Great Good Place Research Articles

Precursory Prevention: Togetherness for Better Health

Precursory Prevention: Togetherness for Better Health

Walking into Democratic Citizenship: Anti-Corruption Protests in Romania’s Capital

Walking into Democratic Citizenship: Anti-Corruption Protests in Romania’s Capital

アウトリーチの観点から見た市立移動図書館の役割と意義 : 「第三の場」理論を下敷きにして(現場からの提言)

アウトリーチの観点から見た市立移動図書館の役割と意義 : 「第三の場」理論を下敷きにして(現場からの提言)

Building Community, Breaking Barriers: Little Free Libraries and Local Action in the United States

Building Community, Breaking Barriers: Little Free Libraries and Local Action in the United States

A Taste for Murder: The Curious Case of Crime Fiction

A Taste for Murder: The Curious Case of Crime Fiction

Libraries' Social Role in the Information Age

Recently, The New York Times asked whether we still need libraries ([ 1 ][1]). The answer is yes, but the role of libraries in our society is changing. Traditionally, the library's goal has been to store the information generated by society. People would visit libraries for the purpose of accessing this information with the help of a librarian. With the advent of the Internet, the Web has assumed the traditional role of libraries, and search engines (such as Google) have assumed the role of the librarians. However, we believe that there are new opportunities for the libraries in the current information and knowledge society. In the 1980s, Ray Oldenburg theorized that people spend most of their time at home and at the workplace, and much of their remaining time in spaces dedicated to the social life of the community, such as coffee shops, bookstores, bars, and hair salons, which are central to the vitality of a democracy ([ 2 ][2]). Libraries can also serve as social spaces. To transition into this new role, libraries should begin to focus on the users rather than the collection of information. Libraries should have social spaces of learning, thinking, and reading, where people can share their experiences and knowledge. People could go to the library to check out books, use the Internet, read a book or a newspaper, or watch a documentary; as well as to learn how to open a bank account or start a business; discuss the problems of their neighborhood or country; take classes in poetry, theater, or film; or learn good eating and health habits—all while having a drink with other users. In this paradigm, the library will belong to the community. People are already demanding these new services from libraries. In many countries, including the United States, United Kingdom, and the Netherlands, the public is losing interest in traditional public libraries of information, but pilot experiences with the new format of libraries are emerging and succeeding ([ 3 ][3]). In Spain, the local authorities of the city of Granada decided to close a public library located in the popular district of Zaidin. The council did not predict the residents' outcry, because it did not understand that the library played a central role as a social place for the community. Local residents, both young and old, struggled for a year to reopen the library, taking their grievances to the streets, the media, social networks, and government authorities. They gained the support of prominent people in the Spanish cultural scene (such as the writer Antonio Munoz Molina) as well as many of the residents of Granada. In January, they succeeded in reopening the library. Clearly, their library was more than a simple repository of information ([ 4 ][4]). ![Figure][5] Community. Local residents protest the closing of a library in Granada. CREDIT: INMA VILLAR LibQUAL is a standard technique for assessing the quality of libraries according to users' satisfaction with respect to three aspects: the physical space, the staff, and information control. In our quality assessment studies ([ 5 ][6]), we have observed that students are not concerned about the library's collection, but want development of the physical dimension of libraries and the creation of social spaces. Libraries must adapt to stay relevant in today's society. 1. [↵][7] “Do we still need libraries?,” The New York Times (27 December 2012); [www.nytimes.com/roomfordebate/2012/12/27/do-we-still-need-libraries][8]. 2. [↵][9] 1. R. Oldenburg , The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community (Paragon House, New York, 1989). 3. [↵][10] International Federation of Library Associations (IFLA), Section on Library Buildings and Equipment, Newsletter, 1 (2012); [www.ifla.org/files/assets/library-buildings-and-equipment/newsletters/2012-1.pdf][11]. 4. [↵][12] La Biblioteca de las Palomas Renace ([http://nocierrebibliotecadelzaidin.blogspot.com.es/2013\_01\_01_archive.html][13]). 5. [↵][14] 1. E. Herrera-Viedma , “Asegurar la calidad de los servicios bibliotecarios,” International Conference on University Libraries, National Autonomous University of Mexico, Mexico City, Federal District, Mexico, 7 to 9 November 2012 ([www.youtube.com/watch?feature=player_embedded&v=5eW99VNePmY][15]). [1]: #ref-1 [2]: #ref-2 [3]: #ref-3 [4]: #ref-4 [5]: pending:yes [6]: #ref-5 [7]: #xref-ref-1-1 View reference 1 in text [8]: http://www.nytimes.com/roomfordebate/2012/12/27/do-we-still-need-libraries [9]: #xref-ref-2-1 View reference 2 in text [10]: #xref-ref-3-1 View reference 3 in text [11]: http://www.ifla.org/files/assets/library-buildings-and-equipment/newsletters/2012-1.pdf [12]: #xref-ref-4-1 View reference 4 in text [13]: http://nocierrebibliotecadelzaidin.blogspot.com.es/2013_01_01_archive.html [14]: #xref-ref-5-1 View reference 5 in text [15]: http://www.youtube.com/watch?feature=player_embedded&v=5eW99VNePmY

Nespresso: Branding the "Ultimate Coffee Experience"

Nespresso: Branding the "Ultimate Coffee Experience"

Anchoring and Exposing in the Third Place: Regular Identification at the Boundaries of Social Realms

Harry’s is my favourite bar in my neighbourhood. It is a small wine bar, owned by three men in their late thirties and targeted at people like them; my gentrifying inner city neighbourhood’s 20 to 40 something urban middle class. Harry’s has seats along the bar, booths inside, and a courtyard out the back. The seating arrangements mean that larger groups tend to gather outside, groups of two to four spread around the location, and people by themselves, or in groups of two, tend to sit at the bar. I usually sit at the bar....

Henry James Rides Again

This essay explores Henry James's friendship with Alice Bartlett, a favorite companion in equestrian adventures during James's 1873 residence in Rome. Reading James's travel essay "Roman Rides" in the context of the mutual friendship of James, Bartlett, and the Emersons suggests that Bartlett profoundly influenced James, albeit in oblique, unacknowledged, and sometimes belated ways. "Roman Rides," to which Bartlett provided impetus, presents a textual response to the Roman Campagna that reflects James's early engagement with Emersonian Transcendentalism. This response reverberates, in transmuted form, in the fiction of the late, modern James, as revealed in the tale "The Great Good Place."

“The great good place” where the great want is met: psychoanalytic reflections on the short story by Henry James

AbstractHenry James (1843–1916) was a prolific storyteller who supported himself by his writing. During times of frustration and disappointment, he would become depressed. His therapy was to keep busy with his pen. Though much of his writing is difficult to read, his astute observations of people's psychological functioning make the reading all worthwhile. In his later years, beginning with this story, he became more self observant, and his stories increasingly draw on his own childhood emotional experiences and become cautionary tales about how best to live one's life. This story precedes “The Beast in the Jungle” by five years. Dr Young's paper on that novella was published in this journal in 2007. Copyright © 2008 John Wiley & Sons, Ltd.

Virtual “Third Places”: A Case Study of Sociability in Massively Multiplayer Games

Georg Simmel [American Journal of Sociology 55:254---261 (1949)] is widely credited as the first scholar to have seriously examined sociability --- "the sheer pleasure of the company of others" and the central ingredient in many social forms of recreation and play. Later Ray Oldenburg [The Great Good Place. New York: Marlowe & Company (1989)] extended Simmel's work by focusing on a certain class of public settings, or "third places," in which sociability tends to occur, such as, bars, coffee shops, general stores, etc. But while Simmel and Oldenburg describe activities and public spaces in the physical world, their concepts may apply as well to virtual or online worlds. Today Massively Multiplayer Online Games (MMOGs) are extensive, persistent online 3D environments that are populated by hundreds of thousands of players at any given moment. The sociable nature of these online spaces is often used to explain their success: unlike previous video games, MMOGs require players to exchange information and collaborate in real-time to progress in the game. In order to shed light on this issue, we critically examine player-to-player interactions in a popular MMOG (Star Wars Galaxies). Based on several months of ethnographic observations and computerized data collection, we use Oldenburg's notion of "third places" to evaluate whether or not the social spaces of this virtual world fit existing definitions of sociable environments. We discuss the role online games can play in the formation and maintenance of social capital, what they can teach us about the evolution of sociability in an increasingly digitally connected social world, and what could be done to make such games better social spaces.

Ordered Communities

Ordered Communities

Bissell's "Great Good Place" and the History of Higher Education in Canada: Reflections on the Symposium

Bissell's "Great Good Place" and the History of Higher Education in Canada: Reflections on the Symposium

Review: The Great Good Place. The Country House and English Literature

Review: The Great Good Place. The Country House and English Literature

The Catholic Side of Henry James.

Preface Calendar: chief items of Catholic interest in Henry James Documentation Part I. Bibliographical Leads, Historical Considerations Part II. Representing Catholicity: 1. The Protestant base 2. Liberalism 3. The picturesque 4. The question of religious audience 5. Sacred seculars in the tales 6. Sacred seculars: novel, letter, and notebook 7. Death and literary form Part III. The Narratives of Catholic Conversion: 1. Watch and Ward (1871) 2. Italian sketches and Italian tales (1870-5) 3. Roderick Hudson (1875) 4. The American (1876-7) 5. Attenuations: The Reverberator (1888) 6. Supersubtlety one: What Maisie Knew (1897) 7. Supersubtlety two: The Turn of the Screw (1898) Part IV. Pas de quatre: 1. Catholicity neat: 'Gabrielle de Bergerac' (1869) 2. Secularizing Catholicity: 'The Altar of the Dead' (1895) 3. Protestantizing Catholicity: 'The Great Good Place' (1900) 4. Satirizing secularity: 'The Birthplace (1903) Part V. The Catholic Menage as Literary Space: 1. 'De Grey: A Romance' (1868) 2. Guy Domville (1893, 1895) 3. The Golden Bowl (1904): the crown of his career Part VI. 'Prove that I'm Not!' - Toward the Impossibility of Interpretation Notes Index.

Bodley Harm:

As a comic genre, the British detective novel of manners is traditionally concerned wtih the restoration of the threatened innocence of what W. H. Auden has called "The Great Good Place." Among the various forms of "The Great Good Place" (the country house, the university, the vicarage) is the library, a place redolent of and symbolic of the values of Western civilization. The library, especially private and rare book library, functions as an effective setting for the mechanics of "detective business," as a variant of the sealed room. But most important is the role of the library as a repository of the heritage of civilization, as in novels by Josephine Tey, Dorothy Sayers and Michael Innes. Innes' Operation Pax, in particular, which is an Oxford novel par excellence, centers its action concentrically in the heart of the English countryside, the City of Oxford, the University itself, and finally the Bodlein Library, which functions effectively both as a dramatic setting of labyrinthine complexity and as a center of the book's ethos, evoking not so much a world observed, or even a world nostalgically remembered, but rather a world poetically imagined.

The Great Good Place: The Country House and English Literature. Malcolm Kelsall

Previous articleNext article No AccessBook ReviewsThe Great Good Place: The Country House and English Literature. Malcolm Kelsall Terence DewsnapTerence Dewsnap Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Volume 1, Number 2SPRING 1994 Article DOIhttps://doi.org/10.1086/studdecoarts.1.2.40662500 Views: 1Total views on this site Journal History This article was published in Studies in the Decorative Arts (1993-2009), which is continued by West 86th (2011-present). Copyright 1994 The Bard Graduate Center for Studies in the Decorative ArtsPDF download Crossref reports no articles citing this article.

REVIEWS

Journal Article REVIEWS Get access The Great Good Place: The Country House and English Literature. BY MALCOLM KELSALL. Pp. xiv+210. Hemel Hempstead: Harvester Wheatsheaf, 1993. £22 50. LESLEY LEWIS LESLEY LEWIS London Search for other works by this author on: Oxford Academic Google Scholar The Review of English Studies, Volume XLV, Issue 180, November 1994, Pages 608–610, https://doi.org/10.1093/res/XLV.180.608 Published: 01 November 1994

Meaning in Henry James (review)

120 The Henry James Review authority that can determine meaning. But Chapman's book tends to cover up the strain of the ensuant writer-reader relationship, to hide James's will to power over readers and the world by evoking a mutuality of purpose. The book too easily highlights an already achieved collaboration, and too readily downplays the painful ambiguities of a world where authority is in question and raw materialism decides the fate of the arts. Chapman's resolution of the central ambiguities of James's stories has the advantage of producing eminently clear prose that would surely be a help to Jamesian neophytes; for better or worse, her prose has none of the densities of much poststructuralist analysis. Chapman's clarity seems to have been purchased, however, at the price of reducing James's work to some unexamined generalizations about the nature of art and power and of reader response, and of reducing James's painful ambiguities to a "convergence through the recognition of shared, mutually reinforcing intellectual and artistic ideals [that] creates the opportunity for human relations that are 'exquisitely personal,' as James describes them in 'The Great Good Place' " (54). Isn't it pretty to think we can have such relations? Donald Wolff Eastern Oregon State College Bell, Millicent. Meaning in Henry James. Harvard U P, 1991.384 pp. $45.00. Millicent Bell's Meaning in Henry James is a welcome addition to James scholarship. A substantial and well-researched book, it provides sensitive and thoughtprovoking interpretations of James's fictions. Meaning in Henry James explores the creation of meaning in James's writings, and employs close textual readings to support its author's attempt "to display how a story or novel of James's arouses expectations in us, stimulates us to hypotheses of its further course, and seems to propose and cancel meanings at successive moments" (10). Bell is a careful reader and her analysis of the varieties of ways in which James's texts achieve meaning is eloquent and persuasive. Bell's focus on the experience of reading James's fiction leads her to examine the ways in which meaning is constructed, re-constructed, and even deconstructed in James's texts. She contends that the process of decoding fiction is "open" (8) and that, ultimately, James's writings "resist summary and closure" (11). Bell's critical approach constitutes a blend of reader-response theory and New Critical technique, which enables her to trace the movement she discerns in James's prose, a movement that is "dictated by the author's language, which—like all language—brings not only immediate meanings to mind but expectations of future, more comprehensive frames of significance' ' (10). This is a laborious project and, in order to support her endeavor, the author examines the ways in which James's writings are "dynamically intertextual," by which she means that "they propose to the reader not one stable antecedent, but a sequence of possible relationships with cultural models of human experience, of character types and paradigmatic life histories, of literary genres and archetypal narratives, and even of specific literary models" (23). Meaning in Henry James supplies historical, biographical, and textual information on its subject. The author frequently draws parallels between James's readers and his characters, for, she contends, the Jamesian reader ' 'is encouraged to constantly renew efforts to integrate and interpret James's narratives, just as the fictional characters themselves B ook Reviews 121 struggle for self-definition" (42). Bell demonstrates how James's characters frequently engage in acts of reading much like the Jamesian reader, and she illustrates how both are engaged in efforts to construct meaning. Meaning in Henry James includes analyses of Daisy Miller, Washington Square, The Portrait of a Lady, The Bostonians, The Princess Casamassima, The Wings of the Dove, and The Ambassadors. While Bell devotes less attention to the early writings, her reading of Daisy Miller is particularly sensitive and allows her to explore the analogies that exist between James's and Winterbourne's attempts to typify Daisy. In so doing, she argues for the tale's topicality, since she believes that James's text manifests a parallel with contemporary readers' tendencies ' 'to place others in...

The great good place: the country house and English literature

This text examines ow the ideal of the country house has grown in English literature over the centuries. It tells the story of a distinctive English tradition, made so by the poets of the Renaissance, and shaped further by the novelists of the 18th century who depicted the country house as the ideal place for the good life. It is a tradition rooted in a literary past. The Great Good Place shows how our ways of seeing are shaped by reading. It looks at houses such as Penshurst Place, Stowe and Kelmscott, made famous by writers, and reads them in the light of those writings. Van Dyck's family portrait at Wilton acquires new meaning if seen in terms of the literature of the age; even the decoration of a stove at Kedleston has resonances which carry the reader back to the classical world. In this study, there is no division between the visual arts and literature, or between high culture and the commonplace. A novel, or a National Trust guidebook, a great landscape garden or the design of a dormer window all form part of the spectrum of meaning.