There Is a There There
Place in African Cityscapes
Bibliographic Data
| ID | 12910771 |
|---|---|
| Authors | Carol Magee (0000-0001-7921-3532, corresponding author) |
| Year | 2014 |
| Volume | 7 |
| Issue | 1 |
| Pages | 41-62 |
| Publication date | 2014-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Photography and Culture (JOURNAL) |
| Journal identifiers | ISSN: 1751-4517 • E-ISSN: 1751-4525 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.2752/175145214x13936100122327 |
| OpenAlex | W2013632293 |
| Language | EN |
| Citations received | 1 |
| References cited | 13 |
This essay proposes a theoretical framework, based in the philosophy and aesthetics of Yoruba people (Nigeria), for interpreting urban photographic series. To do so I look at oríkì, a form of Yoruba oral literature, and the ways in which it resonates and intersects with Western philosophical conceptualizations of place and urban and literary theory to engender a rich and complex sense of place. I argue this by exploring two series of cityscapes: Akinbode Akinbiyi's “Lagos: All Roads,” which depicts Lagos Nigeria, and Mouna Karray's “Murmurer,” depicting Sfax, Tunisia
Aesthetics · Art · Epistemology · Linguistics · Sense of place · Social science · Sociology · Urban theory · Yoruba · Engineering · History · Philosophy · Postcolonial and Cultural Literary Studies · Public Spaces through Art · Visual Culture and Art Theory
I Could Speak Until Tomorrow
Composing time and space in Yoruba art
Genre and the African City
To See that the Empress has No Clothes
The Memory of the Senses
Forced eviction and forced relocation in Nigeria
Fakes, Fakers, and Fakery
New Media, Cultural Heritage and the Sense of Place
Eshu-Elegba
Photography
| Citations per year | 0.13 |
|---|---|
| Citation span | 2018 - 2018 (1) |
| Highly cited | No |