Based on a framework consisting of postmodern theories of heterotopias, spatial pastiche, schizophrenic temporality and postmodern speed, this paper seeks to identify cinematic features in the works of the American director David Lynch, which exemplify time and space in postmodernism. Michel Foucault's theory of space will trigger the whole problematic of the time-space relation. This is followed by a discussion of Fredric Jameson's concepts of spatial pastiche and schizophrenic temporality and of the involute interaction between the two
: University of Chicago Press, 1978. 278–93. Print. Edwards, Richard. The excellent Comedie of two the moste faithfullest Freendes, Damon and Pithias . The Dramatic Writings of Richard Edwards, Thomas Norton and Thomas Sackville . Ed. John S. Farmer. London: Early English Drama Society, 1906. Print. Foucault, Michel. “Of Other Spaces: Utopias and Heterotopias.” Trans. Jay Miskowiec. Diacritics, vol. 16, no. 1. 1986: 22–27. Print. Galloway, Alexander R. Protocol: How Control Exists after Decentralization . Cambridge, MA: The MIT Press, 2004. Print. Greenblatt, Stephen
: Suhrkamp. Džadžić, Petar. 1975. O Prokletoj avliji. [On The Damned Yard.] Beograd: Prosveta. Đukić Perišić, Žaneta. 2012. Pisac i priča. Stvaralačka biografija Ive Andrića. [The Writer and the Story. Literary Biography of Ivo Andrić.] Novi Sad: Akademska knjiga. Figal, Günter. 2010. Objectivity: The Hermeneutical and Philosophy. New York: SUNY Press. Foucault, Michel. 1995. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage Books. Foucault, Michel. 1997. “Of Other Spaces: Utopias and Heterotopias.” In Rethinking Architecture: A Reader
The article discusses picturebooks illustrated by a Norwegian artist, Svein Nyhus, to show his specific symbolic manner of depicting the child’s environment. It is argued that the illustrator employs characteristic recurrent elements of home representations and elaborates an interesting interplay of outer and inner spaces, consistently focusing the child’s perspective. This is demonstrated by an analysis of four picturebooks by the Norwegian artist: Pappa! (1998, Daddy!), Snill (2002, Nice), Sinna mann (2003, Angry Man) and Håret till mamma (2007, Mum’s Hair). The books have been regarded as ambitious literature for children, addressing difficult issues or even sometimes breaking a taboo. To show Nyhus’ visual method of thematising childhood’s traumas in relation to a home space is also one of the aims of the paper. The analysis of visual content is carried out with references to the textual narratives, drawing on ideas about heterotopia by Michel Foucault (1984), self-effacement by and the poetics of space by .
How does the contemporary self depicted in Paul Auster’s fiction constitute himself in the metropolis New York City? I will investigate the extent to which New York City influences the shaping of a metropolitan identity in two selected literary works by Paul Auster: City of Glass and Sunset Park.
How does the contemporary self depicted in Paul Auster’s fiction constitute himself in the metropolis New York City? I will investigate the extent to which New York City influences the shaping of a metropolitan identity in two selected literary works by Paul Auster: City of Glass and Sunset Park
Through films such as Tony Manero (2008), Santiago 73, Post Mortem (2010), and No (2012), the productions of Chilean director Pablo Larraín have focused on the historical and political themes that marked the last decades in the life of his country: the putsch against Salvador Allende and Augusto Pinochet’s dictatorship. This paper analyses the last film of the trilogy, dedicated to the 1988 Chilean national plebiscite and the communication battle between supporters of the “Yes” and “No” sides. Why does Larraín identify the copywriter René Saavedra as the main character of the film? And why does the film accord such importance to the advertising campaign in recounting the historical reality of democratic transition? How does the fictional film remediate the archival footage of the 1988 campaign? To answer these questions, this paper investigates the film as an audiovisual form of interpretation of historical events and film montage as an intermedial “authentication” of the archival documents relating to this traumatic past.
Focusing on the hotel imagery and, more precisely, the hotel Majestic featured in J.G. Farrell’s 1970 novel Troubles, this article provides a spatial contextualization of the historical downfall of the British Empire. In an attempt to establish the concept of the “colonial hotel”, this particular type of hotel is theorized as a fictional means of questioning the sustainability of the imperial project of colonialism. The theoretical framework for considerations of the Majestic in Troubles as a representative of the “colonial hotel” concept is based on Foucault’s heterotopology, as well as on the concepts of liminality and dislocation taken from postcolonial studies. Reading Troubles as an allegory of the Troubles in Ireland and, more broadly, a symptom of the disintegration of the British Empire, the article shows that the hotel, modelled after the historical concept of the Anglo-Irish big house, provides a proper setting where the deconstruction of the binary oppositions of colonial discourse can be played out. While the Majestic represents a mirror-image of the imperial centre, or rather a dislocated centre, its destruction is brought about by its tendency towards constancy and perpetuation of the illusion of grandeur. Similarly, the British Empire refuses to acknowledge the socio-political and historical changes of the early twentieth century and denies the existence of interstitial spaces between its firmly defined structures, whereby it inevitably meets its end.
This essay investigates the ways in which Shakespearean production speaks to France and wider European crises in 2015 and 2016. The Tempest and Romeo and Juliet were directed by Jérôme Hankins and Eric Ruf respectively in December 2015 and reflected significant contemporaneous issues, including: (1) two Paris terrorist attacks which sent shock waves throughout France and Europe; (2) the belief that shared identities were under threat; (3) concerns over shifting power dynamics in Europe. The portrayal of these issues and their reception bring into question the extent to which cultural productions can help to promote social change or shape perceptions of national and pan-European events. This essay focuses on whether the plays successfully complicate binary narratives around cultural politics in a context of crises by creating alternative representations of difference and mobilities. It concludes that appropriating Shakespeare’s cultural authority encourages some degree of public debate. However, the function of Shakespeare’s drama remains strongly connected to its value as an agent of cultural, political and commercial mobility, ultimately making it difficult radically to challenge ideologies.
, nor Algeria, in spite
of the origin, but their own district, which is a place where they live their everyday life. The au-
thor of the article analyzes the chosen novels through the perspective of the republican model of
integration which excludes recognition of ethnic origin of the citizens. The article, referring to
M. Foucault’s theory of heterotopia, argues that although the novels in question sensitize French
readers to the various social questions, they, paradoxically, support the typical thinking of the re-
Keywords: suburbs, immigrants