DOCSLIB.ORG

Invisible Architecture: Ideologies of Space in the Nineteenth-Century City

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Invisible Architecture: Ideologies of Space in the Nineteenth-Century City Invisible Architecture: Ideologies of Space in the Nineteenth- Century City A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities. 2014 Ben Moore School of Arts, Languages and Cultures 2 Contents Abstract 5 Declaration and Copyright Statement 6 Acknowledgments 7 Note on Abbreviations and Editions 8 Introduction 9 ‘Invisible’ vs ‘Ideology’ 11 The Constellation and the Dialectical Image 17 The Optical Unconscious 21 Architectural Unconscious 24 The City from Above and the City from Below 29 Reading Modernity, Reading Architecture 34 Cities and Texts 36 Chapters 1. Gogol’s Dream-City 41 Unity and Multiplicity 45 Imagination and Dreams 57 Arabesque, Ecstasy, Montage 66 The Overcoat 75 2. The Underground City: Kay, Engels and Gaskell 80 James Kay and Friedrich Engels’s Manchester 84 Cellar-dwelling 93 Mary Barton’s Cellars 100 3. The Unstable City: Dombey and Son 113 The Two Houses of Dombey 117 The Trading House 120 The Domestic House 132 The Railway 141 4. The Uncanny City: Our Mutual Friend 154 3 In Search of a Clue 158 The River and the Gaze 166 Uncanny Houses 171 Hidden Secrets and Hauntings 174 Uncanny Return 180 The Hollow down by the Flare 184 5. Zola’s Transparent City 192 The Spectacle as Relation between Part and Whole 192 Zola and Montage 199 La Curée and Haussmann’s Paris 204 Au Bonheur des Dames and the Commodified World 215 Conclusion: Thoughts on Whiteness 226 The Whiteness of the Whale 227 Two Theories of Whiteness 232 Whiteness in the City I: Concealment and Revelation 234 Whiteness in the City II: Ornament and Fashion 239 Whiteness in the City III: Targeted by Whiteness 244 Carker’s Whiteness 246 Bibliography 249 List of Illustrations 1. The Skyscraper (1916), Glyn Philpot. 50 2. The Last Day of Pompeii (1830-33), Karl Bryullov. 60 3. Sketch of Tatlin’s tower (The Monument to the Third International). 65 4. Carcere oscura [Dark Dungeon] (1743), Piranesi. 73 5. Carceri [Dungeon] (1743), Piranesi. 74 6. Cover design for monthly parts of Dombey and Son, Hablot Browne. 121 7. Coming Home from Church, Hablot Browne. 123 8. The New Zealander (1872), Gustave Doré. 145 4 9. Over London by Rail (1872), Gustave Doré. 151 10. The Bird of Prey, Marcus Stone. 161 11. Watching the Furnace Fire, George Cattermole, from The Old Curiosity Shop. 187 12. Waiting for Father, Marcus Stone. 189 13. Mr. Boffin does the Honours of the Nursery Door, Marcus Stone. 189 Word count: 85,543 5 Abstract This thesis proposes and explores the concept of ‘invisible architecture’ as a means of interpreting the city in the nineteenth century. Invisible architecture is understood as the unseen structure which holds together the modern city, allowing it to exist as a concept despite the impossibility of gaining full knowledge of it. It has two sides, the first repressive and stabilising, the second fluctuating and utopian. In this way, the thesis is interested in the material and spatial basis of ideology, as well as the ways ideology can be disrupted or distorted. It is also interested in developing a link between invisible architecture and two forms of the unconscious: the psychoanalytic unconscious, which is read through Freud and Lacan, and Walter Benjamin’s ‘optical unconscious’. More broadly, the thesis explores the ongoing significance of Benjamin’s Arcades Project (1927-40) for nineteenth-century city literature. Invisible architecture is explored by analysing how it operates as an object of interest and concern for a selection of writers whose work engages with the modern city between approximately 1830 and 1885. Chapter One focuses on Nikolai Gogol, whose essay ‘On Present-Day Architecture’ (1835) is read in relation to Sergei Eisenstein (1898-1948). This text expresses the desire to bring into visibility the submerged history of architecture and to produce a modern urban architecture that is monolithic and controlling. At the same time, it imagines a city built from suspended structures made of iron, a form of architecture that is speculative and destabilising. Gogol’s use of the term ‘arabesque’ (as in his 1835 volume, Arabesques) is also investigated, with reference to ‘The Overcoat’ (1842), as a means of thinking about how the city both disrupts and evokes totality. Chapter Two looks at James Kay, Friedrich Engels and Elizabeth Gaskell’s writing on industrial Manchester, especially Mary Barton (1848). It argues that the trope of the underground, which is associated particularly with the working class, operates as a form of invisible architecture, and considers the ways Kay’s 1832 pamphlet on Manchester cotton-workers seeks to bring the city into greater visibility. Chapters Three and Four focus on Dickens’s London in Dombey and Son (1848) and Our Mutual Friend (1865) respectively. Chapter Three looks at the hidden, but unstable, connections between the domestic and financial ‘houses’ of Dombey, and reads the railway as a force which both breaks apart and connects the city of London. Chapter Four focuses on the river as indicating the presence of that which cannot be integrated into the city because it is fundamentally unknowable, drawing on Lacan’s work on vision and the unconscious. This chapter also suggests that city space in Our Mutual Friend is frequently uncanny, referring to Freud’s essay on the topic. Chapter 5 examines Zola’s Paris in The Kill (1872) and The Ladies’ Paradise (1883) in relation to Debord’s Society of the Spectacle (1967), arguing that Haussmann’s boulevards and the new department stores of Second Empire Paris seem to open up the city with new vistas of space and glass, offering absolute visibility, but at the same time suppressing and destroying parts of the city. The conclusion looks at whiteness within city space, basing its discussion on texts covered in the preceding chapters. It proposes the contradictory combination of visibility and invisibility which whiteness signifies as a final example of invisible architecture, and argues for a dialectical connection between nineteenth-century whiteness and the whiteness of modernism. 6 Declaration No portion of the work referred to in this thesis has been submitted in support of an application for another degree or qualification of this or any other university or institute of learning. Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements which the University has from time to time. This page must form part of any such copies made. iii. The ownership of certain Copyright, patents, designs, trade marks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property and/or Reproductions. iv. Further information on the conditions under which disclosure, publication and commercialisation of this thesis, the Copyright and any Intellectual Property and/or Reproductions described in it may take place is available in the University IP Policy (see http://documents.manchester.ac.uk/DocuInfo.aspx?DocID=487), in any relevant Thesis restriction declarations deposited in the University Library, The University Library’s regulations (see http://www.manchester.ac.uk/library/aboutus/regulations) and in the University’s policy on Presentation of Theses. 7 Acknowledgements In the nearly four years since I began work on this thesis there have been many people whose input and support have been invaluable, and without whom it would have been a far worse thing than it is. First of all, I want to thank Jeremy Tambling for his inspiration and encouragement, and his unflagging belief that I should always push my ideas further. The three-year Arcades Project reading group I took part in with Jeremy (along with Alfie Bown, and later Tristan Burke, Jack Sullivan and others) has also been a major source of ideas about Benjamin and the city, many of which have found their way into this thesis. I want also to thank Daniela Caselli for her incredibly helpful (and rigorous) advice during the writing-up period, especially in relation to the vexed question of the optical unconscious. Many thanks also to my other supervision panel members, Howard Booth and Galin Tihanov. Others at The University of Manchester to whom I owe a debt of gratitude include James Smith, Dan Bristow, Gemma Moss, Izzy Dann and Rena Jackson, as well as Alfie, Tristan and Jack, along with many others. I want to thank, too, the people I have stayed or lived with in Manchester at various times, and who have also provided me with vital non-academic social outlets such as football and companionship in drinking: Han and Dan Addison, Rachel Plant and Luke McDermott, and Big Steve W. In Bristol and the South, I’d like to thank everyone who has expressed an interest in my work, usually in the form of asking whether I’ve finished yet: Richard Pearce, James Cooper, Pete Moore, Alex Stewart, Nadia Islam, Alex Charlton and Pete Steer spring immediately to mind.
Load more

Recommended publications
  • Painful Past, Fragile Future the Delicate Balance in the Western Balkans Jergović, Goldsworthy, Vučković, Reka, Sadiku Kolozova, Szczerek and Others
    No 2(VII)/2013 Price 19 PLN (w tym 5% VAT) 10 EUR 12 USD 7 GBP ISSN: 2083-7372 quarterly April-June www.neweasterneurope.eu Painful Past, Fragile Future The delicate balance in the Western Balkans Jergović, Goldsworthy, Vučković, Reka, Sadiku Kolozova, Szczerek and others. Strange Bedfellows: A Question Ukraine’s oligarchs and the EU of Solidarity Paweï Kowal Zygmunt Bauman Books & Reviews: Tadeusz Mazowiecki, Mykola Riabchuk, Robert D. Kaplan and Jan Švankmajer Seversk: A New Direction A Siberian for Transnistria? Oasis Kamil Caïus Marcin Kalita Piotr Oleksy Azerbaijan ISSN 2083-7372 A Cause to Live For www.neweasterneurope.eu / 13 2(VII) Emin Milli Arzu Geybullayeva Nominated for the 2012 European Press Prize Dear Reader, In 1995, upon the declaration of the Dayton Peace Accords, which put an end to one of the bloodiest conflicts in the former Yugoslavia, the Bosnian War, US President, Bill Clinton, announced that leaders of the region had chosen “to give their children and their grandchildren the chance to lead a normal life”. Today, after nearly 20 years, the wars are over, in most areas peace has set in, and stability has been achieved. And yet, in our interview with Blerim Reka, he echoes Clinton’s words saying: “It is the duty of our generation to tell our grandchildren the successful story of the Balkans, different from the bloody Balkans one which we were told about.” This and many more observations made by the authors of this issue of New Eastern Europe piece together a complex picture of a region marred by a painful past and facing a hopeful, yet fragile future.
    [Show full text]
  • Network Map of Knowledge And
    Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W.
    [Show full text]
  • Prince Demidoff's Greek Slave
    Helen A. Cooper Prince Demidoff’s Greek Slave Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) Citation: Helen A. Cooper, “Prince Demidoff’s Greek Slave,” Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016), http://www.19thc-artworldwide.org/summer16/cooper-on-prince- demidoff-the-greek-slave. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Cooper: Prince Demidoff’s Greek Slave Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) Prince Demidoff’s Greek Slave by Helen A. Cooper On December 15, 1843, the man who would become Hiram Powers’s most distinguished private patron visited the artist’s studio for the first time.[1] Anatole Demidoff, Prince of San Donato, one of the greatest collectors of the age, had come to see for himself the work of the much-talked-about American sculptor in Florence.[2] For Powers (1805–73), the visit by such a notable person would have been cause for excitement at any time, but at this moment it held special promise. Although Powers’s creative energy was at a high point, the state of his finances was precarious. He had orders for scarcely a half-dozen portrait bust commissions and none for a statue of an ideal subject. He was seriously considering abandoning his career and returning to his home in Cincinnati, Ohio.[3] Prince Demidoff had a taste for contemporary marble sculpture. He admired the nearly finished plaster model of The Greek Slave and saw the marble block that was already being prepared—no version had yet been carved—but to Powers’s great disappointment, he left without placing an order.
    [Show full text]
  • The Studio Homes of Daniel Chester French by Karen Zukowski
    SPRING 2018 Volume 25, No. 1 NEWSLETTER City/Country: The Studio Homes of Daniel Chester French by karen zukowski hat can the studios of Daniel Chester French (1850–1931) tell us about the man who built them? He is often described as a Wsturdy American country boy, practically self-taught, who, due to his innate talent and sterling character, rose to create the most heroic of America’s heroic sculptures. French sculpted the seated figure in Washington, D.C.’s Lincoln Memorial, which is, according to a recent report, the most popular statue in the United States.1 Of course, the real story is more complex, and examination of French’s studios both compli- cates and expands our understanding of him. For most of his life, French kept a studio home in New York City and another in Massachusetts. This city/country dynamic was essential to his creative process. BECOMING AN ARTIST French came of age as America recovered from the trauma of the Civil War and slowly prepared to become a world power. He was born in 1850 to an established New England family of gentleman farmers who also worked as lawyers and judges and held other leadership positions in civic life. French’s father was a lawyer who eventually became assistant secretary of the U.S. Treasury under President Grant. Dan (as his family called him) came to his profession while they were living in Concord, Massachusetts. This was the town renowned for plain living and high thinking, the home of literary giants Amos Bronson Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau at Walden Pond nearby.
    [Show full text]
  • Art and Art of Design Учебное Пособие Для Студентов 2-Го Курса Факультета Прикладных Искусств
    Министерство образования Российской Федерации Амурский государственный университет Филологический факультет С. И. Милишкевич ART AND ART OF DESIGN Учебное пособие для студентов 2-го курса факультета прикладных искусств. Благовещенск 2002 1 Печатается по решению редакционно-издательского совета филологического факультета Амурского государственного университета Милишкевич С.И. Art and Art of Design. Учебное пособие. Амурский гос. Ун-т, Благовещенск: 2002. Пособие предназначено для практических занятий по английскому языку студентов неязыковых факультетов, изучающих дизайн. Учебные материалы и публицистические статьи подобраны на основе аутентичных источников и освещают последние достижения в области дизайна. Рецензенты: С.В.Андросова, ст. преподаватель кафедры ин. Языков №1 АмГУ; Е.Б.Лебедева, доцент кафедры фнглийской филологии БГПУ, канд. Филологических наук. 2 ART GALLERIES I. Learn the vocabulary: 1) be famous for -быть известным, славиться 2) hordes of pigeons -стаи голубей 3) purchase of -покупка 4) representative -представитель 5) admission -допущение, вход 6) to maintain -поддерживать 7) bequest -дар, наследство 8) celebrity -известность, знаменитость 9) merchant -торговец 10) reign -правление, царствование I. Read and translate the text .Retell the text (use the conversational phrases) LONDON ART GALLERIES On the north side, of Trafalgar Square, famous for its monument to Admiral Nelson ("Nelson's Column"), its fountains and its hordes of pigeons, there stands a long, low building in classic style. This is the National Gallery, which contains Britain's best-known collection of pictures. The collection was begun in 1824, with the purchase of thirty-eight pictures that included Hogarth's satirical "Marriage a la Mode" series, and Titian's "Venus and Adonis". The National Gallery is rich in paintings by Italian masters, such as Raphael, Correggio, and Veronese, and it contains pictures representative of all European schools of art such as works by Rembrandt, Rubens, Van Dyck, Murillo, El Greco, and nineteenth century French masters.
    [Show full text]
  • The International Encyclopedia of Art and Design Education
    1 Pedagogy in the Field of Art and Design in Russia Ulyana Aristova1 and Liliya Zhilina2 1National Research University Higher School of Economics, Russia 2Moscow State Pedagogical University, Russia CHAPTER MENU Artistic Pedagogical Traditions of the Constitutional Period, 2 The Formation and Evolution of Teaching Methods of Fine and Decorative Art during the Institutional Period, 3 Concepts Underpinning the Teaching of Fine and Decorative Arts and Design in Russian Educational Establishments since 1900, 10 Other Methods and Approaches to Design Teaching, 13 References, 16 Throughout its development, pedagogy in the field of art and design in Russia was consistently shaped by a phenomenon defined by experts as art pedagogy; this can be defined as a transmission system of methods, forms, and techniques for the teaching of decorative art, monumental art and design, and contemporary artistic practices. This approach to artistic pedagogy is consistent and can be chronologically traced at all levels of secondary, secondary professional, and higher education. Historically, in the Russian educational context, art pedagogy has been simultaneously implemented in institutions at various levels (schools, colleges, universities) and at insti- tutions of additional education (art schools, studios, workshops, leisure centers). The former institutions comprise secondary schools, including those that specialize in the aesthetic domain, whereas the latter encompass art schools and art studios at children’s creativity and leisure centers. They all represent a single area where art pedagogy at all stages of its historical development was formed and established. Thus, it is necessary to note a high degree of centralization and unity in the Russian educational sphere; its homogeneity is backed by unified learning approaches, curricula, textbooks, and edu- cational concepts over many decades.
    [Show full text]
  • Current, September 19, 2011 University of Missouri-St
    University of Missouri, St. Louis IRL @ UMSL Current (2010s) Student Newspapers 9-19-2011 Current, September 19, 2011 University of Missouri-St. Louis Follow this and additional works at: http://irl.umsl.edu/current2010s Recommended Citation University of Missouri-St. Louis, "Current, September 19, 2011" (2011). Current (2010s). 87. http://irl.umsl.edu/current2010s/87 This Newspaper is brought to you for free and open access by the Student Newspapers at IRL @ UMSL. It has been accepted for inclusion in Current (2010s) by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. SEPTEMBER 19, 2011 VOL. 45; TheWWW.T H E CCurrentURREN T- O N L INE .COM ISSUE 1353 UMSL community remembers 9/11 By Ashley Atkins, page 12 ALSO INSIDE FacebookMan Eating Law Sandwich repealed Is this reality? Anna McNulty leads! 72 NewCommunication art installation importance feeds realizedone man 1310Philosophy debate over nature of reality 15 Tritons setter to thrash old records 2 | The Current | SEPTEMBER 19, 2011 | WWW.THECURRENT-ONLINE.COM | | NEWS TheCurrent VOL. 45, ISSUE 1353 News WWW.THECURRENT-ONLINE.COM Missouri congress repeals “The Face- EDITORIAL Editor-in-Chief....................................................Matthew B. Poposky Managing Editor.........................................................Janaca Scherer book Law” to encourage communication News Editor..................................................................Minho Jung Features Editor............................................................Ashley
    [Show full text]
  • “THE MUSEUM” in TRANSLATION by JAAN KROSS (From the Collection “Bottomless Moments”)∗
    ACTA SLAVICA ESTONICA II. Труды по русской и славянской филологии. Литературоведение VIII. Jaan Kross and Russian Culture. Tartu, 2012 DAVID SAMOILOV’S POEM “THE MUSEUM” IN TRANSLATION BY JAAN KROSS (from the Collection “Bottomless Moments”)∗ TATIANA STEPANISCHEVA The present article is concerned with Samoilov’s first text in the collection and its translation: the poem “The Museum” (1961), first published in 1963 in the journal “Novyi mir”. Its placement as the first text of the compilation was clearly not accidental. The volume includes too few of Samoilov’s works to pro- vide an impression of the author’s creative evolution. Nonetheless, “Bottomless Moments” is generally, though not strictly, organized chronologically: “Ivan’s Death”, before 1953; “The Ballad of the German Censor”, 1958; “The Fre- quenter”, 1978; “Richter”, 1981; “Afanasy Fet”, not later than 1980; “The Gulf”, 1978, and so on. One exception is “The Museum”, which is definitively situated “out of order”. In its time, after its first publication, it was understood as a satirical piece (regarding this, see: [Немзер, Тумаркин: 668–669]), and later was regarded also as a parody (regarding this, see: [Солженицын]). The next poems in the compilation are totally lacking in parodic overtones (“Ivan’s Death” and “The Ballad of the German Censor”), a further reason that the placement of “The Museum” at the beginning seems rather unusual. It may be assumed that something else dominates the meaning of this poem, something that allows it to dictate the tone of the entire collection. This article will at- tempt to determine what this dominant element is. The ironic premise of “The Museum” arises from the theme of doubt in the necessity of museums dedicated to poets or writers; dusty collections of mun- dane objects have been long-running cultural and literary motifs (examples can be found from Pasternak to Dovlatov).
    [Show full text]
  • The First Literary Jubilee in Russia: Krylov and Others
    Ekaterina E. Lyamina THE FIRST LITERARY JUBILEE IN RUSSIA: KRYLOV AND OTHERS BASIC RESEARCH PROGRAM WORKING PAPERS SERIES: LITERARY STUDIES WP BRP 08/LS/2015 This Working Paper is an output of a research project implemented at the National Research University Higher School of Economics (HSE). Any opinions or claims contained in this Working Paper do not necessarily reflect the views of HSE Ekaterina E. Lyamina1 THE FIRST LITERARY JUBILEE IN RUSSIA: KRYLOV AND OTHERS2 The study is focused on an important stage in the process of shaping and functioning of Ivan Andreevich Krylov’s public image. A unique behavioral strategy created by the fabulist in the 1800s synthesized literary pattern with the everyday life. It not only provided Krylov with the most favorable life conditions during three decades (from 1812 till 1844, the year of his death). In virtue of a number of circumstances concerning the formation of the official ideology of the reign of Nicolas I, the named strategy, set upon Krylov’s fables, his opus magnum, resulted in a singular phenomenon of Krylov’s appropriation by the State (ogosudarstvlenie). The paper seeks to show how the idea of celebrating the 50th anniversary of Krylov’s literary activity on February 2nd, 1838, was born and performed in the described context. The light is also shed on the connection between the construct of Grandfather Krylov (“dedushka Krylov”) and further life of the fabulist and his works. Keywords: Ivan Krylov; Russian literature; social status of the writer; literary reputation; appropriation by the State; commemoration JEL Classification: Z. 1 National Research University Higher School of Economics, Faculty of Humanities, School of Philology.
    [Show full text]
  • The Epoch Journal Is St
    ST. JOHN'S COLLEGE LIBRARY 1111111111111 ~11~mr11111111~1 rr m11111111111111 1 3 1696 01155 6311 I 1 60 COLLEGE AVE, ANNAPOLIS FALL 2011 I VOLUME 6 I ISSUE t I DATE DUE L Chick & Ruth's Delly Serving St. John's Students with the Best Breakfast, Lunch, Dinners, Milk Shakes, Appetizers & Desserts since 1965 Write for WE HAVE FREE DELIVERY! ALL OUR GREAT FOODS BROUGHT TO YOU or JUST COME IN AND RELAX WITH US. The Epoch. Visit us at www.ChickandRuths.cont The Epoch Journal is St. John College's current­ affairs magazine. It publishes researched articles and long reviews of global events and culture­ all written and edited by members of the polity. We need writers, reviewers, copy-editors, designers, researchers, photographers, and artists in order to produce a professional . magazine. We meet on Sundays at 7 PM in the Gadfly office, located in the lower level of the Barr­ Buchanan Center, inside of Woodward Hall. If you can't make it, email Erin Shadowens (at [email protected]) to discuss working on the next issue ..Article submissions for the next issue are due on January 15th, 2012. 165 Main Street, Annapolis, MD 21401 Phone 410-269-6737 Open 6:30 am till 11 :30 p.m. ' Fri. & Sat. till 12:30 am St.Johnsadd10/24/10 Letter from the Editor EDITOR Erin Shadowens NOVEMBER 201 1 PUBLISHER + DESIGNER J. Keenan Trotter began writing for The Epoch during my freshman year at St. BUSINESS MANAGERS I John's; over the past three years, Shikshya Adhikari I have actively participated in every Andrew Donders issue, writing eleven articles and act­ ing in an editorial position for ten.
    [Show full text]
  • 'Pushkin Was a Live Volcano . . .'
    Click here for Full Issue of Fidelio Volume 8, Number 3, Fall 1999 ‘Pushkin Was a Live Volcano...’ The Poet, As Seen by His Contemporaries by E.S. Lebedeva Pushkin was a live volcano, whose collaboration, chance meetings on inner life burst from him like the post roads, or in some Cos- a column of fire. sack settlement, or on the Geor- —F. Glinka (I, 245)1 gian Military Highway. People of different levels of culture gave Poetry is the exclusive passion of those testimony about him, and there is few, who are born poets. a great range of variety in how —A.S. Pushkin they perceived the personality of the poet: from tender solicitude at ushkin lived his life in a big the sight of a missing button on and noisy crowd—not in his jacket, to amazement at the Pisolation, but surrounded by scope of the phenomenon that many people who had the opportu- was Pushkin. nity to see him. We can hear the All social layers are represent- chorus of his contemporaries, with ed on the list of people who have its great range of voices, in their said what they had to say about reminiscences about him. the poet—from the Emperor to These memoirs have a certain the serf, from the fashionable for- peculiar feature. The people closest tune-teller to the old Cossack to the poet found it difficult to Manuscript sketch, 1820, self-portrait (lower left) woman, who remembered speak, and they did not do so right with members of the Rayevsky family.
    [Show full text]
  • From Puppet to Cyborg: Posthuman and Postmodern Retellings of the Pinocchio Myth
    FROM PUPPET TO CYBORG: POSTHUMAN AND POSTMODERN RETELLINGS OF THE PINOCCHIO MYTH By Georgia Panteli Thesis submitted to University College London for the Degree of Doctor of Philosophy CENTRE FOR MULTIDISCIPLINARY & INTERCULTURAL INQUIRY (CMII), SCHOOL OF EUROPEAN LANGUAGES, CULTURE & SOCIETY (SELCS) UNIVERSITY COLLEGE LONDON 1 Declaration of Authorship I, [Georgia Panteli] confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract The myth of Pinocchio is the story of a puppet that desires to become human and achieves it with the power of his will. Created by Carlo Collodi in The Adventures of Pinocchio, the myth of Pinocchio is linked to the fairy tale tradition and is the most recent manifestation of the animate/inanimate archetype. This thesis is the first systematic study of the Pinocchio myth and examines how it has been used and reinterpreted in different retellings across different media and disciplines. The first part of this study focuses on Pinocchio retellings in film and shows that the most contemporary example of the Pinocchio myth is in the story of the sentient cyborg/robot that desires humanity. Moving from the classic in the field of cyborg studies Blade Runner through Spielberg’s A.I. Artificial Intelligence, which directly links the robot to Pinocchio, to the least technophobic and most transhumanist Battlestar Galactica, Chapter 1 demonstrates how all case studies are connected to Collodi’s novel through the confrontation scene, a specific passage in the text which touches upon the core of the Pinocchio myth, as Pinocchio is confronted both by the Blue Fairy and his corporeality.
    [Show full text]