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Copyright of African & Mediterranean Journal of Architecture & Urbanism (AMJAU) is the property of Ecole Nationale d'Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Alternative Francophone is the property of Alternative Francophone and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of FLAMME is the property of Universite de Limoges and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of FLAMME is the property of Universite de Limoges and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Water & Landscape (WAL) / Agua & Territorio (AYT) is the property of Editorial de la Universidad de Jaen and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La représentation des dimensions esthétiques et politiques de la ville dans le cas de la bande dessinée en tant que média touche un ensemble de questions, allant de la relation entre la bande dessinée et l’architecture, au thème des villes des médias de la bande dessinée, en passant par la problématique de la géographie de la bande dessinée et de la représentation en situations transculturelles. L’importance de cette dernière est visible dans de nombreux romans graphiques contemporains dans le monde francophone, qui incluent des noms de villes dans leurs titres, et qui entrent pour la plupart, mais pas exclusivement, dans la catégorie de l'autobiographie, de la bande dessinée de reportage et du roman graphique d’expatriation. Cette fois, en plaçant Aya de Yopougon dans le contexte des romans graphiques francophones, nous examinerons comment cette bande dessinée croise les représentations de la localité, de la vie quotidienne et de l’espace urbain modernisé avec les perceptions et les expériences d’une culture médiatique postmoderne en voie de mondialisation – et comment cela profite à la série en termes de participation au canon émergent de la littérature graphique mondiale.

L’article étudie les différentes images de Naples présentes dans l’œuvre d’Ermanno Rea. En s’appuyant sur les textes, on analysera le récit que Rea réalise sur le rapport conflictuel à sa ville natale. Le but est de montrer que Rea réfléchit aux problèmes de Naples à partir du lien qui s’établit entre les personnages féminins et les différents lieux de la ville. L’article, composé de trois parties, se concentrera sur le rapport entre Francesca Spada et le port dans Mistero napoletano, entre Marcella et l’ILVA de Bagnoli dans La dismissione et, finalement, entre Adele et les catacombes du quartier Sanità dans Nostalgia. En conclusion, on essaiera de montrer que Rea confère à son roman posthume l’objectif de visualiser une possibilité positive pour la ville de Naples, après avoir raconté sa décadence dans les ouvrages précédents.

La revista Metropol aparece en pleno boom de las revistas de cómic adulto en España como una original propuesta tanto en forma como en contenido. Es una experiencia de gestión autoral cooperativa que plantea, desde la dirección artística del guionista Antonio Segura, la creación de un espacio único urbano en el que se desarrollarán todas las historietas que aparecerán en la revista. Desde un planteamiento basal de género negro, Segura proyecta desbordamientos hacia el costumbrismo y la ciencia ficción que permiten establecer la ciudad como gran protagonista de la publicación, en una sorprendente e inédita estructura global que pone a la ciudad en primer plano, por encima del escenario, como protagonista de un relato que es capaz de incorporar experiencias transversales multimodales que amplían la experiencia diegética y extradiegética habitual del cómic.

La production de Rodrigo Sorogoyen investit l’espace urbain madrilène dans un cinéma de genre – le néo-noir espagnol – qui en fait non seulement un terrain d’exploration de la criminalité contemporaine mais aussi une métonymie des dysfonctionnements sociaux et politiques de l’Espagne. Le réalisateur use de la tension entre cadrages et décadrages pour déplacer l’attention du spectateur, et charger l’intrigue criminelle de ses films d’une analyse politique, les deux se rejoignant finalement dans le cadre urbain de la caméra. Trois films ou séries seront le support de cette étude : Que Dios nos perdone, El Reino, deux longs-métrages, et Antidisturbios, série en six épisodes.

La documentation foncière avignonnaise de la fin du Moyen Âge révèle, par les différentes manières de le nommer, de le diviser et de le délimiter, de précieuses informations sur la représentation et la perception de l’espace urbain. Depuis le premier inventaire de biens dressé en 1233 à l’initiative du podestat Perceval Doria jusqu’aux comptes des clavaires de la cour temporelle en passant par les terriers seigneuriaux de la seconde moitié du XIVe siècle, l’ensemble des registres est, en effet, progressivement doté d’une dimension spatiale, dont la qualification ne cesse de s’affiner au fil du temps. Et pour cause, les enjeux territoriaux qui se jouent dans la région conduisent les autorités à localiser de plus en plus précisément les biens qui dépendent de leur seigneurie. Les référents spatiaux utilisés constituent des indices de choix pour étudier tant la constitution des domaines directs que l’évolution des subdivisions de l’espace urbain durant les derniers siècles du Moyen Âge.

ABSTRACT: This article, which forms part of our research into Algerian women's literature in French, looks at the writing of urban space as a place where freedom is sought and a legacy passed on. In reading Elissa Rhais's “Blida” and Assia Djebar's “Nulle part dans la maison de mon père”, we found that women don't just write to bear witness to an experience or to claim freedom; their writing transcribes and forever inscribes their cities in a memory and a universal heritage. Consequently, women's writing about urban space is a question of heritage. Our contribution aims to understand and recognise the mechanisms put in place by Elissa Rhais and Assia Djebar to transpose their realities into a fictional universe where it is and will be a question of memory, identity and speaking out. RÉSUMÉ : Le présent article qui s'inscrit dans le cadre des recherches sur la littérature féminine algérienne de graphie française, s'intéresse à l'écriture de l'espace urbain comme lieu de quête de liberté et de transmission d'un héritage. En effet, en lisant le texte d’Elissa Rhais «Blida» et le roman d’Assia Djebar «Nulle part dans la maison de mon père», nous avons constaté que les femmes n'écrivent pas que pour témoigner d'un vécu ou revendiquer une liberté ; leur écriture transcrit et inscrit à tout jamais leurs villes dans une mémoire et un héritage universel. Par conséquent, l'écriture de l'espace urbain par les femmes est une question de matrimoine. Notre contribution vise à connaître et reconnaître les mécanismes mis en place par Elissa Rhais et Assia Djebar pour transposer leurs réalités dans un univers fictionnel où il est et sera question de mémoire, d’identité et de prise de parole.

Access to public space for earning livelihoods is important for street vendors in global south cities. However, due to continuous population growth and the demand for lands by the real estate development sector, pressure on land is very high in the global south. Consequently, global south cities such as Dhaka provide 'no place' for its poor migrant citizens. Yet, the urban poor are able to appropriate public space for livelihoods. Drawing on a case study of Sattola slum in Dhaka, this article investigates how the urban poor access to public space for livelihoods and construct counter-spaces by breaking the planned order of the city. This article argues that the urban poor are able to construct counter-spaces with the tacit support of translocal social networks as well as with the support of a range of state and non-state powerful actors who are compromised by the benefits and profits they extract from vendors. This article draws on qualitative data generated through in-depth interviews with 94 informal workers and 37 key informants. This article contributes to urban sociology literature demonstrating that the urban poor are able to construct counter-spaces drawing on a range of everyday tactics and appropriating public space by quietly breaking the planned order of the city. [ABSTRACT FROM AUTHOR]

This paper explores the impacts of the transition to parenthood on the relationship between (from a Bourdieusian perspective) habitus and field in social reproduction. The paper is based on a longitudinal study of white middle-class gentrifier households in Amsterdam before and after childbirth. The study reveals the disruptive (as well as re-configurative) impact of parenthood as transition, even for this relatively privileged group (in terms of legitimated habitus and spatial discretion and mobility). Our findings strongly suggest the highly gendered nature of this transition, and also reveal the significance of spatial dimensions of this gendered experience – from embodiment all the way through to changing relationships in urban space. These impacts suggest parenthood as a distinct 'field' of social struggle and emphasise the significance of gender and spatial experience in understanding habitus-field relations, alongside the more acknowledged temporalities of social reproduction. [ABSTRACT FROM AUTHOR]

Copyright of Revista Crítica de Ciências Sociais is the property of Centro de Estudos Sociais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ANUARI d' Arquitectura i Societat is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Étant considérée par les critiques comme un art essentiellement temporel, la littérature se caractérise aussi par une ‘spatialité’, comme le souligne d’ailleurs Genette dans sa Figure II. En effet, le temps, les personnages et l’espace sont des composantes à pied d’égalité. Ceci dit, que l’espace est « une composante essentielle de la machine narrative » (Mitterand, 1980, pp. 211-212), qui détermine les relations entre les personnages et influe, d’une façon ou d’une autre, sur leurs actions. De fait, l’espace n’est pas un simple élément scénique, il établit des liens complexes avec les autres éléments du récit (temps, personnages et péripéties). L’analyse de ces liens et des significations de ces éléments révèle la façon dont le cadre spatial est perçu ou conçu. Dans Le corps de ma mère de Faouzia Zouari, la narratrice évoque la vie des femmes bédouines de Tunisie, et celle de sa mère, en particulier. Elle relate l’influence de l’espace dans laquelle cette dernière évolue, comment celle-ci est parvenue à se libérer d’une longue tradition ancestrale particulièrement contraignante pour les femmes, et décrit les mutations survenues avec la révolution du Jasmin. Le livre se compose de trois parties, et chacune d’elle se caractérise par son cadre spatial spécifique. Celui qui domine la première et la troisième partie, ‘le corps de ma mère’ et ‘l’exil de ma mère’, est Tunis (la capitale) et ses ‘cités de béton’. La romancière nous livre, dans ces deux chapitres, le récit familial extraordinaire de Yamna, sa mère qui a vécu dans un petit village de Tunisie, recluse pendant cinquante ans dans sa maison. Puis, malade, la vieille femme s’est trouvée déracinée à Tunis, où ses enfants insistaient pour qu’elle se fasse soignée. A l’hôpital moderne où elle va mourir, elle est accompagnée par ses filles, pour faire des confessions qui laissent transparaitre une perception de l’espace qui repose sur l’ambivalence entre réclusion et délivrance. La deuxième partie décrit le fossé entre campagne et grande ville en Tunisie, entre cultures traditionnelles, religion, superstition, djinns, coutumes ancestrales, contes et modernisation. L’opposition entre l’espace urbain et l’espace rural, en particulier le réquisitoire dressé contre la capitale, puis le corps féminin comme espace idéologique feront les objets de notre présente étude.

Los espacios urbanos han cobrado una dimensión significativamente simbólica en las formas literarias contemporáneas, en donde la ciudad interactúa, afecta y modifica el devenir metafísico urbano. La reflexión que gira en torno a la ciudad como espacio narrativo no se limita únicamente a un inventario de lo espacial o referencial, sino que entiende a la ciudad como una elaboración sensible de la sociedad contemporánea. Las tensiones y resonancias de la vida en la ciudad construyen los imaginarios sobre los que se fundamenta la experiencia urbana. En El asesinato de Paulina Lee (2016) del escritor regiomontano Hugo Valdés, el espacio urbano de Monterrey, Nuevo León, desempeña un rol protagónico. En este ensayo se analizará la cartografía urbana como retrato de una ciudad que se adentró en la modernidad industrial del siglo XX y cuya expansión acelerada dio lugar a un territorio fragmentado por la desigualdad económica en donde predominaron la marginalidad, la pobreza y la violencia.

The objective of this article is to study the significance held by the Antonio Mijares main square for the inhabitants of San José del Cabo as a central location of sociability. This work uses a qualitative methodology based on unstructured interviews with key individuals who are dedicated to promoting local culture and in situ observation, understanding that the public space is a location where citizens can interact, creating an environment of social interaction and of habitus, where people can seek recreation, attend civic, artistic, and cultural events, and where the ties of unity can be strengthened among the citizens. It is concluded that the space studied, although in a process of touristification since 1974, as a result of the public policies on tourism, with the surrounding buildings mainly selling goods and services to foreign tourists, the society has appropriated the square, giving it a communal feel, encouraged by social, cultural and political manifestations by the local population. [ABSTRACT FROM AUTHOR]

The recent pandemic outbreak warned of the urgent need for closer interaction between health and spatial planning. The relationship between urban space and health has been widely proven and led to the emergence of new concepts, such as neurourbanism, an interdisciplinary field of research that aims to explain the relationship between mental health and the well-being of city life. The embryonic state of these interdisciplinary research fields requires further contributions to their consolidation and guidelines for practitioners and policymakers. The main aim of this article is to contribute to the discussion through reflections on public spaces and urban health. A critical analysis was conducted to respond to the following specific objectives: 1) to highlight the importance of public space for the promotion of quality of life; 2) to reinforce the awareness that the urban environment affects mental health and well-being; 3) to propose an organisation of health impact factors (determinants of urban health) that works as a tool for objective health assessment and monitoring in cities and; 4) to reinforce work on the importance of neurourbanism as an interdisciplinary science that unites neuroscience and urban planning. Despite the empirical association between health (physical and mental) and the built environment recently demonstrated Covid-19 pandemic, scarce research and evidence-based recommendations have been produced towards healthier cities. [ABSTRACT FROM AUTHOR]

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Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le présent article propose de montrer comment voir dans le recueil calvinien Marcovaldo une rhétorique utopique par le biais du jeu. Après avoir rappelé la sensibilité de Calvino pour l’espace vu comme medium, nous soulignons la manière dont Marcovaldo vit l’espace de la ville moderne, symbole du capitalisme croissant des années soixante. La violence par laquelle le personnage calvinien subit l’espace urbain et la naïveté dont il fait preuve en lui opposant une campagne fantasmée se traduisent par un rapport ludique qui consiste à créer un espace alternatif, un espace potentiel. Par le biais du jeu constructif de Marcovaldo, et par le biais du jeu destructif de ses enfants, Calvino discute la légitimité de l’espace de la ville et, par extension, du modèle que cette dernière représente. Marcovaldo remplit ainsi un rôle d’intermédiaire ludique entre la réalité pragmatique de l’auteur et le monde narratif qu’il traverse.

Cette étude est une analyse de l’intégration des immigrants dans le contexte de la pandémie Covid-19, elle concerne un échantillon de la population immigrante composée de 100 immigrants vivant et travaillant dans l’espace urbain de Marrakech. Il s’agit d’une étude quantitative mesurant les effets des mesures de restrictions liés à la pandémie sur les immigrants de la ville de Marrakech, ainsi que les mesures entreprises dans la perspective d’alléger l’impact socioéconomique négatif sur cette population vulnérable. Il est utilisé un questionnaire à fin de collecter les donnés qui sont présenté sous forme de tableaux et de graphiques convenables. Les résultats obtenus dans ce cadre montrent une prédominance des immigrants régularisés séjournant depuis plus de deux ans dans cet espace, ils exercent tous des activités économiques divers allant des simples activités informelles aux grande entreprises touristiques dont la quasi-totalité ont perdu leurs travail et leurs revenus sans bénéficier des aides de l’Etat.

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Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Public Space is originally a place socialization where urban signs indicated by linguistic plurality are displayed .like the other Algerian cities, we take a sociolinguistic look at the languages of the antiestablishment slogans and what the yresultfrom innovativeneo logical and rhetorical making from hirak in the streets of revolution course of the city of . [ABSTRACT FROM AUTHOR]

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Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moroccan Journal of Quantitative & Qualitative Research is the property of National Association for Applied Sciences - Academy of Researchers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Basé principalement sur des documents inédits, l’essai illustre les formes d’occupation de l’espace urbain de Naples par certaines familles nobles du Seggio de Nido entre le XIVe et le XVIe siècles. Les stratégies résidentielles dans leur densité relationnelle, les blocs de résidences, les cours communes, les jardins, les portiques, les tours, les églises et les chapelles définissent différentes formes d’enracinement et de contrôle de l’espace urbain. Il s’agit de processus concurrents de construction et de reproduction de la prééminence spatiale, qui traduisent en pierre la position des familles et des clans dans la structure relationnelle du Seggio de Nido. Ils reflètent la signification spécifique attribuée à la vetustas d’enracinement et de contrôle continu de l’espace urbain. Celle-ci doit être comprise comme un critère fondamental de distinction sociale et comme une notion symbolique de l’imaginaire de la noblesse enracinée dans les Seggi, codifiée à la fin du XVe et au début du XVIe siècle.

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This article considers the place religion holds in post-Soviet Russian society, and most importantly, the case of the dominant Russian Orthodoxy. It shows that the gap between low everyday religiosity and high public profile of religion is the key to a specific Russian version of secularity. How religion's spectacular appropriation of physical and social space, up to the imaginative space of the national culture as such, does not cancel the strong counterweight of deeply ingrained secular cultural arrangements – either genetically linked to some European variations or specifically related to (post)communist experience. [ABSTRACT FROM AUTHOR]

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