What do tent cities, basketball courts, slave ships, and Facebook have in common? They are spaces of American culture where an idea of 'Americanness' emerges through a concrete form of contact on the one hand and through its mediated representation on the other. This collection of essays examines these contact spaces - and their myriad and complex configurations of culture - along a spatial axis, highlighting the interconnectedness of the local and the global in concrete spaces of American culture, both inside and outside the US, and from the world wide web. One line of inquiry studies metaphors of contact, the other one reads media texts as contact spaces and investigates the role of mediation. (Series: American Studies in Austria - Vol. 12)

America's sense of space has always been tied to what Hayden White called the narrativization of real events. If the awe-inspiring manifestations of nature in America (Niagara Falls, Virginia's Natural Bridge, the Grand Canyon, etc.) were often used as a foil for projecting utopian visions and idealizations of the nation's exceptional place among the nations of the world, the rapid technological progress and its concomitant appropriation of natural spaces served equally well, as David Nye argues, to promote the dominant cultural idiom of exploration and conquest. From the beginning, American attitudes towards space were thus utterly contradictory if not paradoxical; a paradox that scholars tried to capture in such hybrid concepts as the middle landscape (Leo Marx), an engineered New Earth (Cecelia Tichi), or the technological sublime (David Nye). Not only was America's concept of space paradoxical, it has always also been a contested terrain, a site of continuous social and cultural conflict. Many foundational issues in American history (the dislocation of Native and African Americans, the geo-political implications of nation-building, immigration and transmigration, the increasing division and clustering of contemporary American society, etc.) involve differing ideals and notions of space. Quite literally, space and its various ideological appropriations formed the arena where America's search for identity (national, political, cultural) has been staged. If American democracy, as Frederick Jackson Turner claimed, is born of free land, then its history may well be defined as the history of the fierce struggles to gain and maintain power over both the geographical, social and political spaces of America and its concomitant narratives. The number and range of topics, interests, and critical approaches of the essays gathered here open up exciting new avenues of inquiry into the tangled, contentious relations of space in America. Topics include: Theories of Space - Landscape / Nature - Technoscape / Architecture / Urban Utopia - Literature - Performance / Film / Visual Arts.

Occupying Space in American Literature and Culture inscribes itself within the spatial turn that permeates the ways we look at literary and cultural productions. The volume seeks to clarify the connections between race, space, class, and identity as it concentrates on different occupations and disoccupations, enclosures and boundaries. Space is scaled up and down, from the body, the ground zero of spatiality, to the texturology of Manhattan; from the striated place of the office in Melville’s "Bartleby, the Scrivener" on Wall Street, to the striated spaces of internment camps and reservations; from the lowest of the low, the (human) clutter that lined the streets of Albany, NY, during the Depression, to the new Towers of Babel that punctuate the contemporary architecture of transparencies. As it strings together these spatial narratives, the volume reveals how, beyond the boundaries that characterize each space, every location has loose ends that are impossible to contain.

This book examines hospitality in American immigrant literature and culture, situating it at the crossroads of space and border theory, and exploring themes of migration, citizenship, identity formation, and spatiality. Assessing the conditions, duration, and shifting roles of hosts and guests in the US, it visits recent representations of immigrant spatiality, from the space of the body in film to the ways in which immigrants are incorporated into the US in a range of literary examples. Timely and imperative in light of the legacies of colonialism, and the realities of modern-day globalization, this book will be of value to fields including post-colonialism, American Studies, and others.

This innovative study looks at the formation of ethnic and racial identities in relation to the development of urban culture. The concept of urban space provides the means of organization for comprehensive illustrations of a series of themes, including white paranoia and urban decline; imagined urban communities; urban crime and justice; the racialized underclass; globalization; and new ethnicities. Race and Urban Space in American Culture focuses on a wide range of contemporary film and literature (including works by African-American, Irish-American, Hispanic, Puerto Rican, and Iranian-American authors), and examines the ways in which representations of urban space define issues of rights, community and citizenship.

This innovative book looks at representations of ethnic and racial identities in relation to the development of urban culture in postindustrialised American cities. The concept of 'urban space' organises the detailed illustration of a series of themes which structure chapters on white paranoia and urban decline; memories of urban passage; the racialised underclass; urban crime and justice; and globalisation and citizenship.The book focuses on a range of literary and visual forms including novels, journalism, films (narrative and documentary) and photography to examine the relationship between race and representation in the production of urban space. Texts analysed include writings by Tom Wolfe (The Bonfire of the Vanities), Toni Morrison (Jazz), John Edgar Wildeman (Philadelphia Fire) and Walter Mosley (Devil in a Blue Dress). Films covered include Falling Down, Strange Days, Hoop Dreams and Clockers.Provocative and absorbing, this interdisciplinary treatment of urban representations engages contemporary theoretical and sociological debates about race and the city. Issues of space and spatiality in representations of the city are explored and the author shows how expressive forms of literary and visual representation interact with broader productions of urban space.

We typically take public space for granted, as if it has continuously been there, yet public space has always been the expression of the will of some agency (person or institution) who names the space, gives it purpose, and monitors its existence. And often its use has been contested. These new essays, written for this volume, approach public space through several key questions: Who has the right to define public space? How do such places generate and sustain symbolic meaning? Is public space unchanging, or is it subject to our subjective perception? Do we, given the public nature of public space, have the right to subvert it? These eighteen essays, including several case studies, offer convincing evidence of a spatial turn in American studies. They argue for a re-visioning of American culture as a history of place-making and the instantiation of meaning in structures, boundaries, and spatial configurations. Chronologically the subjects range from Pierre L'Enfant's initial majestic conceptualization of Washington, D.C. to the post-modern realization that public space in the U.S. is increasingly a matter of waste. Topics range from parks to cities to small towns, from open-air museums to airports, encompassing the commercial marketing of place as well as the subversion and re-possession of public space by the disenfranchised. Ultimately, public space is variously imagined as the site of social and political contestation and of aesthetic change.

Creative Spaces: Urban Culture and Marginality is an interdisciplinary exploration of the different ways in which marginal urban spaces have become privileged locations for creativity in Latin America. The essays within the collection reassess dom

Nye analyzes the transformation of the Grand Canyon and Niagara Falls into tourist sites, the history of light shows at world's fairs, the New Deal programs designed to provide electricity to rural areas, and the Apollo 11 moon to reveal how the spaces we live in and the technology we use are integral to American identity, and a key part of American self-representation. Nye also turns his attention to the Internet, where technology has not simply transformed space, but created a whole new kind of space, and with it, new stories. Nye analyzes the transformation of the Grand Canyon and Niagara Falls into tourist sites, the history of light shows at world's fairs, the New Deal programs designed to provide electricity to rural areas, the Apollo 11 moon landing, and the new narratives of the Internet to reveal how the spaces we live in and the technology we use are integral to American identity, and a key part of American self-representation. In examining the interaction of technology, space, and American narrative, Nye argues against the idea that technology is an inevitable and insidious controller of our lives.

This fluidly written first book uses Americans' reactions to the Apollo moon landings to examine cultural and social trends in the 1960s and 70s.