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Mixed-Income Development in Context: Urban Poverty, Community Development, and the Transformation of Public Housing

Robert J. Chaskin and Mark L. Joseph

in Integrating the Inner City: The Promise and Perils of Mixed-Income Public Housing Transformation

This chapter places public housing reform policies like the Plan for Transformation in Chicago and HOPE VI (and its successor Choice Neighborhoods) at the national level in the broader historical ... More

This chapter places public housing reform policies like the Plan for Transformation in Chicago and HOPE VI (and its successor Choice Neighborhoods) at the national level in the broader historical context of community development and “community building” efforts in the United States. It then builds on this broader history to situate housing policy as a response to urban poverty, charting the development of public housing in the United States, providing a description and analysis of current policy that seeks to reform it, and laying out the parameters and components of the Transformation that frame action and impact at the local level in each mixed-income development replacing public housing complexes.Less

Housing over the life course: housing histories, careers, pathways and transitions

Andrew Beer, Debbie Faulkner, Chris Paris, and Terry Clower

in Housing transitions through the life course: Aspirations, needs and policy

This chapter reviews the published work that explains the changing relationship between households and the dwellings in which they live over their life course. It starts with a section on the role of ... More

This chapter reviews the published work that explains the changing relationship between households and the dwellings in which they live over their life course. It starts with a section on the role of risk within contemporary society. This is followed by an examination of the debates around housing careers, housing histories, housing biographies, and housing pathways. It is concluded that there is a need to recast one's thinking around this issue, and that, in the twnety-first century, it has become more appropriate to consider the way people move through the housing stock as a set of transitions which embrace both permanent and temporary relocation, as well as the simultaneous occupancy of multiple dwellings.Less

An Austrian Haus der Geschichte?: The Drama Continues

Claudia Leeb

in The Politics of Repressed Guilt: The Tragedy of Austrian Silence

This chapter exposes the defense mechanisms in the heated public debates about establishing a house of history in Vienna, from the time period from 2015 until the present, because such a museum would ... More

This chapter exposes the defense mechanisms in the heated public debates about establishing a house of history in Vienna, from the time period from 2015 until the present, because such a museum would also display Austria’s Nazi past. The defense mechanisms underline the continuing inability of contemporary Austrians to live up to guilt, and that they advance any reason, no matter how ridiculous, to keep unconscious guilt feelings repressed. As a result, we are confronted with flawed judgments and the continuing failure of Austrians to work through their past. The debate around establishing a house of history in which scientists, university professors and politicians participate exposes that we find the lack of embodied reflective judgment particularly in the educated class.Less

Cinema’s Short-Term Tenancy: A Materialist Theory of Film Spectatorship

John David Rhodes

in Spectacle of Property: The House in American Film

In this mostly theoretical discussion I discuss some examples of American feature filmmaking, including Gone With the Wind (Victor Fleming, 1939), in order to establish the implicit problematic that ... More

In this mostly theoretical discussion I discuss some examples of American feature filmmaking, including Gone With the Wind (Victor Fleming, 1939), in order to establish the implicit problematic that race and the raced body are fundamentally bound up in the “spectacle of property,” even when no non-white bodies appear onscreen. Finally, as a means of testing some of these ideas through close formal and historical analysis, the second part of the chapter focuses in detail on a single film, D.W. Griffith’s The Lonely Villa (1909) and its representation of the house and its violation in the context of cinema’s emergence as a narrative representational medium and as an industry preoccupied by property rightsLess

The Diary Coalesces

Barbara Lounsberry

in Becoming Virginia Woolf: Her Early Diaries and the Diaries She Read

Woolf’s various diary styles and forms fuse from 1915 to 1918. In 1915, she blends place and portrait, event and thought into an engaging life diary tapestry. In 1917, she writes herself back from ... More

Woolf’s various diary styles and forms fuse from 1915 to 1918. In 1915, she blends place and portrait, event and thought into an engaging life diary tapestry. In 1917, she writes herself back from illness through her country Asheham House Natural History Diary, but soon adds a city diary to this country diary, writing in both diaries on 17 days in this, her most intensive year of diary-writing. In her first 1918 Hogarth House Diary she both extends individual diary entries and merges them, and she blends her country and city styles as well. We leave her in July 1918 ready to launch her mature, spare (modernist) diary style. The diaries Woolf reads during this expansive and coalescing time could not be more fortuitous: Mary (Seton) Berry’s diaries which offer the whole kernel of A Room of One’s Own; the Goncourt brothers’ collaborative Journals which spur Woolf to try a collaborative diary; and the diaries of the literary curate Stopford Brooke which showed her a searching mind, one continually opening and unifying across his highly creative days.Less

Between the Past and the Present: Nostalgia and the Cinema of Stick and Shingle Style Architecture

John David Rhodes

in Spectacle of Property: The House in American Film

Explores in some detail the history and historiography of what architectural historian Vincent Scully has famously nominated as stick and shingle style architecture. These styles name the large, ... More

Explores in some detail the history and historiography of what architectural historian Vincent Scully has famously nominated as stick and shingle style architecture. These styles name the large, rambling wooden houses built in the late nineteenth-century whose histories are entangled with that of the colonial revival and Queen Anne styles. Nostalgia is the animating force of these architectural styles, as it is for the films that make significant use of this architecture: Meet Me in St. Louis (Vincente Minnelli,1944), Psycho, and Grey Gardens.Less

Introduction: At Home in Nineteenth-Century America

Amy G. Richter

in At Home in Nineteenth-Century America: A Documentary History

The introduction describes the history and historiography of the home and domesticity in the United States. It addresses the types of spaces Americans called home in the nineteenth century and ... More

The introduction describes the history and historiography of the home and domesticity in the United States. It addresses the types of spaces Americans called home in the nineteenth century and highlights important changes in their physical surroundings and material culture. It then discusses the ways that various fields of history (house history, women’s history, urban history) have studied the home and explains the separate spheres ideal at the center of so much of this scholarship. The goal is to underscore the centrality of home to a range of historical inquiries while emphasizing its importance to people in the past.Less

All Too Easy: The Modernist House and Effortless Appropriation

John David Rhodes

in Spectacle of Property: The House in American Film

Takes up the modernist house as it appears in films like A Star is Born (George Cukor, 1954), House (Charles and Ray Eames, 1955), and more recent films and moving image media such as The Anniversary ... More

Takes up the modernist house as it appears in films like A Star is Born (George Cukor, 1954), House (Charles and Ray Eames, 1955), and more recent films and moving image media such as The Anniversary Party (Alan Cumming and Jennifer Jason Leigh, 2001), A Single Man (Tom Ford, 2009), and Stephen Prina’sThe Way He Always Wanted It, II (2008). The chapter also considers a strange site of coincidence between modernist architecture and the movies: the house designed by Richard Neutra for the director Josef von Sternberg that then passed into the hands of Ayn Rand, who was also working in the film industry.Less

Wrong Life: Bungalow Aesthetics in and against Hollywood

John David Rhodes

in Spectacle of Property: The House in American Film

Investigates the bungalow, the modern house of modest proportions, whose spaces promise an openness and a blurring of private and public and whose threshold is the site of radical possibility. The ... More

Investigates the bungalow, the modern house of modest proportions, whose spaces promise an openness and a blurring of private and public and whose threshold is the site of radical possibility. The key films discussed here are Mildred Pierce (Michael Curtiz, 1945) and Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943), but the chapter is also in conversation with Theodor Adorno’s fleeting but curious interest in the bungalow and with living spaces more broadly.Less

Introducing Jigsaw cities

Anne Power and John Houghton

in Jigsaw cities: Big places, small spaces

This chapter sets out the scope of the study and looks closely at urban and housing history, current dilemmas, and the urban future. It uses the metaphor of the jigsaw to capture the complexity and ... More

This chapter sets out the scope of the study and looks closely at urban and housing history, current dilemmas, and the urban future. It uses the metaphor of the jigsaw to capture the complexity and interconnectedness of modern British cities as it responds to powerful social, economic, and environmental forces. It explains that beginner jigsaws like early cities have few pieces and easily assembled shapes while advanced jigsaws have thousands of small and distinct but hard to distinguish pieces. It notes that modern cities are likewise hugely complex and sometimes seem to defy any order at all, often appearing as a confusing pile of indistinct spaces, structures, and functions – chaotic and unmanageable. The chapter focuses on growth and decline, sprawl and density, economic and environmental imperatives, racial tensions and social harmony.Less

Chronicles E, /E, and H: The End of the Tradition?

Pauline Stafford

in After Alfred: Anglo-Saxon Chronicles and Chroniclers, 900-1150

This chapter deals with the last surviving Anglo-Saxon vernacular chronicle, E, produced at Peterborough c.1121, and the last stages of Chronicle /E which lies behind it. The content and palaeography ... More

This chapter deals with the last surviving Anglo-Saxon vernacular chronicle, E, produced at Peterborough c.1121, and the last stages of Chronicle /E which lies behind it. The content and palaeography of E place it at Peterborough. Peterborough monastic history is now incorporated into the story, though the result is not a simple ‘house history’. Questions are raised about E’s annals numbered c.1060 onwards, their likely home(s), and the stages of their composition. Work on /E is viewed in the context of burgeoning Latin historiography, with which it has much common ground. The fragment, Chronicle H, is placed in this same world. The networks and contacts invoked to explain patterns of composition and exchange from the mid eleventh century are seen as still relevant. The changing relationship of vernacular chronicling to the court heralds the end of a tradition of chronicling for and by an Anglo-Saxon elite who had disappeared.Less

From Porch to Attic: Condemned to Property in New Orleans

John David Rhodes

in Spectacle of Property: The House in American Film

Concludes by opening up again with a coda that reflecting again on the question of race.