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Steve Siporin 《Journal of Modern Italian Studies》2013,18(3):345-363
Four riddles occur in the dialogue of Roberto Benigni's 1998 film, La vita è bella ( Life Is Beautiful ). Solutions to the first three are provided almost as soon as they are uttered, but a fourth riddle, spoken at the film's climax, remains unanswered. Exploring possible meanings of the fourth riddle illuminates the film's meaning. Although the riddles may seem to be relatively unimportant bantering between two of the major characters (Guido, the Italian Jew, and Captain Lessing, a German Nazi officer and physician), they are critical to the unfolding of the plot and significant in the portrayal of the two characters who employ them. Most importantly, they act as condensed expressions of the film's themes, complementing and giving deep texture to its narrative expression of the same ideas. Through the riddles and other folk and children's genres - such as game and folktale - La vita è bella asserts not only that art helps us survive, but that the humblest art is the daily weapon against the most formidable attacks on the human spirit. 相似文献
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Heritage theory has developed piecemeal over the last 30?years, with little progress made in fully understanding the way the subject can or should be theorised. This paper identifies some of the main sources of theory in heritage, as well as the approaches and perspectives that have been formulated as a result. These are framed on the basis of their disciplinary origins and can be viewed as theories in, theories of and theories for heritage. As frames through which heritage can currently be examined they are still employed in relative isolation from each other and we suggest, therefore, a way by which they might be considered as complementary, rather than competing approaches in order to provide impetus for the development of a critical imagination in heritage studies. 相似文献
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The entrenchment of neoliberalism in the United States has coincided with an unprecedented expansion of punishment practices that intensify social divisions rooted in class and race. We explore the political culture of this hyperpunitiveness through a discussion of two popularized explanations for urban crime: broken windows and situational crime prevention. These popular criminological theories help legitimate the deepening of social and spatial divisions. They also rest their precepts upon the foundation of a particular geographic imagination. We use this paper to reveal and critique the core assumptions about space upon which each of these theories critically relies. We suggest that each theory understands society–space interactions too simplistically to provide comprehensive insight into the dynamics of landscape construction and interpretation. We argue further that the logics and practices of broken windows and situational crime prevention possess significant elective affinities with social dynamics characteristic of neoliberalism. For these reasons, these popularized criminologies both reflect and reinforce the processes through which neoliberalism exacerbates social differences. 相似文献
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Steve Garner 《Political Geography》2010,29(2):125-126
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Steve Poole 《International Journal of Heritage Studies》2018,24(3):300-314
The heritage industry now makes extensive use of digital audioguides and similar interpretation tools to reach new audiences but many remain rooted in authoritative and didactic conservatism. This paper critically evaluates the state of play in the field, from downloadable audio tours and apps, through more complex engagements with theatrically enhanced and affective simulation, to attempts at fuller dialogic visitor participation and the use of gps or RFID-triggered game mechanics. While ‘armchair’ and home screen-based game and interpretation models are addressed, particular attention is paid to the use of mobile and locative design, where embodiment in place is privileged over less associative or remote experience. The paper takes a research project led by the author as a case study. Ghosts in the Garden was conceived in collaboration with a museum and an experience design SME to test the potential of immersive, affective real world games on public understandings of history. It sought to engage visitors with researched history from below by using a pervasive media soundscape, the ‘ghosts’ of past visitors and a ‘choose-your-own-adventure’ game mechanic in which outcomes are variable, visitor agency is retained and a more radical model of historical knowledge suggested. 相似文献