heterotopia/Foucault

This essay explores the bodily nature of Michel Foucault’s heterotopias as a means of delving into the complexities of access to and representation in museums today. Informed by contemporary debates around postcoloniality and museum histories and practices, this essay is situated at the ambiguous intersection of embodied experience, spatial theory, and physical museum spaces. Predominately considered in relation to spatial difference up until now, adding a corporeal element to the analysis of the heterotopia both connects the theory to Foucault’s accompanying lecture, “The Utopian Body,” and provides a bridge between this concept and pertinent issues of memory, identity, agency, and the plurality of voices that orbit museum collections. In this respect heterotopia is a space of possibility as well as a reminder of boundaries, borders, and limitations. To get to the intimate vantage point of the mobile and multifaceted individual, this essay proposes viewing the heterotopia via distinct, yet simultaneous and intertwined levels of scale. Providing a flexible structure, these levels enable the analysis of spatial difference as emerging from and embedded within broad social landscapes, internal spatial ordering, and individual encounters. Within this frame, material, conceptual, and interactive discourse is made manifest in the “other space” of the museum. Neither structure nor static archive, the museum is a potential forum or nexus, a threshold, and the starting point for conversations that expand far beyond its doors.

Due to the obviousness and multidimensionality of its nature, theatre can be viewed as a pedagogical place. In such a context, the concept of a travelling theatre , on the example of FairyBus, gains particular significance and allows, in turn, for interpretations in the categories of heterotopia. Maria Mendel, the forerunner of the category of place-based education in Po-land, notes: "Education, which beyond any doubt is a form of interference, always happens 'somewhere' and has a 'place', and since it initiates a dialectical relation between the pupil and the world, it becomes metaphysics; an ontology that occurs in the conditions of reciprocity and transcendence" 1. In her deliberations on space and culture, Mendel begins with, and expands, the understanding of a place as proposed by Michel Foucault. The philosopher defined heterotopias, the "other places", in opposition to the notion of utopia: a place with no place, an unreal space. Thus, a heterotopia is a real place existing in society-or more likely on its "fringes"-and is shaped by that society 2. In Mendel's interpretation, the culture shapes space as it is composed of "our own" intertwining places, to which we ourselves assign meanings. In other words, we co-create the world, making it "our own", "fitting inside of it", meaning "having our place (places) within it" 3. In the words of the authoress, the culture "constitutes a place of places" that intersects in the gaze of human beings 4 , i.e. the reflections of the material fragment of reality, 1 M. Mendel, Wstęp [Introduction], [in:] Pedagogika miejsca [Place-based Education], M. Men-del (ed.), Wydawnictwo Naukowe Dolnośląskiej Szkoły Wyższej Edukacji TWP we Wrocławiu, Wrocław 2006, p. 9. 2 M. Foucault, Of Other Spaces (1967), Heterotopias [online], accessed on: 18. 04. 2012, available at: http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html. 3 M. Ejsmont, B. Kosmalska, M. Mendel (eds.), Obraz, przestrzeń, popkultura. Inspiracje badawcze w polu pedagogiki społecznej [Image, Space, Pop-culture. Research Inspirations for Social Pedagogy], Wydawnictwo Adam Marszałek, Toruń 2007, pp. 169-170. 4 Mendel refers to the mirror that Foucault describes both as a utopia and a heterotopia. A mirror is an intersection of the existing, i.e. heterotopia, and the non-existent, i.e. utopia, and the gaze of the person standing in front of it; M. Foucault, Of Other Spaces…; M. Ejsmont, B. Kosmalska, M. Men-del (eds.), op. cit., p. 170.

El artículo ofrece una reflexión acerca del lugar y las modalidades de la práctica docente en contextos de formación. La intención es articular notas de índole crítica que puedan abrirnos a otras acciones en los trayectos de formación de formadores, desde un pensamiento situado y singular, sin pretensión de generalización y atendiendo al ejercicio
docente como una praxis de recomienzos. A partir de un texto de Foucault que caracteriza las heterotopías como contraespacios, reales y posibles, el trabajo analiza las narrativas como modalidad de formación que incluye otras textualidades así como lugares compartidos de aprendizaje (comunidades de indagación).

Using the theoretical frameworks of Michel Foucault and Josh Kun to theorize the space of a music festival, this paper investigates the ways in which the large-scale American music festival, as a unique audio-heterotopian space, provides discourse and cultural critique aimed to deconstruct notions of bro-culture and white privilege. Within large-scale American music festival culture, there are groups of critical bloggers and cultural critics who regularly speak out against an encroaching "bro-ism" amongst festival goers. Their critique after the festivals aims to re-configure the discourse around behavior and what is wearable and sayable within the festival. In many circumstances, their discourse deconstructs white privilege and realigns notions of cool, as well as effects policy change and contributes to alternate models of the music festival experience. This paper is largely aimed to help reimagine the mainstream music festival as a powerful site that helps to reconfigure dominant ideology and ways of discussing issues of privilege.

La storia di Herculine Barbin è stata spesso utilizzata come riferimento letterario colto nei romanzi1 e negli studi di genere, senza che le fosse riconosciuta una specificità a livello letterario o filosofico. La stessa critica ha spesso ritenuto la scoperta di quella biografia da parte di Foucault come una nota a piè pagina della sua produzione intellettuale sul concetto di norma2 e di identità negli Anni Settanta oppure in funzione ancillare rispetto alle sue analisi sul potere disciplinare.
Il tentativo di quest’articolo è invece quello di focalizzare l’attenzione proprio sulla biografia di Barbin per descrivere in una visione più ampia il significato di “letteratura infame” emersa dalle ricerche di Foucault negli archivi degli ospedali, della polizia e dalle lettres de cachet e costruire così una sorta di cartografia (Deleuze 1986, trad. it. 2002) non solo del potere disciplinare entro cui si muove la vicenda di Barbin ma anche del pensiero del filosofo di Poitiers fra gli Anni Settanta e Ottanta – scardinando inoltre la logica mainstream secondo cui esisterebbero “due Foucault”, uno più interessato alla politica, l’altro più interessato all’etica.

Featuring Toni Morrison's Beloved and Myself and Marco Polo by Paul Griffiths.

The following dissertation proposes the emergence of a new genre in the mid-1980s period: the New Historical novel; as uniquely defined within the broad panorama of Post Modernist Literature as Magic Realism and Metafiction.  I would also like to propose that its emergence and popularity is a manifestation of a crisis within the notion of genre itself and can be viewed against the wider anxieties of modern culture. Each of the novels looked at address issues relating to Foucault’s concept of the ‘heterotopia’ and the processes by which reality is constructed socially and history is produced.  I have focused on two novels: Myself and Marco Polo (1989) and Beloved (1987).

In short, this essay does for the concept of the assemblage what Deleuze and Giorgio Agamben did for Foucault in their essays on the dispositif: it extracts from a large body of work the core formal features of its operative methodology or logic.

Trepando el clóset en Bogotá: contra-historias y escrituras drag es el resultado de una investigación-creación de dos años de trabajo con colectividades drag y transformistas en el marco de las tres ediciones el encuentro “La Noche y las luciérnagas”, el cual es realizado desde la Maestría en Estudios Artísticos de la Facultad de Artes ASAB. Este trabajo es un caminar drag y transformista que toma distancia de los relatos diacrónicos de las luchas y resistencias de las colectividades LGBTI por sus derechos. Sin desconocer la importancia de esta Historia, se propone el concepto de contra-historia con el propósito de localizar fisuras que permitan develar olvidos o silencios no percibidos como tales desde una mirada drag. Así pues, con las contra-historias drag recurro a los conceptos de heterotopía y de escritura para hablar de espacios otros y así develar cómo han sido construidas las subjetividades drag en Bogotá desde 1980 hasta 2019. Así como la manera en que éstas establecen relaciones de afecto y solidaridad mediante la formación de familias drag como respuesta a la discriminación y violencias a las que son expuestas y que subvierten el modelo de familia tradicional en Colombia.

Dragging the closet in Bogotá: counter-stories and writings drag is the result of a research-creation of two years of work with drag and female impersonators collectivities in the framework of the three editions of the event “The night and the fireflies”, which is organised by the Master in Artistic Studies of the Faculty of Arts ASAB. This academic document is a drag and female impersonators walk that takes distance from the diachronic stories of the fights and resistance of LGBTI communities for their rights. Without ignoring the importance of this History, the concept of counter-stories is proposed with the purpose of finding fissures that reveal omissions or silences not perceived from a drag look. So, with the drag counter-stories I use the concepts of heterotopia and writing to analyze other spaces and, in this way, reveal how drag subjectivities have been constructed in Bogotá from 1980 to 2019. In addition, the way in which they create relationships of affection and solidarity through the formation of drag families as an answer to the discrimination and violence to which they are exposed and which subverts the traditional family model in Colombia.

Kentler; onları bir araya getiren politik, toplumsal ve psikolojik katmanları ile birlikte birer yerleşim alanıdır ve dolayısıyla bir mesken olarak farklı deneyimler, farklı var olma eşiklerini barındıran çeşitlilikler ortaya koymaktadırlar. Hem özne, hem nesne olarak kentler, çeşitliliklerini araştıran, toplayan, koruyan, paylaşan ve üreten kent anlatılarına ihtiyaç duymaktadırlar. Bu bağlamda “Çağdaş Müzecilik” anlayışı ile birlikte ortaya çıkan müzecilik çalışmaları ve bu anlayışla birlikte üretilen “kent müzeleri”, her geçen gün değişen ve yenilenen kentsel anıları taze tutmayı, unutulan değerleri hatırlatmayı ve bireyler arasındaki iletişimi canlandırmayı hedefleyerek, kentteki yaşam kalitesini yükseltmeyi ve yeni paylaşımlar / karşılaşmalar / üretim
mekânları yaratmayı amaçlayan “kurumsallaşmış kent anlatıları” olarak karşımıza çıkmaktadır. Bu anlamda, kent müzelerini kurumsal bir kent anlatısı olarak inşa eden geri plan, bu tezin çıkış noktasını oluşturmaktadır. Kentlerin kendilerine özgü karakterleri vardır. Bu nedenle her kentin ihtiyaçlarına yanıt verecek, kurgusunu kentin ve kentlinin özelliklerine göre dönüştürebilecek bir çağdaş kent müzesi modelinin tasarımı, tezin esas aldığı problemi ortaya koymaktadır. Tezin amacı, son yüzyılda müze tartışmalarının değerlendirmesi ile birlikte kent müzesi kritiğini anlamlı ve kendi temelleri sağlam bir biçimde yapabilmeye yardımcı olabilecek bir altlık
ortaya koymaktır. Kent ve toplum üzerinden müze bağlamında sürdürülen araştırmalar ve yapılan tespitler ile birlikte her türlü kültürel ve sanatsal değerin temsil edildiği ve kendini güncelleyebilen çağdaş bir kent müzesi modelinin ortaya koyulabileceği savunulmaktadır. Bu bağlamda, “Yeni Müzecilik” anlayışını özümseyerek, kurumsal ve mekansal olarak içinde bulunduğu koşulları görmezden gelmeyen, toplumuyla birlikte düşünen ve yaşayan kent müzesi anlayışını ortaya koyan bir çağdaş kent müzesi modeli denemesi hedeflenmektedir. Kent ve toplum, birbirini ören kolektif bir ağın ayrılamaz iki temel parçasıdır. Kent müzeleri bu tez kapsamında; kente, topluma ve toplumun ürettiği kültürel donatılara temsiliyet zemini oluşturma ve bu zemini inşa ederken kurumsal varlığını yeni müzeciliğin enstrümanları ile birlikte bağımsız olarak şekillendirme çalışmaları üzerinden ele alınmaktadır. Foucault ve Deleuze’ün son yüzyılda tartıştıkları konuların, açtıkları perspektiflerin ve bu bağlamda müze gibi mekanlar üzerinden yaptıkları değerlendirmelerin, bu yüzyılın toplumsal bağlamlarının okunmasına
yardımcı olduğu ve kolaylaştırdığı düşünülmektedir. Bu anlamda tezin çerçevesini oluşturan çağdaş müze perspektifinin tarihsel sürecinin, toplumsal ve mekansal analizinde Foucault ve Deleuze ve Guattari’den yararlanılmaktadır. Foucault, Deleuze ve Guattari felsefesinde üretilen disiplin - denetim toplumu kavramları, müzedeki mekansal karşılıkları, düzen ve hierarşi ilişkileri ile birlikte değerlendirilmektedir. Çağdaş kent müzesinin açılımlarını yaparken, heterotopya, asamblaj (assemblage), birleştirici sentez (conjunctive sentez), rizom (rhizome) gibi kavramların kent müzesinin oluşum süreçlerinin, toplumsal ve mekansal bağlamlarının söküme uğratılmasına yardımcı olacağı düşünülmektedir. Öncelikle bir kurumsal yapı olarak çağdaş müzeciliğin gelişimi ve çağdaş kent müzesi bağlamında incelenmesi, sonrasında mekansal örnekler üzerinden kuramsal çerçevede kent müzesinin literatür üzerinden tartışılması ve bir model önerisi bu tez çalışmasının yöntemini oluşturmaktadır. Tespitler ve modelin ortaya konulması sonucunda örneklerle de model bir tür okuma ve değerlendirme yöntemi ve altlığı olarak kullanılmaktadır. Uygulama sürecindeki çağdaş kent müzesi örneklerinden, tezde öne
sürülen çağdaş kent müzesi modelinde ortaya atılan rizomatik çoklukların (asamblajların), kent müzesinde karşılık bulduğu düşünülen iki güncel örnek olarak Antalya ve İstanbul Kent Müzeleri seçilmiştir. Modelin örneklerle analizinde, “süreç, içerik ve mimari mekan” olarak üç mod ele alınmaktadır. Klasik Müze anlayışından Çağdaş Müze anlayışına doğru evrilen müze kavramının kırılma noktalarının ortaya koyulması ile birlikte tez kapsamında ele alınan kent ve toplum ilişkisi çağdaş kent müzesi bağlamında değerlendirilmeye çalışılmaktadır. Yöntem dahilinde yapılan araştırma ve incelemeler sonucunda, “çağdaş müzecilik” anlayışını özümseyerek, kurumsal ve mekansal olarak içinde bulunduğu koşulları görmezden gelmeyen, toplumuyla birlikte düşünen ve yaşayan kent müzesi anlayışı ve bu anlayışın pratikteki yansımaları analiz edilmiştir. Analizler sonucunda güncel kent müzesi üretimlerinin, teorik olarak bağımsız bir temsil ve üretim aracı olma amacını taşımasına rağmen, pratikte bu amaçları yerine getirirken, klasik müzecilik anlayışında tercih edilen konvansiyonel müze kuruluş süreçleriyle üretilme tehlikesiyle karşı karşıya olduğu gözlemlenmiştir. Bu bağlamda kent müzesi modeli ile birlikte kurumsal ve mekansal donatıları tartışmaya açılarak; son on yıl içerisinde lineer tarih anlatılı ve seri olarak üretilen kent müzelerine, karşı bir duruş olabileceği ve kent
müzesinin var olan ancak güncel durumda değerlendirilemeyen potansiyellerini gerçekleştirebileceği ön görülmektedir.

Neil Gaiman is a renowned British author of fantasy, science fiction novels, children's books and short stories. In Gaiman's works, time and space are major elements, playing a key-role in his narratives. " The intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature " was termed as chronotope by Bakhtin. The chronotope is an important literary element, having narrative, plot-generating, representational, and semantic significance, and providing the basis for distinguishing generic types (Bemong, Borghart 2010). However, the chronotope in fantasy fiction is a rather complex notion. Due to its magic and supernatural elements, fantastic literature employs multiple chronotopes, making a step from a single chronotope of reality (or rather of its representation) to those of alternate worlds or realms. This article aims to examine Gaiman's novels from a spatio-temporal point of view and to analyze the importance of space and time in " Stardust " , " Neverwhere " , and " American Gods " , by using Bakhtin's concept of chronotope, and Foucault's concepts of heterotopia and heterochronia.

Neil Gaiman in his urban fantasy novel, Neverwhere, manipulated the history of London to construct its underground mirror city, which underlines the link amongst the past, the present and consequently, the future;  in this heterotopic alternate city Richard, the main protagonist, explores the disregarded time and space of London’s past. The author by exploiting the historical and spatial background of London  formulates its reflection on London Below and simultaneously he efficiently forges the paradox of a fragmented city forged in terms of unity, since the existences of the two city versions appear to be interrelated. This essay will explore how this paradoxical citified construction of an underground version of London is constructed as the Other that remains essential to the interpretation of London Above as a whole by signifying the importance of space in relation to time.

Keywords: urban space, heterotopia

Coral Reefs, throughout ages, having been the central nexus of Marine Geosciences, Oceanography, Aquaculture, Biodiversity and Ecology have surfaced as a creditable subject in the literary academe. In the wake of the 2004 phenomenal ravaging event which took the world by its neck-the Tsunami, the writing space has been an active agent in subtly dealing with this natural catastrophe bearing its roots in the condoning human activities notably coastal growth, overfishing, sea mining and bombing, erosion, inland and marine-based pollutions, overexploitation, global warming and tourism (Bryant 11-15). The textualisation and fictionalisation of the endangered and threatened coral reefs are symptomatic of the prevailing dislocation, displacement, fractured and possible extinction of the reefs accompanied by the submergence of the world by the outer oceans. The 'reef trope' engaging the narrative of the Reef is an attempt by Romesh Gunesekera to give breaths to a coral reef of the Indian, off the Sri Lankan coast as one of the major characters. This paper makes a march towards revisiting a coral reef in its dispiriting phases of its ecological disintegration. The tsunami and post-tsunami spatio-temporal conditionings of the reef are re-read and re-investigated as the heterotopia of crisis in the [post]colonial Sri Lankan and global dynamics and the possible reconstruction of the marine barrier through the looming predicament of the sensitive coral reefs.

Keywords: "Reef Trope‟, fractured, dispiriting, heterotopia of crisis, coral reefs.

Heterotopia is a physical parallel depiction of a real space. It includes contradictions, separations and reversals. This essay examines the theory of heterotopia and the sylvan setting between Milan and Verona in Two Gentlemen of Verona by Shakespeare as a heteroptopic space, a space where socio-political associations are recognized, reversed and challenged.

Una vía posible para investigar Euménides está en el concepto foucaultiano de heterotopía, el que exige la consideración de la obra en tanto opsis. Esto significa que la ya citada tragedia de Esquilo es una obra escenificada, y que en su realización se sirve del espacio real de la skenē y del espacio circundante, transformándolo de tal modo que en ese emplazamiento las relaciones de los hombres al interior de la pólis quedan trastocadas o incluso trastornadas. David Wiles afirma en su libro Tragedy in Athens: Performance Space and Theatrical Meaning (1997) que «el teatro debe ser visto como una “heterotopía”» (p.3), puntualizando que de lo que se trata es de ver cómo eventos desplegados en una heterotopía dedicada a Dioniso «representan, contestan e invierten a la pólis en totalidad» (p. 3). Este concepto de Foucault parece poder contener dentro de sí tanto la imagen elaborada por Jaspers —quien ve la tragedia en tanto un espejo abisal, en la cual la colectividad a la vez de ver una imagen reflejada de sí misma, se hace comunidad— y también la de Vidal-Naquet —quien habla de la tragedia como un espejo roto, en donde cada uno de sus fragmentos hace referencia a una parcela de la realidad. Pero además tiene la riqueza de desplegar el significado de la posible opsis de Euménides más allá de su inmediatez, descubriendo y creando un contenido profundo del que la tragedia es símbolo, tal como lo es el ψῆφος sostenido por Atenea frente al recién instaurado tribunal del Areópago. En este caso, el símbolo no busca llamar la atención sobre sí, sino apuntar hacia algo otro. Así, el ya señalado ψῆφος aparece como una de las heterotopías señaladas por Foucault, el espejo, en el cual lo que se muestra es siempre distinto del espejo mismo. Debemos preguntar entonces, cuál es la imagen que los atenienses podrían haber visto reflejada en el mítico ψῆφος empleado para absolver de toda culpa a Orestes y cuál es el reflejo de sí que este pueblo pudo contemplar al representarse esta tragedia frente a sus ojos.
Arriesgando la tesis de que Euménides es una heterotopía, primeramente nos detendremos brevemente en este concepto e intentaremos ahondar en su definición y relación con la tragedia. Luego se tratará acerca de la realidad política de la Atenas de Esquilo, para plantearla como una crisis, principalmente por las reformas recién establecidas por Efialtes al Areópago y cómo es que esta crisis es reflejada en Euménides como un conflicto entre la vieja legalidad de las Erinias y la nueva justicia instaurada por Atenea en el Areópago, a la vez de señalar el papel que la persuasión (Peithō) tiene en la resolución de ambos conflictos.

This paper focuses on playfulness as expressed in the urban public space. Children’s play is often considered either as sacred or superfluous for the adults to engage with while the city doesn’t seem able to support playful behaviour across ages. I approach playfulness by examining the role of space and more specifically that of the playground in both adults’ and children’s everyday life. The playground space is framed as a socio-spatial entity bearing heterotopic characteristics expressed and realized through play; a domain continually transformed as children and adults inhabit it. This paper approaches playground as a blurred space adjacent to,  rather than on the margins of, adult-centred public realm, the main question being: How do playgrounds inform playfulness in the public realm? To what extent does a playground -purposely child-centred- communicate with the surrounding public space and what is the role of play -perceived as a vehicle towards intergenerational relations- in this interaction? n order to ultimately examine the expressions of playfulness in the public realm I will explore how the adopted methodology reflects the study’s theoretical framework, while reflecting on how researcher’s own playfulness allows her to immerge into heterotopia and study playful behaviour. By drawing connecting lines between the concept of heterotopia - understood through play’s alternate orderings - and ethnography, I will examine the ways ethnographic fieldwork (in progress in two playgrounds in the city of Athens during a period of socio-economic crisis) engages with the complexity of playfulness in urban space.

Ensayo sobre el libro de relatos El cuarto de loco de la autora venezolana Carolina Lozada. Una comprensión del libro a través de Historia de la locura en la época clásica y de Las palabras y las cosas de MIchel Foucault, centrándose sobre todo en la idea de los lugares de la locura, el encierro y el afuera caótico. Erasmo, Descartes, Antonin Artaud.

Heterotope Heilsamkeit der Nicht-Orte bei Olga Grjasnowa und Christian Kracht 1. Geschlossener Schutzraum vs. heterotope Heilsamkeit In einer Vielzahl von Erzähltexten in der Literatur der ‚Übermoderne' ergibt sich die Ambivalenz des nach Marc Augé konzeptualisierten Nicht-Ortes aus der mit ihm assoziierten Heimatlosigkeit, einer zunächst negativen Qualität, und seiner gleichzeitigen Funktion als Schutzraum. Eine schützende Funkti-on spricht Augé den Nicht-Orten aus einer anthropologischen Sicht nicht zu, was die Frage aufwirft, inwiefern die Nicht-Orte in Erzähltexten trotzdem diese Eigenschaft besitzen können. Stabile Beziehungen herzustellen zu Or-ten, Menschen und Tätigkeiten, scheint in einem Raum, der sich gerade durch das Fehlen von identifikatorischen, relationalen und historischen Be-zugspunkten definiert, unmöglich. In den hier zu diskutierenden Erzähl-texten jedoch entstehen trotz oder gerade aufgrund dieser ausgestrahlten ‚Verweigerungshaltung' paradoxale Schutzräume, die eine Transfermöglich-keit anbieten, um aus einem Zustand der Exklusion zu einer Inklusion zu ge-langen: Fremde und Nicht-Fremde werden egalisiert, Herkunft und Ziel be-langlos. Der Nicht-Ort öffnet durch seine Festlegung auf anonymes und schematisiertes Handeln weniger komplexe Systeme, in denen neue Identitä-ten, Infiltrationen und Hochstapeleien deshalb möglich sind. Die R��umlich-keit des Nicht-Ortes ist in den entsprechenden Romanen damit die einer ver-wirklichten Illusion: Eine kompensatorische Wirklichkeit wird vorgestellt und ideagen hergestellt. Dies ist der Punkt, an dem Foucaults Konzept der Heterotopien befragt wer-den kann, das sich einige Berührungspunkte mit Augés Theorie der Nicht-Orte teilt. Bei Augé sind Nicht-Orte "Räume, die in Bezug auf bestimmte Zwecke (Verkehr, Transit, Handel, Freizeit) konstituiert sind." (Augé 2012: 96) Als Beispiele nennt er u.a. die Autobahn, den Supermarkt und den Flug-hafen. (Vgl. Augé 2012: 97) Nicht-Orte sind nicht grundsätzlich heterotope Räume im Sinne Foucaults, bisweilen jedoch kommt auch ihnen "die merk-würdige Eigenschaft" zu, "in Beziehung mit allen anderen Orten zu stehen, aber so, dass sie alle Beziehungen, die durch sie bezeichnet, in ihnen ge-spiegelt und über sie der Reflexion zugänglich gemacht werden, suspendie-ren, neutralisieren oder in ihr Gegenteil verkehren." (Foucault 1993: 38) Nach Foucault funktionieren nicht automatisch alle "vorübergehende[n]

Nwadjahane, a small village in southern Mozambique, is set apart from other settlements as the birthplace of Eduardo Mondlane, one of the nation's founding fathers. Declared a national heritage site and made into an open-air museum, Nwadjahane has become a landscape where national and local memories are negotiated. Mondlane is at once a national hero celebrated with statues, exhibitions, and commemorations, as well as locally linked to ancestors and memorialized through ritual sites and museum anthropo lo gy

Öz: Michel Foucault; 19. yüzyılın tarih, 20. yüzyılın ise mekân çağı olduğunu belirtir. Bundan dolayı Foucault, toplumu çözümlerken mekâna özel bir önem vermiş; getirmiş olduğu "heterotopya" kavramı ile sosyal bilimler alanında mekâna dair söylemleri genişletmiştir. Heterotopya, kültürden kültüre farklılık gösterebilir ve tek bir mekânın içinde birçok zaman ve mekânı barındırabilir. Heterotopyanın bu iki özelliği, Ahmet Hamdi Tanpınar'ın Ankara, Konya, Erzurum, Bursa ve İstanbul'u anlattığı Beş Şehir adlı eserini çözümlemek için de önemli veriler sunar. Tanpınar'ın seçtiği beş şehir, birçok farklı medeniyete ev sahipliği yaptığı için farklı medeniyetlerin kendilerine özgü dokusu mekâna işlemiştir. Dolayısıyla bahsedilen her mekânda farklı zamanların izlerine rastlanır. Bu makalede Michel Foucault'nun çalışmaları ekseninde Tanpınar'ın Beş Şehir'inde yer alan heterotopik mekânlar incelenecektir. Abstract: Michel Foucault states that the 19 th century is the age of history, and the 20 th century is that of space. He attached special importance to space in analyzing societies utilizing the concept of "heterotopia", a term he introduced expending thus the discourse on space in the field of social sciences. Heterotopia can differ from one to another cultural areas and can accommodate different periods and places within a single space. These two features of heterotopia also provide important tools for analyzing Ahmet Hamdi Tanpınar's book Five Cities where he describes the cities of Ankara, Konya, Erzurum, Bursa and Istanbul. The five cities chosen by Tanpınar host many different civilizations, their unique nature embedded into space. Therefore, traces of different eras are observed in every place mentioned. In this article, heterotopic places in the Beş Şehir novel of Tanpınar will be examined following the theoretical framework of Michel Foucault's works.

The current research is an attempt at highlighting what really happens with genres during the postmodernist period, as informed opinions related to the issue vary tremendously in angle and strength. Some critics talk about genre dissolution during Postmodernism, others talk about genres becoming modes, while others talk about genre bending, and about blending genres, styles, and tones. It would be incredibly hard to talk about genres in general, without trying to analyse an instance of individual genre, in order to uncover how it manifests at the level of text. Therefore, for the purpose of this study, Fantasy fiction has been chosen to be analysed synchronically, in the context of postmodernist influence and its claim of genre dissolution. Since, it would be impossible to analyse every instance of genre, a corpus of works pertaining to Neil Gaiman has been selected, in order to perform such an analysis. It consists of five novels marketed as belonging to discrete genres: Neverwhere, American Gods, Stardust, The Graveyard Book, and The Ocean at the End of the Lane. After a short overview of genre criticism, and of some individual genres, the analysis tools are introduced, relevant to the identification of genre cues. The corpus is analysed through the lens of structural narratology, poststructural, and postmodern criticisms, in order to identify the genre traits in the selected corpus.

In William Kentridge’s The refusal of time (2012), comment on time as both a scientific and a human entity is produced. A complex mix of the visual and nominal vocabularies of early ‘rudimentary’ technological invention, scientific experimentation and contemporary digital language
characterises the artwork. Conceptually, the structural, technological and visual components of the work predominantly articulate figure tropes of space, time and motion. The work is explored through the lens of heterotopia as articulated by French philosopher Michel Foucault, with special attention to the artist’s articulation of space, time and motion. The construal proceeds through the investigation of the visual metaphors implied by the organisation of space; the depiction of movement; time ticking; the allusion to human beings’ fascination with invention, science and technology; and the products thereof, especially the creation of automatons. Interpreting the work as representing heterotopic temporality in space, it is argued that such heterotopic entities defy clock time as stringent ‘regular’ time. Examination of the meta-narratives on science and technology alluded to in The refusal of time is conducted, including mention of the early development of
automatons; Modernistic French thought; advancements in Physics around 1900; and postmodern takes on science and technology.

Abstract
Public realm, one of the concepts propounded by Jürgen Habermas and Hannah Arendt can be regarded as decentralized and anonymous communication networks on common interests which combine various disciplines of communication. This realm and its function in various fields, despite the different interpretations offered by scholars, is one of the concerns of contemporary thinkers. On the other hand, more recent concept of third space have been mentioned by contemporary thinkers such as Edward Soja and Homi Bhabha. By utilizing this subject, this research attempts to answer this question “By using the concept of the third space, how can the public realm be revived for the target group of women in the study?” Spaces such as cafes, as observed in this study, have been able to attract more women as the main audience; therefore, the reason behind this and the function of these spaces are the focus of this research. The current study has been carried out by the ‘Qualitative research’ approach along with interpretive paradigm in terms of methodology. The ethnographic method was employed for the application of the results of the literature review and observations in the central district of Tehran (Enghelab Street) with respect to the target group of women.

Calling into context the polemics surrounding the notion of space, this paper deals with certain pertinent questions regarding digital spaces by critically engaging with the representation of hybrid realities and the subsequent delineation of identities therein through an analysis of Dave Eggers’ dystopian/ speculative fiction The Circle (2013).  Situating the text in the third space problematized within literary and popular culture, this paper looks into the representation of subjectivity(ies) of Mae, the protagonist, who in the process of going transparent comes to occupy a heterotopia as conceptualised by Michel Foucault in “Of Other Spaces: Utopias and Heterotopias”.  Jon L. Berquist contends, for Foucault, heterotopias are not imagined places but real places that almost delete themselves from public consciousness. They are null sites in awareness, yet inevitable and vital to the construction of space. This paradoxical situation is probed in the paper by problematizing the representations of governmentality, citizenship, privacy and cartographic invisibility/visibility. In the narrative the protagonist seems to be working with apparent tensions among visibility, transparency, and invisibility and seems to be declaring an inherent paradox that total visibility or going transparent is the only way to move back to the stage of invisibility. In effect, this paper probes the boundaries of cultural imagination and contemporary spatial practices within the immediate context of digital culture and cultural globalisation.
Keywords: Heterotopia, Digital Space, Subjectivity, Hybrid Realities/Identities, Cartographic Visibility/Invisibility

Crear un intersticio sagrado para nacer. Un análisis antropológico de ejercicio de la partería profesional urbana en una casa de partos en México Yaredh Marín Vázquez To create a sacred interstice to be born. An anthropological analysis of the excersice of the urban professional midwifery in a midwifery house in Mexico Recibido: 1 de octubre de 2019. Aprobado: 2 de enero de 2020. Resumen En este texto analizo la práctica contemporánea de parteras profesionales urbanas en una casa de partos. Me interesa mostrar cómo estas mujeres construyen su profesión y lugar de trabajo en diálogo con procesos locales, nacionales y globales. Mi reflexión proviene del trabajo etnográfico con el equipo de La casa de Iemanjá, casa de partos ubicada en una de las metrópolis más densamente pobladas del país. Argumento que estas parteras construyen mutuamente su práctica profesional y la casa de partos como expresiones sacras en un esfuerzo por deslindarse del régimen biopolítico dominante de atención al na-cimiento. Mediante el análisis antropológico de prácticas, discursos, objetos y espacios, muestro la pertinencia de comprender la casa de partos como una espacio-temporalidad heterotópica, sustentada en una lógica que pretende subvertir y compensar procesos de violencia atribuidos al ejercicio biomédico, no sin traslapes, ambigüedades y contradic-ciones. Palabras clave: partería profesional, casa de partos, heterotopías, cualisignos, utopías, materialidad del documento. Abstract In this text I analyze the contemporary practice of urban professional midwives in a midwifery house. I am interested in showing how the parties build their profession and workplace in dialogue with local, national and global processes. My reflection emerges through ethnographic work with the team of La casa de Iemanjá, a house of midwifery located in one of the most densely populated metropolis in the country. I argue that these midwives mutually construct their professional practice and the midwifery house as sacred expressions in an effort to demarcate themselves from the dominant biopoli-tical regime of birth care. Through the anthropological analysis of practices, speeches, objects and spaces I show the relevance of understanding the delivery house as a hete-rotopic space-time based on a logic that aims to subvert and compensate the process of violence attributed to the biomedical exercise, not without overlaps, ambiguities and contradictions.

Serialität ist nicht nur „da draußen“ bei den „üblichen Verdächtigen“ wie Fernsehen oder Film zu finden. Sie umgibt uns — im Wohnraum, auf der Straße, im Supermarkt, im Museum, in der Stadt, von Stadt zu Stadt — sie prägt unseren Alltag zwischen Verlässlichkeit, Monotonie, Progression und paradoxer Vermengung von Vergangenheit und Zukunft.  Um diesen Umstand, diese Reichweite des Seriellen, zu illustrieren, liegt diesem Text ein anschaulicher narrativer Leitfaden zugrunde — ein durchaus durch den Leser/die Leserin nachvollziehbarer Spaziergang durch Weimar.

....plays like Funnyhouse of a Negro  (1964) and the Owl Answers (1965) are part of Adrienne Kennedy’s attempt to a) stage the (im)possibilities of racial “difference” (by locating the “trace”—that is the sum of all possible relations whether isolated or not, which inhabit and constitute the black cultural sign) and b) dramatize through this “difference” the crisis of the new age that is marked by a crisis of self-authenticating knowledge, authority, identity and ethics.....