EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Bardis, Antonia

English

All throughout the 1911 century, the city of Athens manifest a distinct character that was inspired by its history. Flourishing with Neoclassical civic architecture, it remained a modest metropolis that was planned to function harmoniously around its ancient monuments. Today in the 21st century, its
landscape has undergone a radical transformation. The city has expanded uncontrollably to accommodate an ever-increasing inflow of urban migration, accumulating one half of the nation's entire population within a confined geological space. Athens has become a product of cataclysmic urban
growth. Furthermore, the ancient city is becoming increasingly anonymous, sprawling, with a landscape that is subjected to dominant economic trends. My photographic work for this practice led Ph. D. critically examines the ways
in which development has made an impact on the Athenian landscape, altering its physiognomy. My research draws together Eugene Atget's documentation of the city of Paris, in conjunction to Walter Benjamin's criticism of modernity to demonstrate how capitalism produced a destructive effect on culture and a loss of history to society at large. In addition, I investigate the documentary value of the work by contemporary photographer Andreas Gursky to establish the character of our own modern age, and to create a critical image of the city and its landscape in the photographs of my
work. Throughout my research, l consider how Atget, Benjamin as well as Gursky utilise the aesthetic of the photographic document as a model for generating a criticism of society, new ways of perceiving the world, in addition to generating a sense of historical awareness for the observer of their work.
Through particular subjects such as the industry of property development, tourism, as well as others, I explore how Athens has lost the inherent connection with its history and the cultural heritage that it is simultaneously trying to promote. Juxtaposing Athens with Old Paris, I consider how the historic parts of the city become destroyed in the interest of urban development, and argue that the present chaotic appearance of city is not only the product of its modern history, but also the outcome of capitalism as a
world historic condition of our time

UDORA - University of Derby Online Research Archive

Imaging the city: modernity, capitalism and the making of modern Athens

OpenGrey Repository

Imaging the city : modernity, capitalism and the making of modern Athens

Name not available

[photograph], in Beil, Ralf and Sonja Magazine, Xrisi Efkeria Newspaper, Sunday Edition,

[photograph], in Edward Byrtynski,

[photograph], in John Davies, The British Landscape,

12. &quot;Metal Cabinets For Your Balconies&quot;, Tavros,

190 [My translation from Greek] Anni Vrixea, 'Athina: I Poli kai o Dimos Anafora stin Aniparksia Mias Sxesis' ['Athens: The City and its Municipality, Reference to a Nonexistent Relationship']

196 Cited in Dimitris Plantzos, 'Archaeology and Hellenic Identity, 1896-2004: The Frustrated Vision'

A Biography of Eugene Atget. ' In The Work ofAtget: Volume 11, The Art of Old Paris, 9-39. John Szarkowski and Maria Morris Hambourg. New York: Museum of Modern Art,

A Green & Pleasant Land.

A World History of Photography.

Abandoned and Seductive: Atget's Streets. '

Agecroft Power Station,

Almost the Same Thing&quot;: Some Thoughts On the CollectorPhotographer. ' In Cruel and Tender. The Real in the Twentieth-Century Photograph, edited by Emma Dexter and Thomas Weski,

Andreas Gursky: Interview With Insight,

Archaeology and Hellenic Identity, 1896-2004: The Frustrated Vision. ' Introduction to A Singular Antiquity: Archaeology and Hellenic Identity in Twentieth-Century Greece, edited by Dimitris Damaskos and Dimitris Plantzos, 11-32. Athens: Mouseio Benaki,

Archaeology, Nationalism and the Land in Modern Greece. '

Archive of Visions-inventory of Things Eugene Atget's Paris. ' In Paris Eugene Atget 1857-1927,80-96. Taschen,

Atget the Prophet. ' In Atget the Pioneer,

Atget, Marche des Cannes, Place Maubert,

Atget, Precursor of Modern Documentary Photography. ' In Observations: Essays on Documentary Photography, edited by David Featherstone, 24-39. Carmel California: The Friends of Photography,

Atget's Seven Albums.

Athens in the 19th Century: From Regional Town of the Ottoman Empire to Capital of the Kingdom of Greece. ' National Hellenic Research Foundation (EIE) website: http: //www. eie. gr/archaeologia/En/ chapter_more_9. aspx (accessed,

Athens: The City of the Gods Besieged, ' in Preserving the World's Great Cities: The Destruction and Renewal of the Historic Metropolis,

Athens: The City of the Gods Besieged. ' Chapter 9 in Preserving the World's Great Cities: The Destruction and Renewal of the Historic Metropolis,

Athina: I Poli kai o Dimos Anafora stin Aniparksia Mias Sxesis' ['Athens: The City and its Municipality, Reference to a Nonexistent Relationship']. In I Neoeliniki Poll [The Modem Greek City], edited by Gu Bourzel.

August Sander's People of the 20th Century: It's Making and Impact. ' In Cruel and Tender. The Real in the Twentieth-Century Photograph, edited by Emma Dexter and Thomas Weski,

Benaki Street,

Bowling Greens,

ca/on li ne/features/2009/07/09/andreas-g ursky/ (accessed September,

City Gorged With Dreams: Surrealism and Documentary Photography in Interwar Paris.

Collector and Historian. ' In One Way Street and Other Writings,

Compostela: Gabriele Basilico. Xunta de Galicia,

Dialects at a Standstill: Approaches to the Passengen-Werk. '

different individuals. Theano Fotiou, 'Arxitektonika Protypa stin Synxroni Athina: Periptosi tis Astikis Polykatikias, I Morfologia tis Polis'

Different Times. ' In The Epic and the Everyday: Contemporary Photographic Art, South Bank Centre London,

Eleftherios Venizelos, Pireaus,

Eugene Atget 55.

Eugene Atget: Unknown Paris.

Exhibition Review: Eugene Atget Retrospective', Photography and Culture,

Exhibitions Archive: Andreas Gursky. '

exhibits a similar view. [See Image 4.3] The observer is faced with an impenetrable mass of colossal skyscrapers, which is typical of the kind of architecture that is overtaking Chinese cities at an Bibliography

Expose of 1935, Early Version. '

Faces, Images, and Their Truth. ' In August Sander,

First Sketches, Paris Arcades '

Fragment and Totality in Photography. '

Futures Past: On the Semantics of Historical Time.

Gabriele Basilico 55.

George Eastman House. 'Eugene Atget,

Greece The Modem Sequel: From 1821 to the Present.

Gursky's World. '

Hellenic Literary and Historical Archives Society,

Hellenic Ministry of Foreign Affairs. 'London Protocol. '

History of Photography. '

History of Photography. ' In Classic Essays on Photography, edited by Alan Trachtenberg,

History: The Last Things Before Last.

Hong Kong Island,

I Elada Tou 19ou Edna Me To Fako Toy Petrou Moraiti [Greece

I Generally Let Things Develop Slowly. ' In Andreas Gursky, Fotografien 1994-1998, Hatje Cantz Verlag,

II: Gursky's World ........................................................... 95 pART III: Modern Athens .......................................................

Interview with Man Ray. '

Introduction to Atget Paris,

Introduction to One Way Street and Other Writings by Walter Benjamin,

Just What Makes Gursky's Photos So Different, So Appealing? '

London: Reaktion Books,

Manufactured Landscapes: The Photographs of Edward Burtynsky. National Gallery of Canada,

Metal Cabinets For Your Balconies&quot;, Tavros,

Myth and Metropolis.

No Ordinary Land /Encounters in a Changing Environment. Aperture Foundation,

Nothing Over 99 Cents Ever&quot; or, The Consumer Society as Divine Comedy. '

of Modern Art,

On History. Chicago:

On the Edges of the Event: Echoes of the

Overpowering Conformism.

Paris Changing: Revisiting Eugene Atget's Paris.

Paris, the Capital of the Nineteenth Century, Expose of 1935. '

Paris, the Capital of the Nineteenth Century, Expose of 1939. '

Past Exhibitions: Cruel and Tender. '

Photography: A Concise History.

Pyongyang: A State of Exception. '

Robert Polidori's Metropolis.

Surrealism: The Last Snapshot of the European Intelligentsia. '

The Age of Light. ' In Classic Essays on Photography, edited by Alan Trachtenberg, 167-168. New Haven: Leete's Island Books,

The Arcades of Paris, Paris Arcades '

The Arcades Project.

The Art Show: Gursky World. Television series.

The British Landscape.

The Genius of Photography: How Photography Has Changed Our Lives. London: Quandrille Publishing Limited,

The History of Photography From 1839 to the Present.

The Im/pulse to See. ' In Vision and Visuality edited by Hal Foster,

The Image and Its Double. '

The Metropolis and Mental Life. '

The Murmuring of Fullness. '

The Privileged View. ' In Andreas Gursky, edited by Thomas Weski,

The Republic, Book VI/l.

The Themistoclean Wall, Pireas,

The Totality of the World, Viewed in Its Component Forms, Andreas Gursky's Photographs

The Use of History. '

Thesis on the Philosophy of History. '

Thomas Struth: Unbewusste Orte / Unconscious Places.

To Na Milame Gia Tin Athina Tou 1834 Opos Gia Tin Brazilia Tou 1964' ['To Speak of Athens of 1834 as of Brasilia of 1964']. In I Neoeliniki Poll [The Modem Greek City], edited by Gu Bourzel.

Tourism - National Tourism Organization of Greece. &quot;Ad campaign of Greece abroad for

http://derby.openrepository.com/derby/handle/10545/230919

Imaging the city: modernity, capitalism and the making of modern Athens

Abstract

Similar works

Full text

Available Versions

UDORA - University of Derby Online Research Archive

OpenGrey Repository

Name not available