By Paula Geyh
This ebook is ready the modern urban and those that stay in it. it truly is hence additionally in regards to the city international of the period (extending approximately from the Sixties to the current) that we see as postmodern, and in particular approximately how the postmodern urban is altering lower than the effect of globalization and new details and communique applied sciences. particularly, Geyh explores how the city areas of postmodernity (parks, plazas, streets, sidewalks) and postmodern city subjectivities and groups reply to and create one another – how they develop into collectively developing. whereas there's a lot during this publication approximately what makes a urban "postmodern," its basic concentration is on how the postmodern urban is skilled by way of its population, and during this recognize the booklet is usually a examine of way of life within the postmodern period. As such, it offers not just with the ways that the postmodern urban has constructed out of financial, technological, political, and cultural buildings which are diversified from these of the fashionable urban, but in addition with how the postmodern urban alterations our methods of figuring out and experiencing the realm and ourselves as postmodern city matters, as electorate of postmodernity.
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Additional info for Cities, Citizens, and Technologies: Urban Life and Postmodernity
Just my idea of a great lady on a white horse” (140). Stan is quick to pick up on her identification with the figure. Misquoting the Danderine jingle, he renders it: “With rings on her fi nger and bells on her toes, And she shall make mischief wherever she goes” (140). The substitution of mischief for music is significant, for despite all her charm, Ellen produces few grace notes and indeed much havoc in the lives of the men who admire and love her. For her fi rst husband John Oglethorpe, the theater producer Harry Goldweiser, her lawyer George Baldwin, and her second husband Jimmy Herf, she remains a tantalizing, unreachable figure.
He seems at that moment to confuse this sign of Carrie with Carrie herself: “‘That’s you,’ he said at last, addressing her. ’” (362; my emphasis). ” “‘She’s got it’ . . ‘Let her give me some’” (362). Pushed away from the stage door, “a fierce feeling against Carrie welled up,” but in this moment it is reduced to a simple need: “‘She owes me something to eat,’ he said. ‘She owes it to me’” (363). Having lost the “real” Carrie, Hurstwood is reduced to negotiating with her sign. While his confusion signals the depth of his disorientation and despair, it also points to how, in many ways, Carrie’s own identity is now not much more than this sign, and that the theater has become the privileged site and the fitting symbol of her construction of her own identity.
Literature and art succeed in this not only by reflecting postmodernity but also by actively participating in and even creating it by continuously shaping and reshaping our experience and understanding of it. Art can, for example, Introduction 15 function as a form of intervention in the space of the city, as it does in the work of the postmodern artists Jenny Holzer and Barbara Kruger, to be discussed in Chapter 1. Accordingly, the book’s focus on real-world spaces and their literary and artistic representations helps to develop its theoretical arguments, rather than only to provide illustrations of them, and in the process to extend and revise prevailing theorizations of the postmodern city and citizens, and of postmodern urban life.
Cities, Citizens, and Technologies: Urban Life and Postmodernity by Paula Geyh