‘What makes city life meaningful is the things we hide’

Millington, Gareth; Rizov, Vladimir

doi:10.1080/13604813.2020.1718961

Cited by 2 publications

(1 citation statement)

References 22 publications

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“…These explanations are, however, no more than could be constructed by applying the theories of Allen (1994), Fanon (1952, 1961 and Ruggiero (2020) to real global metropolises, and this type of urban analysis would likely be both more valid and more reliable than any allegorical analysis, on the basis of the tolerance of inventiveness, imaginativeness and fabrication in the practice of fiction. In other words, in order for zemiologists to take Jameson's (2019) model of fourfold allegory seriously, it must be able to make a contribution to the etiology of harm because of the fictionality of the allegories interpreted rather than in spite of the fictionality of those allegories (McGregor 2018;Millington and Rizov 2019). This is precisely what Jameson's model achieves with Carnival Row, exploring the zemiological value of the allegory as a fictional narrative event.…”

Section: Zemiologymentioning

confidence: 99%

The Urban Zemiology of Carnival Row: Allegory, Racism and Revanchism

McGregor

2021

Crit Crim

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This article makes the case for the zemiological value of Fredric Jameson’s (2019) model of fourfold allegory. Zemiological value is the value in reducing harm and it is realized by means of etiology, i.e., explaining the causes of harm. I make the case using a single, detailed example, but the argument is generalizable by virtue of the relationship between fourfold allegory and contemporary social life. I begin by delineating Jameson’s model of allegory as a thick narrative with four distinct levels of meaning: literal, symbolic, existential and anthropic. I explain each of these levels with reference to Carnival Row (2019)—an urban fantasy television series that explores racism, alienation and decivilization. I conclude by demonstrating how the allegory reveals a particular combination of causes that contribute to the replacement of a cosmopolitan ideal with a revanchist reality, articulated by Gareth Millington (2011) in his theory of the racialized global metropolis.

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Section: Zemiologymentioning

confidence: 99%

The Urban Zemiology of Carnival Row: Allegory, Racism and Revanchism

McGregor

2021

Crit Crim

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In Search of Third Space: Flâneur’s Escape from Polarization

Ay,

Kılıç

2024

Coğrafi Bilimler Dergisi

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This paper examines the flâneur in Orhan Pamuk's novel A Strangeness in My Mind and argues that flânerie can be a powerful practice for overcoming polarization and creating new forms of identity in a Third Space. We argue that flâneur has often been used in without considering its political implications. They propose that flânerie can generate resistance against hegemony by drawing on Bhabha's concept of the Third Space. In Pamuk's novel, the protagonist, Mevlut, is a flâneur who wanders the streets of Istanbul, observing the city. However, Mevlut is also a marginalized figure, caught between the wing and right groups that dominate Istanbul's peripheral neighborhoods. Despite these challenges, Mevlut's flânerie allows him to create a Third Space, a position that is able to move beyond polarization. In this Third Space, Mevlut is able to explore his own identity and to form connections with the others who are also marginalized.

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‘What makes city life meaningful is the things we hide’

Cited by 2 publications

References 22 publications

The Urban Zemiology of Carnival Row: Allegory, Racism and Revanchism

The Urban Zemiology of Carnival Row: Allegory, Racism and Revanchism

In Search of Third Space: Flâneur’s Escape from Polarization

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