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Iconic Spaces looks at Samuel Beckett's mature theatrical work as a displaced theology of the icon. Sandra Wynands rejects conventional existentialist or nihilist interpretations of Beckett's work, arguing instead that beneath the text, in the depths of language and being, Beckett creates an absolutely irreducible, transcendent space. She traces a nondual model of perception and experience through a selection of Beckett's art-critical and dramatic works, focusing in particular on four minimalist plays: Catastrophe, Not I, Quad, and Film. Iconic Spaces makes an important contribution to scholars and students of literature, philosophy, theatre studies, and religion by giving them an exciting new way of reading and experiencing Beckett's work. "This is an original, adventurous, and absorbing book. It deploys an acute understanding of contemporary philosophical writing in order to address the demands Beckett makes on his readers and spectators in nonreductive, affirmative fashion; and it also reinvigorates our understanding of Beckett's relationship to religion and theology by exploring in some detail, and, arguably for the first time, the extent of Beckett's engagement as a writer, not with positive religion, but with apophatic religious thought." --Leslie Hill, University of Warwick "In this remarkable and scrupulously argued book about Samuel Beckett, Sandra Wynands provides a compelling analysis of the postmodern experience of God's absence. She does so partly by showing how atheism, rigorously deconstructed, can converge with the insights and strategies of negative theology. Sandra Wynands is daringly insightful about Beckett, while also situating his work within a set of historical and cultural parameters that are described with impressive learning and breadth of vision." --Patrick Grant, University of Victoria "Iconic Spaces is an impressive piece of work. In exploring the relationship between 'negative theology' and Samuel Beckett's late work for the stage, Sandra Wynands makes an original and important contribution to Beckett studies and to modern drama and theatre studies more generally. Her discussion ranges widely across difficult and complex disciplinary, theoretical, philosophical, and critical materials with notable maturity and clarity, providing startlingly original insights on almost every page." --Ric Knowles, University of Guelph
Going far beyond basic historical information, this two-volume work examines the deep roots of Mexican culture and their meaning to modern Mexico. In this book, readers will find rich, in-depth treatments by renowned as well as up-and-coming scholars on the most iconic people, places, social movements, and cultural manifestations—including food, dress, film, and music—that have given shape and meaning to modern Mexico and its people. Presenting authoritative information written by scholars in a format that is easily accessible to general audiences, this book serves as a useful and thorough reference tool for all readers. This work combines extensive historical treatment accompanied by illuminating and fresh analysis that will appeal to readers of all levels, from those just exploring the concept of "Mexico" to those already familiar with Mexico and Latin America. Each entry functions as a portal into Mexican history, culture, and politics, while also showing how cultural phenomena have transformed over the years and continue to resonate into today.
Understanding Cities is richly textured, complex and challenging. It creates the vital link between urban design theory and praxis and opens the required methodological gateway to a new and unified field of urban design. Using spatial political economy as his most important reference point, Alexander Cuthbert both interrogates and challenges mainstream urban design and provides an alternative and viable comprehensive framework for a new synthesis. He rejects the idea of yet another theory in urban design, and chooses instead to construct the necessary intellectual and conceptual scaffolding for what he terms 'The New Urban Design'. Building both on Michel de Certeau's concept of heterology - 'thinking about thinking' - and on the framework of his previous books Designing Cities and The Form of Cities, Cuthbert uses his prior adopted framework - history, philosophy, politics, culture, gender, environment, aesthetics, typologies and pragmatics - to create three integrated texts. Overall, the trilogy allows a new field of urban design to emerge. Pre-existing and new knowledge are integrated across all three volumes, of which Understanding Cities is the culminating text.
Composing Place takes an innovative approach to engaging with the compositional affordances of mobile technologies. Mobile, wearable, and spatial computing technologies are more than the latest marketing gimmick from a perpetually proximate future; they are rather an emerging composing platform through which digital writers will increasingly create and distribute place-based multimodal texts. Jacob Greene utilizes and develops a rhetorical framework through which writers can leverage the affordances of these technologies by drawing on theoretical approaches within rhetorical studies, multimodal composition, and spatial theory, as well as emerging “maker” practices within digital humanities and critical media studies, to show how emerging mobile technologies are poised to transform theories, practices, and pedagogies of digital writing. Greene identifies three emerging “modalities” through which mobile technologies are being used by digital writers. First, to counter dominant discourses in contested spaces; second, to historicize entrenched narratives in iconic spaces; and third, to amplify marginalized voices in mundane spaces. Through these modalities, Greene employs Indigenous philosophies and theories that upend the ways that the discipline has centered placed-based rhetorics, offering digital writers better strategies for using mobile media as a platform for civic deliberation, social advocacy, and political action. Composing Place offers close analyses of mobile media experiences created by various artists and digital media practitioners, as well as detailed overviews of Greene’s own projects (also accessible through the companion website: www.composingplace.com). These projects include a digital “countertour” of SeaWorld that demonstrates the ways in which the attraction is driven by capitalism; an augmented reality tour of Detroit’s Woodward Avenue; and a mobile advocacy project in Jacksonville, Florida, that demonstrates the inequitable effects of car-centric public infrastructure. Ultimately, by engaging with these theoretical frameworks, rhetorical design principles, and pedagogical practices of mobile writing, readers can utilize the unique affordances of mobile media in various teaching and research contexts.
A mythogeography of South Devon and how to walk it
The book focuses on the current contexts of popular visual culture. Both popular and visual as specific forms of modern culture have only recently received serious academic attention in India. Some of the factors which have supplied new frames to these cultural categories are the emergence of modern communication technologies - digital media, TV, and film - as well as emergent new disciplines such as cultural studies, visual studies, film, and media studies. The essays explore the role of popular imagery through various aesthetic streams in such diverse areas as religious and social symbolism, national identity, theatre backdrops, film poster art, photography, architecture and urban living.
Whether you inhabit a studio or a sprawling house with one challenging space, Maxwell Gillingham-Ryan, co-founder of the most popular interior design website, Apartment Therapy, will help you transform tiny into totally fabulous. According to Maxwell, size constraints can actually unlock your design creativity and allow you to focus on what’s essential. In this vibrant book, he shares forty small, cool spaces that will change your thinking forever. These apartments and houses demonstrate hundreds of inventive solutions for creating more space in your home, and for making it more comfortable. Leading us through entrances, living rooms, kitchens and dining rooms, bedrooms, home offices, and kids’ rooms, Apartment Therapy’s Big Book of Small, Cool Spaces is brimming with ingenious tips and ideas, such as: • Shifting the sense of scale through contrasting colors • Adding airiness by using transparent collections • Utilizing the area under a loft bed for a kitchen and mini-bar • Tucking an office with chic vintage doors into an unused bedroom corner In each dwelling Maxwell points out what makes the layout work and what adds style. Most of the “therapy” involves minor tweaks that can be accomplished on a limited budget, such as dividing a room with sheer curtains, turning a door into a desk, or disguising electrical boxes with art displays. An extensive resource guide, including Maxwell’s favorite websites for buying desks, open storage solutions, and much more, will help you turn even the tiniest residence into a place you are always happy to come home to.
This book brings a new spatial analysis to gang territories through the concept of the gang assemblage- the variety of actors, contexts, and practices that create and maintain these spaces. This conceptualization helps overcome the tendency of gang literature to succumb to the gang territorial trap, the tendency to assume gang territories are fixed and static containers of gang life. Drawing on multi-sited qualitative fieldwork in central Canada, interviews with gang and non-gang-affiliated residents, police, and administrators show gang territories being made material through a wide variety of daily embodied practices. Recognizing the role of multiple actors encourages a relational ethics of accountability between bodies, practices, and place that challenges the often-naturalized connections between race, space, and crime. Understanding gang space as enacted through embodied material practices provides an alternative way to think through, trace, and disrupt these associations.
On the unstable boundaries between "interior" and "exterior," "private" and "public," and always in some way relating to a "beyond," the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature -- from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth -- reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels. This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola.