Is the city a cultural landscape? An attempt to analyze the city from the perspective of landscape aesthetics

This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts todemonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a person in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’

Great Day Hikes on North Carolina’s Mountains-to Sea Trail

Great Day Hikes on North Carolina’s Mountains-to-Sea Trail (Southern Gateways Guide). Jim Grode. Chapel Hill: University of North Carolina, 2020. ISBN: 978-1- 4696-5485-0. 232 p. $24.00 (Pbk.

Cool Town: How Athens, Georgia Launched Alternative Music and Changed American Culture

Cool Town: How Athens, Georgia Launched Alternative Music and Changed American Culture. Grace Elizabeth Hale. Chapel Hill: University of North Carolina Press, 2020. ISBN 9781469654874 (Hdbk). 384 p. $27.00

Shifting sands.

Shifting Sands is a re-exploration of the presentation of North Africans in colonial postcards, an examination of identity, and a critique of the modern Western museum. Since the inception of photography, colonizers used this medium- especially in the form of postcards- to categorize and exoticize Eastern peoples in order to more easily subjugate them. Shifting Sands is a series of reconstructed colonial postcards which challenges colonial-era stereotypes of North African peoples. The colonial gaze, represented by the camera lens, is subverted through a lensless image-making process in which sand is used to remove the subject from the colonial gaze and create a new visual experience. In manipulating old postcards dated between the late nineteenth and early twentieth century, Shifting Sands challenges viewers to unsee what they are conditioned to see. This series is a visual experiment of an Eastern photographer trying to portray his culture without reinforcing colonial perspectives and exotic stereotypes. Shifting Sands stands to challenge deeply rooted stereotypes rather than reinforce them or profit from perpetuating them. The show is multi-disciplinary and takes the form of an interactive outreach, visitors are encouraged to participate in the artist’s image-making process in a performative way. This work re-envisages the experience of the Western museums today in order to demonstrate the relationship between art, artifacts and commodities and also brings attention to how colonial objectification of North Africans continues in the form of the modern-day museums

Curated Landscapes: The Evolution of the Postcard Shot

This research examines traveling landscape-objects in tourist environments and their impact on cultural identity in America. Traveling landscape-objects include any form of tourist paraphernalia or representation of cultural landscapes. For these purposes, I studied different forms of tourist representation of the Natchez Trace Parkway, an entity of the National Park Service. Research areas include the content, location, and changing medium of traveling landscape-objects, while also addressing their meaning, frequency, quality, role in non-representational arenas, and the future of tourist representations. Methods include detailed cataloguing and analysis of over one thousand images of various shapes and forms ⎯ ranging from early illustrations of the Natchez Trace Parkway, to historic photographs, postcards and finally digital images found on flickr.com. Results suggest that we can identify prominent cultural landscape icons by acknowledging where tourists collected the most representations or traveling landscape-objects. In addition, the form or medium of traveling landscape-objects affects their meaning, frequency, and quality in that tourists value the tactile quality of representations. Lastly, the intrinsic value of representations (even in non-representational arenas) is confirmed, and their future secured

Melankolična meditacija o lažnom mileniju“: vrijeme, nonsens i humor u djelima Edwarda Goreyja

Edward Gorey’s works are commonly set within a hybrid Victorian/ Edwardian period and often elicit further confusion by containing comically anachronistic details and a nonsensical approach to time, all of which leads to Gorey’s characteristic “bewildering temporality” (Shortsleeve 2018: 104). As this paper shows with examples from The Broken Spoke (1976), The Object- Lesson (1958), and The Water Flowers (1976), Gorey employs manipulations of temporal boundaries within the framework of nonsense, such as simultaneity, digression, and repetition, which suggest timelessness and infinity. These are devices that necessarily draw the reader’s attention to the form, structure, and pattern of Gorey’s works, and the same is true of his intertextual quotation and nonsensical rearrangement of time-related motifs from other texts, as in the case of his parodic transplantation of Charles Dickens’ device of time-traveling ghosts (The Haunted Tea-Cosy, 1997). Nevertheless, despite a self-referential flaunting of form, Gorey’s works frequently accomplish a seriocomic confusion of tone that complicates any simplified reading of his tales as exclusively humorous. This effect, which has elicited descriptions of Gorey’s work as “radiat[ing] a melancholy and an existential unease” (Kindley 2018), is to some extent accomplished by his relatively frequent depiction of ghosts and apparitions, which inherently point toward the question of time, indicating both the past and the future. The paper concludes by exploring what implications such a bidirectional movement can have on the reader’s experience when encountering Gorey’s mysterious spectres.Radnja djela Edwarda Goreyja često je smještena u hibridno viktorijanskoedvardijansko razdoblje, a u toj vremenskoj neodredivosti nerijetko sudjeluje i Goreyjevo korištenje komično anakronih detalja. Kao što se u radu pokazuje na primjerima slikovnica The Broken Spoke (1976.), The Object-Lesson (1958.), i The Water Flowers (1976.), Goreyjeva poigravanja s postupcima kao što su simultanost, digresija i ponavljanje unutar okvira nonsensa pozivaju na promišljanje bezvremenosti i beskonačnosti. Riječ je o postupcima koji neminovno privlače čitateljevu pozornost i usmjeravaju je na oblik i strukturu Goreyjevih djela, a sličan je i učinak njegovih intertekstualnih citiranja vremenskih motiva iz drugih tekstova, kao što je slučaj s parodijskom transplantacijom Dickensovih duhova koji putuju kroz vrijeme (The Haunted Tea-Cosy, 1997.). No, unatoč takvu ogoljavanju oblika, Goreyjevi tekstovi učestalo postižu ozbiljno-smiješnu kombinaciju tonaliteta kojom se komplicira njihovo pojednostavljeno čitanje u jedinstveno komičnome ključu. Riječ je o osobini koja je potaknula komentatore Goreyjevih djela da u njima prepoznaju „melankoličnu i egzistencijalnu nelagodu“ (Kindley 2018.), a koju Gorey, između ostalog, postiže i relativno učestalim pojavljivanjem sablasti. Radi se o pojavama koje nužno upozoravaju na pitanje vremena, pokazujući istovremeno na prošlost i na budućnost. Rad se zaključuje pitanjem o tome što takvo dvosmjerno kretanje može značiti za čitateljsko iskustvo u susretima s Goreyjevim tajanstvenim sablastima

Sexual learning and the seaside: relocating the 'dirty weekend' and teenage girls' sexuality

This paper explores the geographical constitution of the „dirty weekend? and teenage girls? sexuality by interrogating the cultural habitus of the seaside resort. It reidentifies the littoral pleasure zone as an active agent in sexual learning and disrupts taken-forgranted inscriptions of the seaside as an inert backdrop against which only traditional family holidays or hedonistic youthful activities take place. In the cultural imaginary of Britain, the seaside assumes centre-place as a site of normativity. At the same time, it indexes the social and spatial limits of disorder and connects coastal towns with diverse moral panics. While this place-image binary resists other interpretations, closure can be challenged by recognizing the seaside as a cultural text which is to hold open the possibility of further re-readings and re-writings. In alignment with this broadening, two liminal sexual/textual topographies are narrated which cohere around the heterosexual carnivalesque of Brighton and the local experiences of adolescent girls in Margate. Issues are raised about the ways in which the specificity of place inflects sexual learning and how geographical insights can contribute to sex/sexuality education

Book Reviews

Habermas and the Unfinished Project of Modernity (Seyla Benhabib and Maurizio Passerin d\u27Entrèves) The Power of Dialogue: Critical Hermeneutics after Gadamer and Foucault (Hans Herbert Kögler) (Reviewed by John Rapko, University of California, Berkeley) Unediting the Renaissance: Shakespeare, Marlowe, Milton (Leah S. Marcus) (Reviewed by Thomas L. Berger, St. Lawrence University) Things of Darkness: Economies of Race and Gender in Early Modern England (Kim F. Hall) (Reviewed by Karen Newman, Brown University) The Matter of Revolution: Science, Poetry, and Politics in the Age of Milton (John Rogers) (Reviewed by Christopher Kendrick, Loyola University-Chicago) Gray Agonistes: Thomas Gray mid Masculine Friendship (Robert F. Gleckner) (Reviewed by Daniel E. White, University of Pennsylvania) Fantastic Modernity: Dialectical Readings in Romanticism and Theory (Orrin N. C. Wang) (Reviewed by Adela Pinch, University of Michigan) Formal Charges: The Shaping of Poetry in British Romanticism (Susan Wolfson) (Reviewed by Karen A. Weisman, University of Toronto) Urban Verbs: Art and Discourse of American Cities (Kevin R. McNamara) (Reviewed by Amy K. M. Hawkins, Wayne State University) Postcards from the Trenches: Negotiating the Space between Modernism and the First World War (Allyson Booth) (Reviewed by Sarah Cole, Ohio University) Science, Jews, and Secular Culture: Studies in Mid-Twentieth-Century American Intellectual History (David A. Hollinger) (Reviewed by Jonathan Morse, University of Hawaii at Manoa) German Cultural Studies: An Introduction (Ed. Rob Burns) (Reviwed by Karen H. Jankowsky, Wayne State University

MSS0340. Kenneth Lawrence Beaudoin papers finding aid

The collection comprises correspondence, poetry and publications of Memphis poet Kenneth Lawrence Beaudoin (1913-1995)