Borderlines: Essays on Mapping and The Logic of Place最新文献

{"title":"Three Trees: Environmental Projects on Mount Scopus, Jerusalem (2003–2015)","authors":"Ran Morin","doi":"10.2478/9783110623758-012","DOIUrl":"https://doi.org/10.2478/9783110623758-012","url":null,"abstract":"Mount Scopus in Jerusalem, at an altitude of 828 m, is the location of the main campus of the Hebrew University of Jerusalem.1 Three kilometers northeast of the old city of Jerusalem, it is situated on a vantage point overlooking the city as well as the Judean desert and the mountains of Transjordan. Positioned on the watershed of the AfroSyrian rift, this site stands on a highly sensitive geographical and political borderline between the Judean Mountains and the Judean desert and between the Jewish and Arab populations of the city. Mount Scopus invites reflections, interventions and readings of its multiple associations with diverse and contrasting claims of ownership. The following essay engages with three environmental interventions performed “on the ground” of Mount Scopus that address the geographical and social complexity of the place. Three environmental-artistic “Creative Preservation” 2 projects, which I generated in three distinct parts of Mount Scopus between 2003–2015, attempt to recall, expose, and unite elements of the genius loci of Mount Scopus. They operate in a complex field of conflict where national, economic, and ideological agendas create borders and divisions, covering, disguising, dissembling and even leading to large-scale physical elimination of vast layers of the Place.3 The three environmental projects presented here, all realized at a distance of less than 500 meters from each other, endeavor to rethink the intricate ways in which time has registered its marks on this location, while attempting to create a contemporary connection with the different social groups that inhabit Mount Scopus today.","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125045696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Muted Spectacles: Wartime Sounds, Aerial Warfare, and the Limits of the Visual","authors":"Yaron Jean","doi":"10.2478/9783110623758-014","DOIUrl":"https://doi.org/10.2478/9783110623758-014","url":null,"abstract":"The evolution of modern warfare technology and its sensual array frequently rely on two core elements: the level of progress achieved in a given country and the prevalent notion of the future war.1 The war that broke out in Europe in summer 1914 combined these elements in a horrible fashion. Most of the warring countries had not foreseen any future war in terms of a global conflict. Consequently, in early twentieth century Europe, concepts of military technology were rather limited in comparison to other developments at the time in areas such as commerce and civil engineering. Strategists viewed modern technology in terms of a one-dimensional battlefield; its major purpose was to facilitate a limited engagement consisting of a series of swift, knockout victories. Imperial Germany, for instance, derived most of its pre-World War I combat experience from the Napoleonic wars and the German wars of liberation. Ironically, at least from the standpoint of its military equipment, the German army of 1914 strongly resembled the one of the 1860s. Breech loading firearms, bayonets, horses, and frontal engagement still dominated the mind-set of the early twentiethcentury military.2 It is an open secret, however, that many of the warfare technologies that were used in World War I had seen some action outside Europe during the last third of the nineteenth century.3 The ironclad ships and the dreadnoughts were products of the Crimean War. The utilization of submarines, torpedo boats, mines and machine guns traces back to the American Civil War and the Russo-Japanese War.4 The Aeroplane flew first in 1903 in the United States and Zeppelins became a German symbol of power over the continent from the late nineteenth century.5 Despite this fact, they were not mass produced. Advanced military technology was still considered a prerequisite for supporting the traditional maxima. In short, the cavalry should light the way and the infantry was supposed to win the way.6 The outbreak of hostilities in Europe in August 1914 created a gap between the actual combat situation and the way it was experienced. Those who were mobilized","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126864166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beit System Ali Bat Yam: On Music, Urban Regeneration, and the (re-) Making of Place","authors":"Nili Belkind","doi":"10.2478/9783110623758-010","DOIUrl":"https://doi.org/10.2478/9783110623758-010","url":null,"abstract":"“So what happens when you put three Ukrainians, two Georgians, and one Arab together in a rehearsal room? Here is the result....” Amir thus introduced the debut performance of Contrasto, an ensemble of fourteen to twenty-year olds that developed out of music workshops offered at Beit System Ali (Home of System Ali). Amir is a young Palestinian rapper from Jaffa and the “one Arab” among the former Soviet Union (FSU) immigrants who call Bat Yam home. Contrasto was performing at “Party in the Yard,” an event where all Bat Yam and Jaffa youth working with members of the hip hop collective System Ali came together for the first time (March 25, 2015), in a shared evening of performances. The performance was staged outdoors at Mitham Geulim (Geulim Compound, aka Hamitham), which for the past four years has served as a home for the System Ali collective and for their educational projects. Currently supported by Mif‘al Hapayis – Israel’s national lottery – and by the Bat Yam municipality, the “Lottery’s Laboratory for the Culture of Beit System Ali Bat Yam”1 included at this time a well-equipped rehearsal room, an office, and a crumbling hangar slated to become a performance venue, in the mitham. Beit System Ali shares the mitham with the sports-focused youthbased Geulim community center, the Center for Ukrainian Culture, and Fest’ Factory, the administrative center of Bat Yam’s annual Street Theater Festival. Since the fall of 2014 and with the support of Mif‘al Hapayis and the municipality, Beit System Ali has been serving as a creative hub for youth who attend the different workshops and jam sessions run by members of System Ali or their expanding community. The workshops focus on music, rap, spoken word, poetry, sound production, and the development of music ensembles. What does it mean for three Ukrainians, two Georgians and an Arab to come together in a rehearsal room? This statement sounds like the beginning of a joke, one that destabilizes norms and practices based on structural divisions in Israeli society long maintained by hegemonic views, attendant policies, and inherent social tensions:","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117074314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Invisibilities","authors":"Brandon LaBelle","doi":"10.2478/9783110623758-013","DOIUrl":"https://doi.org/10.2478/9783110623758-013","url":null,"abstract":"","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129787073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On The Border: Barriers, Passages, Journeys","authors":"Z. Gurevitch","doi":"10.2478/9783110623758-002","DOIUrl":"https://doi.org/10.2478/9783110623758-002","url":null,"abstract":"A border is a place of encounter, a place as encounter.1 Powerful encounters, interesting conversations, political and cultural tension take place on the border. To be on the border is to be at the edge, on the brink, in a place via which one passes to another place. In terms of extent, too, the border is a critical concept. It is a limit that divides the refined from the crude, laughter from gravity, the permitted from the forbidden. Both formally and esthetically, then, the border sets up two poles representing a dichotomy of values in which worse is less good and saner is less mad. We can express this dichotomy in behavioral-experiential terms if we understand the border as signifying containment – the border as a halt, an obstacle, a last restraint before an outburst, a perversion, a distortion, or the loss of wits. It follows that the border is supposed to be on the edge, the tip of the tongue, on the verge of. It is a state of transition involving loss and liberation, release and trance, digression from the usual, familiar self. As such, a border not only lies outside, between things, but is also internalized socially, psychologically, and intellectually. In what way does the phrase “being on the border” differ from simply “the border”? There are always borders, barricades, walls, and crossings. To be on the border, in a borderline state, however, is a rare experience; at least, the awareness of it is rare, perhaps because it requires great concentration, greater than in situations far from the border. Being on the border carries the risk of ejection from the soothing waters of the usual. We tend to construct and maintain borders that we do not inhabit. On the contrary, they distance us from ourselves, by surrounding us, delineating a horizon, forming a conceptual skeleton around which we create a world and wrap ourselves with it, live in it as within an enclosed sphere, rather than on the brink of empty space. Alfred Schutz, in the manner of his teacher Edmund Husserl, described this imaginary, shared world as a universe of meaning, perpetuating itself as self-explanatory, a “taken-for-granted-world,” endowed with a patina of familiarity covering or even permeating realness and restraining, habituating, and domesticating it.2 Sometimes the habitual order is disrupted, as when people find themselves on opposite sides of a border that was suddenly brought to the fore. The border may have always been there, but it is now exposed, overriding anything else. It overwhelms the existing routine and becomes the focus of the relationship; every action, every","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"330 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125228569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vocal Borderlines: A Study of a Lamentation Recording from Habima’s Performance of The Eternal Jew","authors":"Ruthie Abeliovich","doi":"10.2478/9783110623758-015","DOIUrl":"https://doi.org/10.2478/9783110623758-015","url":null,"abstract":"This chapter examines a vocal representation of a borderline from an audio recording of Hanna Rovina in Habima’s 1923 production of The Eternal Jew .1 Analyzing Rovina’s recording of the lamentation of the Messiah’s mother, I discuss how aural manifestations articulate cultural distinctions. Gershom Scholem expressed the idea of language emission as a liminal repository in his 1917 essay “On Lament and Lamentation” (“Über Klage und Klaglied”), in which he defines the language of the border: ( verschweigt ) its entire is based on a revolution of silence. It is not but only points toward the symbol; it is not concrete ( gegenständlich ), but annihilates the object. This lament.2","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125121249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Can We Talk About Cartography Without Borders?","authors":"Yael Eylat Van-Essen","doi":"10.2478/9783110623758-009","DOIUrl":"https://doi.org/10.2478/9783110623758-009","url":null,"abstract":"The present essay discusses new perceptions of spatial organization in the sphere of geographic cartography and their utilization in marking borders. It deals with various mapping practices, some traditional and others based on the possibilities posed by novel technologies for gathering, organizing, and presenting spatial knowledge. It examines the approaches created by a political reading of mapping through mechanisms of revealing and concealing – whether by exposure of an existing political reality or as an invitation to action based on comprehension enabled by the very act of mapping. My essay explores the effect of map design on the interpretative systems derived from them and the influence of the act of mapping itself on the reorganization of the mapped space. In this framework, I propose viewing the various phases of mapping as a political act, which, in certain cases, “acts against itself,” or, in other words, undermines the act of mapping. I","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114271596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crossing Literary Borderlines in “A Simple Heart” by Gustav Flaubert","authors":"Ayala Amir","doi":"10.2478/9783110623758-005","DOIUrl":"https://doi.org/10.2478/9783110623758-005","url":null,"abstract":"How can we speak of borderlines in a work of fiction? What are the spaces that stories demarcate? Who introduces us, the readers, to these spaces and makes us cross their borders? Along with a brief review of some spatial approaches to fiction and their treatment of the notion of borderlines, this essay will focus on a story by Gustav Flaubert. Following the movement – both physical and mental – of the story’s protagonist in the everyday space she inhabits, enables one to reflect on the meanings of boundary crossing in fiction. In the course of the discussion, the notion of borderlines will expand beyond its denotation as a mapping practice, as the story’s character and form present a challenge to other kinds of borders, such as the boundaries of subjectivity and personality. The servant Félicité in Flaubert’s tale “A Simple Heart” (1877) misses her nephew, Victor. On the day of his departure, she had rushed to the harbor in Honfleur, where his boat was docked. On her way, Félicité has a vision of horses in the sky. These were the horses – she later discovered – that were hauled up into the air by a derrick and dumped into the boat. The boat sails, however, before she has the chance to bid farewell to her nephew. As Félicité’s knowledge of the world comes from an illustrated geography book presented to her mistress’s children by the lawyer Monsieur Bourais, she has only a vague notion of Havana – the destination Victor’s vessel had reached:","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115187220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Fragile Boundaries of Paradise: The Paradise Inn Resort at the Former Jerusalem Leprosarium","authors":"Diego Rotman","doi":"10.2478/9783110623758-011","DOIUrl":"https://doi.org/10.2478/9783110623758-011","url":null,"abstract":"The utopia that Boris Schatz described in his novella The Rebuilt Jerusalem: A Daydream, written in 1918 during his exile in Safed, is supposed to be realized in the year 2018. Schatz envisioned a paradisiacal Jerusalem. The Jews will coexist in harmony with nature and with the Arab residents of the city, and, with the consent of the Arab minority, they will build the Third Temple, which will serve as a museum for Jewish art and Jewish science. In this futuristic, utopian vision, the Land of Israel is a Biblical paradise where Jewish inhabitants wear Middle Eastern garb and have biblical names but lead modern lives. In July 2015, a group of Jerusalem-based artists decided to conduct a dialogue with Schatz’s novella, contextualizing and materializing his utopian and paradisiac Jerusalem.1 They chose to do so not on the Temple Mount, where some traditions situate paradise2 but in the Talbiyeh neighborhood, inside the walls of the former leper’s home of Jerusalem, a nineteenth century hospital established outside the Old City’s limits and surrounded, like the city of Jerusalem, by its own walls.","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117223961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Un/Mapping Mindscapes in David Greig’s Theater","authors":"Dilek Inan","doi":"10.2478/9783110623758-008","DOIUrl":"https://doi.org/10.2478/9783110623758-008","url":null,"abstract":"David Greig contributes significantly to contemporary British drama, directing his attention to current political, cultural, and aesthetic issues. Moving beyond his Scottish identity, the playwright has become one of the most prolific, influential, versatile, and recognized playwrights not only in Great Britain but also in Europe. Born in Edinburgh, brought up in Nigeria, and educated in Bristol, Greig, indeed, has always crossed borders and lived transnationally. In two decades, he has written more than forty plays, most of which have been staged and acclaimed internationally.1 Studies of Greig’s oeuvre focus primarily on the staging of “a transnational space, a contact zone,” where characters with different national, ethnic, class, or religious backgrounds have crossed borderlines and try to form new relationships through intracultural contacts.2 In analyzing one of Greig’s overlooked plays, One Way Street (1995), this chapter will use spatial terminology to interpret Greig’s portrayal of the contemporary human condition as transnational and moving beyond borders. Inspired by Walter Benjamin’s idea of “drawing a map of your life” (Berliner Chronicle), Greig intended to create a play that was both a map and theater at the same time. In One Way Street, his main artistic concern was thus to explore the “theatrical possibilities of maps and mapping.”3 The title of the play alludes to one of Benjamin’s works, Einbahnstrasse, a collection of philosophical sketches assessing the vestiges of nineteenth-century culture in Paris of the 1920s: “I was sitting inside the café where I was waiting, I forget for whom. Suddenly, and with compelling force, I was struck by the idea of drawing a map of my life, and knew at the same moment exactly how it was to be done.”4 The fall of the Berlin Wall was a watershed in redrawing the map of Europe. Applying the terminology of geocriticism, this essay maps Greig’s use of place, specifically Berlin, both in real and fictional terms in One Way Street. First, the paper establishes theater as a heterotopic space in the Foucaldian sense. Similarly, Edward Soja’s term “thirdspace” is helpful in arguing that theater is a borderline – a hybrid zone where fiction meets reality. Second, the paper continues exploring One Way Street in territorial terms in order to map real and imaginary places, and it emphasizes","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"193 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123329180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}