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Books on the topic 'Aesthetics of mobility'
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1
Lindner, Christoph, and Gerard Sandoval, eds. Aesthetics of Gentrification. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722032.
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Gentrification is reshaping cities worldwide, resulting in seductive spaces and exclusive communities that aspire to innovation, creativity, sustainability, and technological sophistication. Gentrification is also contributing to growing social-spatial division and urban inequality and precarity. In a time of escalating housing crisis, unaffordable cities, and racial tension, scholars speak of eco-gentrification, techno-gentrification, super-gentrification, and planetary gentrification to describe the different forms and scales of involuntary displacement occurring in vulnerable communities in response to current patterns of development and the hype-driven discourses of the creative city, smart city, millennial city, and sustainable city. In this context, how do contemporary creative practices in art, architecture, and related fields help to produce or resist gentrification? What does gentrification look and feel like in specific sites and communities around the globe, and how is that appearance or feeling implicated in promoting stylized renewal to a privileged public? In what ways do the aesthetics of gentrification express contested conditions of migration and mobility? Addressing these questions, this book examines the relationship between aesthetics and gentrification in contemporary cities from multiple, comparative, global, and transnational perspectives.
2
Tracking modernity: India's railway and the culture of mobility. Minneapolis: University of Minnesota Press, 2010.
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3
Anthony, Hoete, and Hadid Zaha, eds. Reader on the aesthetics of mobility. London: Black Dog Pub., 2003.
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4
Peeren, Esther, Jeroen de Kloet, Robin Celikates, and Thomas Poell. Global Cultures of Contestation: Mobility, Sustainability, Aesthetics & Connectivity. Palgrave Macmillan, 2020.
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6
Peeren, Esther, Jeroen de Kloet, Robin Celikates, and Thomas Poell. Global Cultures of Contestation: Mobility, Sustainability, Aesthetics & Connectivity. Palgrave Macmillan, 2017.
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7
Ceuterick, Maud. Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema. Springer Nature, 2020.
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8
Straus, Joseph N. Stravinsky’s Aesthetics of Disability. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190871208.003.0003.
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The central features of Stravinsky’s musical style, including its formal splinteredness, its harmonic immobility, its stratification into contrasting textural layers, and its radical simplification of musical materials, can be understood as ways of representing and narrating disability, including deformity/disfigurement, mobility impairment, madness, and idiocy. These representations sometimes perpetuate pernicious eugenic-era stereotypes and sometimes are more accepting, even celebratory, of extraordinary bodies. This chapter offers a close look at three musical works from Stravinsky’s early “Russian” period, with particular attention to a few selected passages: the “Russian Dance” from Petrushka (1911), the “Dance of the Young Girls” from the Rite of Spring (1913), and the second of the Three Pieces for String Quartet (1914).
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Walking and the Aesthetics of Modernity: Pedestrian Mobility in Literature and the Arts. Palgrave Macmillan, 2016.
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10
Benesch, Klaus, and François Specq. Walking and the Aesthetics of Modernity: Pedestrian Mobility in Literature and the Arts. Palgrave Macmillan, 2017.
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11
Socio-Cultural Mobility and Mega-Events: Ethics and Aesthetics in Brazil's 2014 World Cup. Taylor & Francis Group, 2015.
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12
Nail, Thomas. Theory of the Image. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190924034.001.0001.
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We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement—the first of its kind. Throughout history, the image has been understood in many ways, but rarely has it been understood to be, primarily and above all, in motion. Thus, Theory of the Image offers not only the first aesthetics of motion but also the first history of the mobility of the image in the Western art tradition, from prehistory to the present.
13
Straus, Joseph N. Representing Disability. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190871208.003.0001.
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In modernist music, disability functions as an artistic resource: a source of images and an impetus for narrative. Disability enables musical modernism. Modernist music is centrally concerned with the representation of disabled bodies. Its most characteristic features—fractured forms, immobilized harmonies, conflicting textural layers, radical simplification of means in some cases, and radical complexity and hermeticism in others—can be understood as musical representations of disability conditions, including deformity/disfigurement, mobility impairment, madness, idiocy, and autism. Although modernist music embodies negative, eugenic-era attitudes toward disability, it also affirmatively claims disability as a resource, thus manifesting its disability aesthetics.
14
Shaikh, Fariha. Nineteenth-Century Settler Emigration in British Literature and Art. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433693.001.0001.
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Nineteenth-Century Settler Emigration in British Literature and Art takes an interdisciplinary approach, combining literary criticism, art history, and cultural geography, to argue that the demographic shift in the nineteenth century to settler colonies in Canada, Australia and New Zealand was also a textual one: a vast literature supported and underpinned this movement of people. Through its five chapters, Nineteenth-Century Settler Emigration brings printed emigrants’ letters, manuscript shipboard newspapers, and settler fiction into conversation with narrative painting and novels to explore the generic features of emigration literature: textual mobility, a sense of place and colonial home-making. Authors and artists discussed in this book include, among others, Ford Madox Brown, James Collinson, Charles Dickens, Elizabeth Gaskell, Susannah Moodie, Catherine Helen Spence, Catharine Parr Traill and Thomas Webster. The book’s careful analysis of the aesthetics of emigration literature demonstrates the close relationships between textual and demographic mobilities, textual materiality and realism, and the spatial imagination.
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Larasati, Diyah. Crossing the Seas of Southeast Asia. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.012.
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This chapter rearticulates the study of female citizenship and the transmission of dance among the Islamic communities of the Sama and Bajau of Southeast Asia. The research examines how indigenous people’s aesthetic practices have been shared, distributed, and passed down through internal genealogical alliances, as well as through transmission in public, internationalized space. The traditional, genealogical transmission of these practices has been disrupted and challenged by post-9/11 antiterrorism laws, which affect border crossings. Examining regulation and its consequences for society by examining the body, its geopolitical mapping, and its interconnected cultural policies among the Sama and Bajau, this research also contributes to the mapping and theorization of diaspora, the politics of memory, and “the performance of culture” to understand how the aesthetic of dance is transmitted and protected as cultural knowledge, as well as its mobility across and through the fluid borders formed by the state’s law in Southeast Asia.
16
DeLucia, JoEllen, and Juliet Shields, eds. Migration and Modernities. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440349.001.0001.
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Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.
17
Halle, Randall. Interzone Dis/continuous. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0005.
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This chapter analyzes how the German–Polish border became a new object of filmic representation and investigation. Subsequently, this space has become a regular region of cinematic exploration, and the contacts that began during this period have led to an expansion of Polish–German coproductions in general. The chapter argues that borders are first ideational before they are spatial geographical, demonstrating how the mobility of the apparatus is not simply a matter of technological indulgence. Rather, the liberated lens is an expansion of cinema's semiotic field. The cinematic apparatus provides a system whereby the imagination of spatial and geopolitical relationships comes together. As an aspect of the cinematic apparatus, the chapter considers how visual aesthetic strategies, technological innovations, and social policy result in images with particular angles and perspectives.
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Leitch, Thomas, ed. The Oxford Handbook of Adaptation Studies. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.001.0001.
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This collection of forty original essays reflects on the history of adaptation studies, surveys the current state of the field, and maps out possible futures that mobilize its unparalleled ability to bring together theorists and practitioners in different modes of discourse. Grounding contemporary adaptation studies in a series of formative debates about what adaptation is, whether its orientation should be scientific or aesthetic, and whether it is most usefully approached inductively, through close analyses of specific adaptations, or deductively, through general theories of adaptation, the volume, not so much a museum as a laboratory or a provocation, aims to foster, rather than resolve, these debates. Its seven parts focus on the historical and theoretical foundations of adaptation study, the problems raised by adapting canonical classics and the aesthetic commons, the ways different genres and presentational modes illuminate and transform the nature of adaptation, the relations between adaptation and intertextuality, the interdisciplinary status of adaptation, and the issues involved in professing adaptation, now and in the future. Embracing an expansive view of adaptation and adaptation studies, it emphasizes the area’s status as a crossroads or network that fosters interactive exchange across many disciplines and advocates continued debate on its leading questions as the best defense against the possibilities of dilution, miscommunication, and chaos that this expansive view threatens to introduce to a burgeoning field uniquely responsive to the contemporary textual landscape.
19
Archer, Harriet. Richard Niccols’s Mirour for Magistrates (1610). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806172.003.0006.
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The final chapter addresses Richard Niccols’s ghost complaint collection, A Winter Nights Vision, and the edition to which it was appended in 1610. It reflects on the changed political and literary landscape within which Niccols situates his new Mirror, and considers potential explanations for the collection’s declining popularity. Niccols made substantial editorial changes, perpetuating the narrative of imperfection which had characterized its Elizabethan evolution. Using Niccols’s wider oeuvre and late Elizabethan influences to reconstruct a picture of his ethical and aesthetic priorities, this chapter presents the Jacobean revisions to the text as part of a coherent political project. Propounding the militant Protestantism of the Jacobean Spenserians, Niccols is seen to mobilize a monumental Elizabethan publication to reinforce his dissatisfaction with James I’s regime. Attention to Niccols’s revisions also shows his clear investment in the shoring up of historiographical stability, even as he refashions the text to suit his oppositional agenda.
20
Haacke, Paul. The Vertical Imagination and the Crisis of Transatlantic Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851448.001.0001.
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From the invention of skyscrapers and airplanes to the development of the nuclear bomb, ideas about the modern increasingly revolved around vertiginous images of elevation and decline and new technologies of mobility and terror from above. In The Vertical Imagination and the Crisis of Transatlantic Modernism, Paul Haacke examines this turn by focusing on discourses of aspiration, catastrophe, and power in major works of European and American literature as well as film, architecture, and intellectual and cultural history. This wide-ranging and pointed study begins with canonical fiction by Franz Kafka, Virginia Woolf, James Joyce, and John Dos Passos, as well as poetry by Guillaume Apollinaire, Hart Crane, and Aimé Césaire, before moving to critical reflections on the rise of New York City by architects and writers from Le Corbusier to Simone de Beauvoir, the films of Alfred Hitchcock and theories of cinematic space and time, and postwar novels by Kurt Vonnegut, Thomas Pynchon, and Leslie Marmon Silko, among many other examples. In tracing the rise and fall of modernist discourse over the course of the long twentieth century, this book shows how visions of vertical ascension turned from established ideas about nature, the body, and religion to growing anxieties about aesthetic distinction, technological advancement, and American capitalism and empire. It argues that spectacles of height and flight became symbols and icons of ambition as well as indexes of power, and thus that the vertical transformation of modernity was both material and imagined, taking place at the same time through the rapidly expanding built environment and shifting ideological constructions of “high” and “low.”