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Parkour and the City
In the increasingly popular sport of parkour, athletes run, jump, climb, flip, and vault through city streetscapes, resembling urban gymnasts to passersby and awestruck spectators. In Parkour and the City, cultural sociologist Jeffrey L. Kidder examines the ways in which this sport involves a creative appropriation of urban spaces as well as a method of everyday risk-taking by a youth culture that valorizes individuals who successfully manage danger. Parkour’s modern development has been tied closely to the growth of the internet. The sport is inevitably a YouTube phenomenon, making it exemplary of new forms of globalized communication. Parkour’s dangerous stunts resonate, too, Kidder contends, with a neoliberal ideology that is ambivalent about risk. Moreover, as a male-dominated sport, parkour, with its glorification of strength and daring, reflects contemporary Western notions of masculinity. At the same time, Kidder writes, most athletes (known as “traceurs” or “freerunners”) reject a “daredevil” label, preferring a deliberate, reasoned hedging of bets with their own safety—rather than a “pushing the edge” ethos normally associated with extreme sports.
On Savage Shores
We have long been taught to presume that modern global history began when the 'Old World' encountered the 'New', when Christopher Columbus 'discovered' America in 1492. But, as Caroline Dodds Pennock conclusively shows in this groundbreaking book, for tens of thousands of Aztecs, Maya, Totonacs, Inuit and others - enslaved people, diplomats, explorers, servants, traders - the reverse was true: they discovered Europe. For them, Europe comprised savage shores, a land of riches and marvels, yet perplexing for its brutal disparities of wealth and quality of life, and its baffling beliefs. The story of these Indigenous Americans abroad is a story of abduction, loss, cultural appropriation, and, a...
Cayetano de Acosta
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Palms
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Vicente Traver Tomás
Monografia sobre l'etapa sevillana de l'arquitecte castellonenc Vicente Traver Tomás, la tasca del qual a la capital hispalense entre 1913 i 1933 va resultar transcendentals per a la seua carrera artística i social i per a la configuració urbana de la ciutat de Sevilla. D'aquesta etapa destaca la participació de Traver en l'Exposició Iberoamericana de 1929 i 1930, la direcció arquitectònica de la qual va assumir al gener de 1927. José Carlos Pérez Morales, investigador de la Universidad de Sevilla, realitza un rigorós treball sobre les aportacions de Traver a l'Exposició Iberoamericana a partir de la bibliografia existent i, sobre tot, de nombrosa informació que fins al moment romania inèdita a diferents arxius. Amb tot això l'autor analitza les aportacions artístiques i urbanístiques d'un dels més prestigiosos arquitectes espanyols del segle XX sense passar por alt els trets més característics de la seua personalitat.
