grabowska and Doering-White show, for example, how artifacts can recall stories that migrants forget, and how the memories of border-crossers can equally contest the agendas of humanitarians and anti-immigration militias. In so doing, Grabowska and Doering-White seek to add variation to the border-crossing narrative while self-reflexively considering the strength of a mixed methodology.Less
Drawing from ethnographic and archaeological data collected by The Undocumented Migration Project in the U.S.-Mexico borderlands, this chapter investigates the ways in which unauthorized border-crossing is remembered. The memories are posited as heterotopic, that is, as institutional counter-sites with various actors who have competing aims, different experiences, and polarized socio-political positions. Grabowska and Doering-White highlight how identity, landscape, and materiality oscillate while memory works through personal recollection, cultural construction, and analytic interpretation. Grabowska and Doering-White show, for example, how artifacts can recall stories that migrants forget, and how the memories of border-crossers can equally contest the agendas of humanitarians and anti-immigration militias. In so doing, Grabowska and Doering-White seek to add variation to the border-crossing narrative while self-reflexively considering the strength of a mixed methodology.
Michiel Leezenberg
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780823239450
- eISBN:
- 9780823239498
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823239450.003.0016
- Subject:
- Religion, Religion and Society
This chapter discusses the Ottoman coffeehouse against the backdrop of the understanding that the emergence of the coffee house in seventeenth-and eighteenth-century Western and Central Europe ...
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This chapter discusses the Ottoman coffeehouse against the backdrop of the understanding that the emergence of the coffee house in seventeenth-and eighteenth-century Western and Central Europe indicates the rise of a modern liberal and secular public sphere. The new institution of the coffeehouse (just like coffee itself) had, after all, been imported from the early modern Ottoman Empire, where it had emerged as early as the sixteenth century, thus well before any substantial European influence. The Ottoman coffeehouse, it is argued, operated as a Foucauldian “heterotopia,” constituting a public and secular counterpart to the mosque. The absence of the outspoken anticlericalism featured by its European counterpart reveals, however, the Eurocentrism of Habermas's rationalist conceptualization of the public sphere.Less
This chapter discusses the Ottoman coffeehouse against the backdrop of the understanding that the emergence of the coffee house in seventeenth-and eighteenth-century Western and Central Europe indicates the rise of a modern liberal and secular public sphere. The new institution of the coffeehouse (just like coffee itself) had, after all, been imported from the early modern Ottoman Empire, where it had emerged as early as the sixteenth century, thus well before any substantial European influence. The Ottoman coffeehouse, it is argued, operated as a Foucauldian “heterotopia,” constituting a public and secular counterpart to the mosque. The absence of the outspoken anticlericalism featured by its European counterpart reveals, however, the Eurocentrism of Habermas's rationalist conceptualization of the public sphere.
Sean Redmond
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231163330
- eISBN:
- 9780231850230
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231163330.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter analyses the sea as a particular type of liminal heterotopia where time is unwound, and sensations lost in the urban world are newly found or reignited. The sea and the beach are the ...
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This chapter analyses the sea as a particular type of liminal heterotopia where time is unwound, and sensations lost in the urban world are newly found or reignited. The sea and the beach are the most significant sites for this limitless becoming. They are the places of play and of contemplation; a retreat, the last “exit” and the point-of-no-return. They are feminine and enigmatic; a timeless landscape in which time has stopped and yet where it is running out for those who have gone there to escape and rejuvenate. It is suggested that Kitano uses the beach and the sea to play out the liquid politics of time in an attempt to find new temporal realities beyond the horizon of representation.Less
This chapter analyses the sea as a particular type of liminal heterotopia where time is unwound, and sensations lost in the urban world are newly found or reignited. The sea and the beach are the most significant sites for this limitless becoming. They are the places of play and of contemplation; a retreat, the last “exit” and the point-of-no-return. They are feminine and enigmatic; a timeless landscape in which time has stopped and yet where it is running out for those who have gone there to escape and rejuvenate. It is suggested that Kitano uses the beach and the sea to play out the liquid politics of time in an attempt to find new temporal realities beyond the horizon of representation.
Charlotte Sleigh
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780719090981
- eISBN:
- 9781526115133
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719090981.003.0012
- Subject:
- History, History of Science, Technology, and Medicine
This chapter examines a little-known scientific organisation made up of scientific outsiders, the British Interplanetary Society. It is considered within the Foucauldian frame of the heterotopia, a ...
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This chapter examines a little-known scientific organisation made up of scientific outsiders, the British Interplanetary Society. It is considered within the Foucauldian frame of the heterotopia, a space in which normal rules are suspended or subverted in order to create a utopian alternative. In this instance of scientific governance that space was provided by scientifiction. The content of the stories offered different ways of thinking about science, but perhaps even more importantly the material and social reality of their printing and distribution instantiated a different kind of scientific organisation in itself. The BIS was both an attempt to organise science differently – a space for different membership, aims and rules – and also a construction of this alterity through its interlocution with utopian accounts of space itself.Less
This chapter examines a little-known scientific organisation made up of scientific outsiders, the British Interplanetary Society. It is considered within the Foucauldian frame of the heterotopia, a space in which normal rules are suspended or subverted in order to create a utopian alternative. In this instance of scientific governance that space was provided by scientifiction. The content of the stories offered different ways of thinking about science, but perhaps even more importantly the material and social reality of their printing and distribution instantiated a different kind of scientific organisation in itself. The BIS was both an attempt to organise science differently – a space for different membership, aims and rules – and also a construction of this alterity through its interlocution with utopian accounts of space itself.
Alasdair Pettinger
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9781846318900
- eISBN:
- 9781846319983
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846318900.003.0008
- Subject:
- Literature, World Literature
The small, idiosyncratic, family-run Hotel Oloffson in Port-au-Prince has long been favoured by literary travellers to Haiti. Alasdair Pettinger draws on a selection of English-language accounts from ...
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The small, idiosyncratic, family-run Hotel Oloffson in Port-au-Prince has long been favoured by literary travellers to Haiti. Alasdair Pettinger draws on a selection of English-language accounts from the last twenty years by authors who have described their stays there and argues that an imagined cartography of safety and danger shapes their experience in ways that are more conventionally associated with the larger chain hotels that dominate coastal resorts elsewhere in the Tropics. It pays special attention to two rhetorical devices which are deployed with some regularity: (1) the embedded mini-narratives in which the author leaves the safety of the hotel to risk the city beyond; (2) scenes in which reminders of these risks seem to intrude on the private space of the hotel itself in the form of overheard sounds, such as helicopters, gunfire and screams.Less
The small, idiosyncratic, family-run Hotel Oloffson in Port-au-Prince has long been favoured by literary travellers to Haiti. Alasdair Pettinger draws on a selection of English-language accounts from the last twenty years by authors who have described their stays there and argues that an imagined cartography of safety and danger shapes their experience in ways that are more conventionally associated with the larger chain hotels that dominate coastal resorts elsewhere in the Tropics. It pays special attention to two rhetorical devices which are deployed with some regularity: (1) the embedded mini-narratives in which the author leaves the safety of the hotel to risk the city beyond; (2) scenes in which reminders of these risks seem to intrude on the private space of the hotel itself in the form of overheard sounds, such as helicopters, gunfire and screams.
Catherine Dousteyssier-Khoze
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748692606
- eISBN:
- 9781474444651
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748692606.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter argues that, far from functioning on a purely realistic mode, Chabrolean spaces are key loci in which inner conflicts and tensions often acquire a symbolic dimension. Houses, gardens or ...
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This chapter argues that, far from functioning on a purely realistic mode, Chabrolean spaces are key loci in which inner conflicts and tensions often acquire a symbolic dimension. Houses, gardens or functional buildings (the hospital in Le Boucher) become places in which generic battles take place and the real and the virtual come to a head. Foucault’s concept of heterotopia is used to illuminate these unstable and overcoded Chabrolean topographies through the following case studies: the boarding house and park in La Rupture; the crystal house in Juste avant la nuit; the hotel room in Violette Nozière and the Gothic houses in Poulet au vinaigre and La Demoiselle d’honneur.Less
This chapter argues that, far from functioning on a purely realistic mode, Chabrolean spaces are key loci in which inner conflicts and tensions often acquire a symbolic dimension. Houses, gardens or functional buildings (the hospital in Le Boucher) become places in which generic battles take place and the real and the virtual come to a head. Foucault’s concept of heterotopia is used to illuminate these unstable and overcoded Chabrolean topographies through the following case studies: the boarding house and park in La Rupture; the crystal house in Juste avant la nuit; the hotel room in Violette Nozière and the Gothic houses in Poulet au vinaigre and La Demoiselle d’honneur.
Monika Fludernik
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780198840909
- eISBN:
- 9780191879906
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198840909.003.0001
- Subject:
- Literature, Criticism/Theory
Chapter 1 deals with two types of metaphors: those that liken the prison to the (or a) world, seeing the prison as a microcosm, and those that project an inverse scenario, in which the world is ...
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Chapter 1 deals with two types of metaphors: those that liken the prison to the (or a) world, seeing the prison as a microcosm, and those that project an inverse scenario, in which the world is metaphorically depicted as a prison. After pointing out how prison, as a heterotopia (like hell) is conceived both as lying outside the world and as sharing numerous structural features with it, Section 1.2 moves on to a consideration of early modern similitudes in the ‘character’ literature of Overbury, Dekker, Mynshul, and Fennor. An analysis of two city comedies, Eastward Ho (1605) and The City Gallant (1614) illustrates how prisons were perceived to mirror early modern society. From these instances of the PRISON AS WORLD metaphor, the chapter turns to the WORLD AS PRISON trope, which is exemplified by The Beggar’s Opera as well as in Samuel Beckett’s prose and Edward Bond’s play Olly’s Prison.Less
Chapter 1 deals with two types of metaphors: those that liken the prison to the (or a) world, seeing the prison as a microcosm, and those that project an inverse scenario, in which the world is metaphorically depicted as a prison. After pointing out how prison, as a heterotopia (like hell) is conceived both as lying outside the world and as sharing numerous structural features with it, Section 1.2 moves on to a consideration of early modern similitudes in the ‘character’ literature of Overbury, Dekker, Mynshul, and Fennor. An analysis of two city comedies, Eastward Ho (1605) and The City Gallant (1614) illustrates how prisons were perceived to mirror early modern society. From these instances of the PRISON AS WORLD metaphor, the chapter turns to the WORLD AS PRISON trope, which is exemplified by The Beggar’s Opera as well as in Samuel Beckett’s prose and Edward Bond’s play Olly’s Prison.
Paolo Magagnoli
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231172714
- eISBN:
- 9780231850773
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172714.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter examines the films of Tacita Dean, Matthew Buckingham, and Joachim Koester—whose works portray abandoned architectural spaces where failed utopian projects were once built—using Michel ...
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This chapter examines the films of Tacita Dean, Matthew Buckingham, and Joachim Koester—whose works portray abandoned architectural spaces where failed utopian projects were once built—using Michel Foucault’s notion of heterotopia. Similar to Foucault’s heterotopias, Dean’s, Buckingham’s, and Koester’s ruins appear as fluid and real spaces that reflect some of the utopian desires of the societies in which they are located. The concept of heterotopia allows for the exposition of the hidden anti-utopianism buried under the surface of these films, all of which convey the idea of a possible utopian alternative to our present world. However, they also portray utopia as an impossible model that seems to reflect society’s unacceptable desires for authority and order. The uncertainty of the artists’ experimental films lies in their scepticism about utopianism—a scepticism that is also evident in the theory of heterotopia.Less
This chapter examines the films of Tacita Dean, Matthew Buckingham, and Joachim Koester—whose works portray abandoned architectural spaces where failed utopian projects were once built—using Michel Foucault’s notion of heterotopia. Similar to Foucault’s heterotopias, Dean’s, Buckingham’s, and Koester’s ruins appear as fluid and real spaces that reflect some of the utopian desires of the societies in which they are located. The concept of heterotopia allows for the exposition of the hidden anti-utopianism buried under the surface of these films, all of which convey the idea of a possible utopian alternative to our present world. However, they also portray utopia as an impossible model that seems to reflect society’s unacceptable desires for authority and order. The uncertainty of the artists’ experimental films lies in their scepticism about utopianism—a scepticism that is also evident in the theory of heterotopia.
María José Zapata Campos and C. Michael Hall
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9781447306375
- eISBN:
- 9781447310891
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447306375.003.0003
- Subject:
- Sociology, Urban and Rural Studies
The chapter explores Foucault's notion of heterotopia to rethink the functions and meanings of waste urban infrastructures, based on narratives of waste from the cities of Managua in Nicaragua and ...
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The chapter explores Foucault's notion of heterotopia to rethink the functions and meanings of waste urban infrastructures, based on narratives of waste from the cities of Managua in Nicaragua and Gothenburg in Sweden. Based on ethnographic research, the chapter explores how, by isolating and hiding waste, waste infrastructures make possible the utopia of a well-functioning city. The chapter also discusses how efficient waste infrastructures can contribute to hide the consequences of the consumption and discard society by obscuring the link between consumption and the increasing overflow of waste.Less
The chapter explores Foucault's notion of heterotopia to rethink the functions and meanings of waste urban infrastructures, based on narratives of waste from the cities of Managua in Nicaragua and Gothenburg in Sweden. Based on ethnographic research, the chapter explores how, by isolating and hiding waste, waste infrastructures make possible the utopia of a well-functioning city. The chapter also discusses how efficient waste infrastructures can contribute to hide the consequences of the consumption and discard society by obscuring the link between consumption and the increasing overflow of waste.
Julian Johnson
- Published in print:
- 2015
- Published Online:
- April 2015
- ISBN:
- 9780190233273
- eISBN:
- 9780190233303
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190233273.003.0006
- Subject:
- Music, History, Western
Music reworks modernity, in part, by constructing imaginary journeys to alternative places (heterotopia). A sense of transport is built into tonality which delimits borders in order to cross them and ...
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Music reworks modernity, in part, by constructing imaginary journeys to alternative places (heterotopia). A sense of transport is built into tonality which delimits borders in order to cross them and juxtaposes dynamic linear motion with static spatial fields. The rigid lines of the new transport (railways, steamships) were countered by music’s evocation of water voyages. The construction of musical landscapes paralleled the cultivation of the garden, park, and picturesque landscape as alternative aesthetic spaces, the counterweight to the metaphysical restlessness of modernity, embodied in the figure of Faust. Music’s re-enchantment of the world detunes its own rationalized order, as in Bartók’s ‘night music’, or the reversion of the French horn to its natural tuning in Britten and Ligeti. In the later twentieth century, electronic music reworks the Baroque idea of the echo as a transformation of the visual world in the elsewhere of the auditory.Less
Music reworks modernity, in part, by constructing imaginary journeys to alternative places (heterotopia). A sense of transport is built into tonality which delimits borders in order to cross them and juxtaposes dynamic linear motion with static spatial fields. The rigid lines of the new transport (railways, steamships) were countered by music’s evocation of water voyages. The construction of musical landscapes paralleled the cultivation of the garden, park, and picturesque landscape as alternative aesthetic spaces, the counterweight to the metaphysical restlessness of modernity, embodied in the figure of Faust. Music’s re-enchantment of the world detunes its own rationalized order, as in Bartók’s ‘night music’, or the reversion of the French horn to its natural tuning in Britten and Ligeti. In the later twentieth century, electronic music reworks the Baroque idea of the echo as a transformation of the visual world in the elsewhere of the auditory.
Dimitris Tziovas
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199672752
- eISBN:
- 9780191774324
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199672752.003.0001
- Subject:
- Classical Studies, European History: BCE to 500CE
The Introduction outlines the aims of the volume and maps out transitions, debates, and new directions in the reception of antiquity in Greece over the last few decades, thus providing the background ...
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The Introduction outlines the aims of the volume and maps out transitions, debates, and new directions in the reception of antiquity in Greece over the last few decades, thus providing the background against which the chapters in the book should be read. A series of partly overlapping transitions currently taking place in the area of modern Greek classical reception studies are identified, involving shifts from continuity to diversity, elite to popular receptions, texts to performances, traces to uses, and eternal glory to critical history. The range of the volume is also highlighted. Covering a period stretching from the twelfth century ce to the present day, it looks at a variety of cultural practices and aspires to offer new perspectives in re-imagining the past and rethinking the role of antiquity in shaping modern Greek culture and its institutions.Less
The Introduction outlines the aims of the volume and maps out transitions, debates, and new directions in the reception of antiquity in Greece over the last few decades, thus providing the background against which the chapters in the book should be read. A series of partly overlapping transitions currently taking place in the area of modern Greek classical reception studies are identified, involving shifts from continuity to diversity, elite to popular receptions, texts to performances, traces to uses, and eternal glory to critical history. The range of the volume is also highlighted. Covering a period stretching from the twelfth century ce to the present day, it looks at a variety of cultural practices and aspires to offer new perspectives in re-imagining the past and rethinking the role of antiquity in shaping modern Greek culture and its institutions.
