杰斐逊的学术理想国——弗吉尼亚大学

<正>对国家的最大贡献,莫过于在其文化土壤上添植一棵有益的树木。——托马斯·杰斐逊从美国首都华盛顿驱车南行,两个多小时便可抵达弗吉尼亚州一座风光旖旎的小城——夏洛特维尔     

Spaces of Utopia and Dystopia: Landscaping the Contemporary City

Some of the most recent literature within urban studies gives the distinct impression that the contemporary city now constitutes an intensely uneven patchwork of utopian and dystopian spaces that are, to all intents and purposes, physically proximate but institutionally estranged. For instance, so–called edge cities (Garreau, 1991) have been heralded as a new Eden for the information age. Meanwhile tenderly manicured urban villages, gated estates and fashionably gentrified inner–city enclaves are all being furiously marketed as idyllic landscapes to ensure a variety of lifestyle fantasies. Such lifestyles are offered additional expression beyond the home, as renaissance sites in many downtowns afford city stakeholders the pleasurable freedoms one might ordinarily associate with urban civic life. None–the–less, strict assurances are given about how these privatized domiciliary and commercialized 'public' spaces are suitably excluded from the real and imagined threats of another fiercely hostile, dystopian environment 'out there'. This is captured in a number of (largely US) perspectives which warn of a 'fortified' or 'revanchist' urban landscape, characterized by mounting social and political unrest and pockmarked with marginal interstices: derelict industrial sites, concentrated hyperghettos, and peripheral shanty towns where the poor and the homeless are increasingly shunted. Our paper offers a review of some key debates in urban geography, planning and urban politics in order to examine this patchwork–quilt urbanism, In doing so, it seeks to uncover some of the key processes through which contemporary urban landscapes of utopia and dystopia come to exist in the way they do.     

Spaces of Utopia and Dystopia: Landscaping the Contemporary City

Some of the most recent literature within urban studies gives the distinct impression that the contemporary city now constitutes an intensely uneven patchwork of utopian and dystopian spaces that are, to all intents and purposes, physically proximate but institutionally estranged. For instance, so–called edge cities (Garreau, 1991) have been heralded as a new Eden for the information age. Meanwhile tenderly manicured urban villages, gated estates and fashionably gentrified inner–city enclaves are all being furiously marketed as idyllic landscapes to ensure a variety of lifestyle fantasies. Such lifestyles are offered additional expression beyond the home, as renaissance sites in many downtowns afford city stakeholders the pleasurable freedoms one might ordinarily associate with urban civic life. None–the–less, strict assurances are given about how these privatized domiciliary and commercialized 'public' spaces are suitably excluded from the real and imagined threats of another fiercely hostile, dystopian environment 'out there'. This is captured in a number of (largely US) perspectives which warn of a 'fortified' or 'revanchist' urban landscape, characterized by mounting social and political unrest and pockmarked with marginal interstices: derelict industrial sites, concentrated hyperghettos, and peripheral shanty towns where the poor and the homeless are increasingly shunted. Our paper offers a review of some key debates in urban geography, planning and urban politics in order to examine this patchwork–quilt urbanism, In doing so, it seeks to uncover some of the key processes through which contemporary urban landscapes of utopia and dystopia come to exist in the way they do.     

The Perils of Utopia: The Russian Intelligentsia under Communism and Perestroika

After evoking the spirit of the Russian intelligentsia, this essay interprets its changing place in society. A force for humanism, universal brotherhood and freedom of expression within a succession of repressive political regimes, the intelligentsia should — one might think — be greatly favoured by perestroika. Yet its very idealism and uncritical faith in such abstractions as ‘the people’ and ‘beloved foreigners’ have ill prepared it to deal with harsh and complex realities. As earlier stereotypes crumble and the Communist regime disintegrates, the intelligentsia itself is confused and divided. Faced with moral and political dilemmas, Tolstaya suggests that there may be some virtue in a productive form of escapism in art.