La imaginació pornogràfica /

Article extret de 'Styles of radical will' (Nova York 1978) datat el 1967Sobre la literarietat de la literatura pornogràfica. Revisió dels conceptes de pornografia i literatura i dels prejudicis crítics que suposa la relació entre els dos conceptes. Estudi de la pornografia com a literatura partint de les novel·les citades

Pictures of the past : Benjamin and Barthes on photography.

This paper explores the key moments in Benjamin’s and Barthes’s analyses of the cultural significance of the photograph. For Benjamin these are; the optical unconscious, the transmission of aura, the representation of cultural and political decay and proto-surrealist political commentary. For Barthes they are; the techniques of the photographer, the studium, the punctum and the ecstasy of the image. These rather different approaches to photography reveal a common concern with history. Both authors have written about the nature of historical understanding and photography has provided both with a powerful metaphor. What emerges from their analyses of photographs is that each evokes a double moment of historical awareness; of being both in the present and in the past. For Benjamin this is the ‘spark of contingency’ with which the aura of past existence shines in the present. For Barthes it is the ‘ça-a-été’, the emotional stab of awareness that what is present and visible in the photograph is irretrievably lost in the past

Ways of Seeing: Sexism the Forgotten Prejudice?

Recent developments in feminism, charted in Gender, Place and Culture over the past 21 years, have stressed the relational, differentiated and contested nature of gender. This has led to the rejection of the unified category women, and with this the right for feminism to make claims on behalf of all women. This paper argues that an unintended consequence of this development in ways of thinking about gender is that patriarchy as a form of power relations has become relatively neglected. It draws on research from a European Research Council project (including biographical interviews and case studies of a gym and workplace) to demonstrate that while the development of equality legislation has contained the public expression of the most blatant forms of gender prejudice, sexism persists and is manifest in subtle ways. As a consequence, it can be difficult to name and challenge with the effect that patriarchy as a power structure which systematically (re)produces gender inequalities,is obscured by its ordinariness. Rather, sexism appears only to be ‘seen’ when it affords the instantiation of other forms of prejudice, such as Islamophobia. As such, we argue that Gender, Place and Culture has a responsibility going forward to make sexism as a particular form of prejudice more visible, while also exposing the complexity and fluidity of its intersectional relationship to other forms of oppression and social categories

'It's a film' : medium specificity as textual gesture in Red road and The unloved

British cinema has long been intertwined with television. The buzzwords of the transition to digital media, 'convergence' and 'multi-platform delivery', have particular histories in the British context which can be grasped only through an understanding of the cultural, historical and institutional peculiarities of the British film and television industries. Central to this understanding must be two comparisons: first, the relative stability of television in the duopoly period (at its core, the licence-funded BBC) in contrast to the repeated boom and bust of the many different financial/industrial combinations which have comprised the film industry; and second, the cultural and historical connotations of 'film' and 'television'. All readers of this journal will be familiar – possibly over-familiar – with the notion that 'British cinema is alive and well and living on television'. At the end of the first decade of the twenty-first century, when 'the end of medium specificity' is much trumpeted, it might be useful to return to the historical imbrication of British film and television, to explore both the possibility that medium specificity may be more nationally specific than much contemporary theorisation suggests, and to consider some of the relationships between film and television manifest at a textual level in two recent films, Red Road (2006) and The Unloved (2009)

Reading Across Cultures: Global Narratives, Hotels and Railway Stations

This is the final version of the article. Available from Springer Verlag via the DOI in this record.This article takes its cue from the English critic, novelist and painter John Berger. He argues that what we know determines what we see. Hotels and railway stations, though they differ in size, design and appearance, are places of temporary national and international congress that are recognized by everyone. They become visible or even iconic once their history or their role is turned into at least part of a wider narrative—in literature, film or in other arts. This provides a representative focus by which we may read a city’s or a nation’s past. In exemplifying such connections I focus first on the long-term history of Friedrichstraße station and some of the surrounding hotels in the context of the history of Berlin, situating them within the national and, by implication, also the international context. Secondly, I will consider the outbreak of the First World War in 1914 as an event in which the role of railway stations generated both personal and collective memories across cultures and over several decades

Centro artístico cultural “nencatacoa” “la integración social, artística y cultural de la zona”

Artículo de GradoGenerando así lugares de encuentro y formación frente a cualificación de competencias básicas en beneficio a las organizaciones y agentes culturales locales, a partir de un análisis de planimetría y normativa junto a la observación física del lugar y una revisión de referentes para las diferentes escalas de proyecto.1. Introducción 2. Metodología 3. Resultados 4. Discusión 5. Conclusiones 6. Referencias 7. AnexosPregradoArquitect