Urban Squares in Late Bronze Age Ugarit: a Street View on Ancient Near Eastern Governance

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This paper interprets ancient public space as a material correlate of civic communities, using the Late Bronze Age city of Ugarit as a case-study. Civic communities acted as significant political factor throughout the history of the ancient Near East, both as institutions (e.g., political assemblies) and as informal groups (the “town's crowd”). A growing body of evidence and innovative approaches shows that, particularly in the Upper Syrian Euphrates region of the Late Bronze Age (cf. above all Tell Bazi and Emar), these forms of social aggregation and political negotiation were influential and sometimes antagonistic alternatives to monarchical powers. In this paper, I approach the study of past communal political life by analyzing with an integrated, GIS-based methodology the planning and use of public squares at Ugarit. The contribution aims at highlighting the relevance of public space for understanding the balance of power in the cities of the Late Bronze Age and discussing the chances and limits of relating civic politics to specific features of the ancient urban design.

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The urban square has been a distinguishing characteristic of European cities for millennia. However, in the context of small towns, where the square is often the sole identifier of their physical urbanity, its role differs from that of large towns. This fact is substantial within national administrative systems that endorse desirable urban status to rural settlements endowed with urban morphology. It is also important in times of extensive EU-subsidized actions aimed at improving the quality of public space in small underresourced towns. However, many projects fail to draw from and respond to the specifics of the local context, and, by focusing on the details and disregarding the basics, they may defeat their purpose. Departing from extensive field observations in Poland, this paper puts theoretical framework and current trends in urban design into relation to various elements of a square's spatial configuration in order to arrive at degrees of their urban significance. By interpreting the fundamental values embedded in the morphology of market squares, this paper attempts to isolate the cultural archetypes that shape our perception of such places as urban. The proposed analysis could be used to meet the main goal of market square revitalization, namely to visually articulate urbanity.

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Imaginings of cities are powerful...imagination can be either an escape...or an act of resistance or both (Bridge and Watson 2000: 16). Imagination and the city are closely entwined for Gary Bridges and Sophie Watson who organise the relationship between the city and the imagination in two areas: how the city affects the imagination and how the city is imagined. They see that the city provides both constraints and stimulus on the imagination of all its inhabitants. From screenwriters to urban planners to policy makers to city visitors from suburbs or country towns, each person has his or her imagined city and this is reflected in the way we live (lifestyle), where we choose to live (urban versus suburban) and how we use public and private space. The effects of the city on the imagination are also apparent from the way cities are represented in film, the way they are planned and how they are produced in a range of discourses. 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These strategies are equally apparent in urban theorists like Morgan, Davis, Bridges and Watson; indeed even Jacobs can be seen as an early pioneer of CPTED with her views on natural surveillance. However, the application of these strategies differ in the separation of public and private space and how public space is designed and planned. Davis may concede CPTED's existence as perhaps only one small component of urban theory and practice that, for the most part, he argues, ignores the existing trend of fortifying the built and natural environment: Contemporary urban theory has been strangely silent about the militarisation of city life that is so grimly visible at street level (1992, 223). For Davis, who is referring to Los Angeles, Hollywood fiction has, ironically, been more realistic and politically perceptive in its representations of the urban. And these representations support Bridge and Watson's view of how the city affects the imagination as they only extrapolate from actually existing trends (Davis 1992, 223). Davis also sees a post-Liberal Los Angeles obsessed with the physical (security systems) and collaterally with policing of social boundaries through architecture. Such developments though are not unique to LA. In Australia the use of CPTED principles, though relatively low-key, are applied to the new Brisbane Busway Stations. In this instance it is the use of natural surveillance, a design concept primarily aimed at maximising the visibility of people and space through site location (parallel to highly utilised suburban streets and a major freeway) and site design (use of glass walls and bright lighting). The application of CPTED principles indicate that the role public space plays in a community has been in the imagination of the planning fraternity and the wider public for many years. Whilst the Brisbane Busway initiative may seem tame in comparison to enfortressed LA, Morgan reveals how CPTED principles have been key to urban and suburban planners in Australia since the late-nineteenth century and involved the imposition of middle-class ideals of how and where to live. Drawing on Sydney's urban planning response to two contrasting moral panics in the late-nineteenth and twentieth centuries, Morgan locates an ironic contrast between the fear of a dense and public sociability at the turn of the [20th] century and the contemporary fear of urban crime which is based on lack of sociability in street spaces that are not occupied or controlled (1994, 80). This contrast depicts the use of public space as associated with inner urban living to the more private existence of outer suburban living which has its roots in the urban planning undertaken in the late nineteenth century. The planning at that time was a response, in the main, to middle-class fears of social ills and disease that over-crowding in the inner city were thought to produce. This same middle class further extended their influence by pushing a population outward and in the process changed the use of public space by disconnecting the existing social and cultural networks of established communities. This outward movement eventuated in suburbs that were founded on the modernist thought of progress reflected in decentralisation, growth in car ownership and a denial of traditional urban life which were seen as dissonant and unacceptable (Morgan 1994, 82). These unacceptable traditions of a gregarious street life were controlled ultimately by urban planning through the design of new suburbs that were sold as a utopian landscape that offered land ownership a concept only previously dreamt or imagined. As the populace spread and thinned out, new communities developed. These new suburban arrivals adapted similar lifestyles and a degree of homogeneity formed within the community that eventually established and then fostered a socio-psychological division between public and private personas as suburban living nurtured a more private existence (1994, 84). This division is a very real danger to Jacobs' idea of a city as a street ballet and to Mumford's notion of urban drama as it takes the view of public space as not a place to stop and interact but as a space to be used, in many cases literally, as a thoroughfare to another private destination. This use of public space is exemplified in the everyday activity of driving a private vehicle straight from work to home. And, more importantly, this use of public space has detrimental affects on the role of public space, most noticeably on streets and sidewalks a city's most public of spaces. Jacobs recognises that the key to making a neighbourhood a community and making a city livable is, first and foremost, the use and safety of the street: Streets and their sidewalks, the main public places of a city, are its most vital organs, Jacobs suggests, and if a city's streets look interesting, the city does so (107). Jacobs addresses the issue of safety as the fundamental task of a city street and sidewalk and is critical of planners, and their inability to understand that people and their subsequent activity leads to attracting even more people to use or watch a sidewalk. By indicating that nobody watches an empty street, Jacobs implies that people do not seek emptiness from an urban setting and by removing the players from the drama also means removing the audience: in this case, the street's natural observers or, in CPTED terms, the safety net that natural surveillance can provide. Despite this apparent resonance between CPTED planning and critical urban theory, there are important distinctions. Mumford's sociological view of what a city is supports Morgan's and Jacobs' views that planners often did not understand the social web of community. In questioning the role of the city as a social institution Mumford identifies a handicap in that planners have had no clear notion of the social functions of the city...(and)... derive these functions from a cursory survey of the activities and interests of the contemporary urban scene (2000, 93). The risk as witnessed with the spread of garrison-suburbia is that the physical organisation of the city may deflate the essential drama and imaginative spur that Mumford believes a city requires. When Mumford identifies that the city fosters art and is art; the city creates the theatre and is the theatre (2000, 94) he is urging that planning considers the fulfilment of people's imaginations, or put another way, their fantasies. 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Public interest anthropology, political market squares, and re-scripting dominance: from swallows to ‘race’ in San Juan Capistrano, CA
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This article explores a disturbing irony of certain touristic festivals and heritage sites: although these festivals and sites tend to draw heavily on the language of shared heritage and community, the dominant narratives and cultural symbols embodied in these venues sometimes celebrate more traditional and problematic ‘racial,’ ethnic, and gender hierarchies. Via a case study of the annual swallows festival held in the California Mission town of San Juan Capistrano, this article offers an illustration of the value of embracing a public interest anthropology (PIA) framework for identifying and addressing the hidden racisms underlying some heritage tourism sites. Moreover, the article suggests that the political market square metaphor for conceptualizing tourism festival management could be productively reframed and paired with a PIA approach to facilitate more inclusive, color-blind approaches to developing tourism policy.

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Image of a Hanseatic city in the latest Polish architectural solutions
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  • Ewa Węcławowicz-Gyurkovich

The problem of the reconstruction of centres of Polish towns and cities after the destructions of the World War II evoke discussions even today. Over the first years after the war, in numerous cases the centres of historical cities and towns were lost; in the place of former market squares and networks of streets with tenements crowned with endwall trims, randomly dispersed concrete blocks of flats were erected, in order to satisfy urgent housing demands. The situation changed after 1980, when in Elbląg, Gdańsk, Szczecin, Kołobrzeg, a rule was adopted according to which the peripheral development of city quarters was to be recreated, restoring tenements located in historical plots of land, but contemporary in style, maintaining the silhouettes and sizes from years before. It is also possible to observe other activities in the solutions of the latest public utility buildings, which - often by using a sophisticated intellectual play - restore the climate and character of cities remembered and known from the past centuries. In the west and north of Europe there are many towns and cities, predominantly ports, which used to be members of Hansa. The organisation of Hansa, the origins of which reach back to the Middle Ages, associated a number of cities which could decide about the provision of goods to cities within a specific territory, and secure markets for products manufactured in them. Thanks to that, cities that belonged to Hansa were developing more rapidly and effectively, and the beginnings of their development within the territory of Germany and in the Baltic states date back to the 13th and 14th centuries. The peak period of the development of Hanseatic cities, where merchants were engaged in free trade with people from European countries, fell in the 14th and 15th centuries, but already in the 17th century there was a complete decline of Hansa, resulting from the occurrence of competition in the form of associations of Dutch and English cities, as well as the Scandinavian ones. From amongst Polish towns and cities, members of Hansa were e.g. Szczecin, Gdańsk, Kołobrzeg, Elbląg, as well as Cracow. In 1980 an association of partner cities of North Europe, dubbed a New Hansa, was established, the objective of which is to attract attention to the common development of tourism and trade. Nowadays, this New Hansa associates over a hundred cities, similarly to what once was in the medieval Hansa. Numerous Polish cities faced the problem of reconstruction after the destruction of the World War II. The effects varied. By adopting the programme of satisfying predominantly housing demands in the 1960s and 1970s, historical old towns in dozens of cities from amongst nearly 2 hundred destroyed by warfare of the World War II in the north and west of Poland were lost forever. Today we can still encounter ruins of Gothic churches in Głogów or Gubin, where in the place of a market square and tenements of townsmen, randomly located rows of typical four- or five-storey blocks of flats have been erected.

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