Constructing national identity in Canada's capital, 1900–2000: Confederation Square and the National War Memorial

Ottawa's Confederation Square was initially planned to be a civic plaza to balance the nearby federal presence of Parliament Hill. A century of federal planning, with the direct involvement of Prime Minister W.L. Mackenzie King, repositioned it as a national space in the City Beautiful style. Recent renovations have improved its pedestrian amenity and restored much of the original plan by French urban designer Jacques Gréber. The square contains the National War Memorial and the National Arts Centre, yet is a weak public space due to weak edge definition, animation, and spatial enclosure. The war memorial design was selected in a 1925 international competition won by Britain's Vernon March. The Great War monument was not installed until the 1939 Royal visit, and Mackenzie King intended that the re-planning of the capital would be the World War II memorial. However, the symbolic meaning of the Great War monument gradually expanded to become the place of remembrance for all Canadian war sacrifices. The National War Memorial is more successful as a symbolic object than Confederation Square is as a public space, yet both have evolved into important elements of the Canadian capital's national identity.     

Shame and the Embodiment of Boundaries

ABSTRACT Attention to the debilitating feelings of unease, discomfort and anxiety which are the concomitants of everyday encounters and negotiations of Kooris at the mainstream interface brings an appreciation for the lived experience of the colonised minority and throws into relief complex struggles over meaning, manners, personal values, social allegiance and cultural survival. This paper focuses on the habituation and strategic deployment of shame at the racial divide. Koori subjectivities, bodily dispositions and emotional registers are found to be informed both by traditional orientations and by the hegemonic ends of the dominant order.     

The violence of spectacle: Statist schemes to green the desert and constructing Astana and Ashgabat as urban oases

Kazakhstan and Turkmenistan have been home to the most impressive urban development projects in the entire post-Soviet world. Their capitals, Astana and Ashgabat, now boast uniquely monumental architecture and local leaders have invested heavily in ‘green belt’ projects to surround the cities with lush vegetation, as well as developing green and water-laden public spaces. In doing so, elites have drawn on Soviet-era ‘garden city’ idealism, as well as more recent environmental sustainability narratives. Yet these schemes are anything but sustainable. Unfolding on the arid Central Asian steppe, they depend on heavy irrigation, with water diverted from rivers that already fail to meet regional demands. Employing a comparative approach, I ask why and with what effect state planners have sought to craft Astana and Ashgabat as spectacularly green ‘urban oases,’ when their local climates should defy the logic of sustainability. In so doing, I consider urban greening in the two countries as part of a wider phenomenon of statist schemes to green the desert, which have a long and diverse history. Extending the literature on desert greening, I argue that the structural violence they manifest and perpetuate is best understood by attending to how they operate as a form of spectacle.