In exploring the career of Seki Hajime (1873-1935), who served as mayor of Japan's second-largest city, Osaka, Jeffrey E. Hanes traces the roots of social progressivism in prewar Japan. Seki, trained as a political economist in the late 1890s, when Japan was focused single-mindedly on "increasing industrial production," distinguished himself early on as a people-centered, rather than a state-centered, national economist. After three years of advanced study in Europe at the turn of the century, during which he engaged Marxism and later steeped himself in the exciting new field of social economics, Seki was transformed into a progressive. The social reformism of Seki and others had its roots in a transnational fellowship of progressives who shared the belief that civilized nations should be able to forge a middle path between capitalism and socialism. Hanes's sweeping study permits us not only to weave social progressivism into the modern Japanese historical narrative but also to reconceive it as a truly transnational movement whose impact was felt across the Pacific as well as the Atlantic.

In The City as Subject, Carolyn S. Loeb examines distinctive bodies of public art in Berlin: legal and illegal murals painted in West Berlin in the 1970s and 1980s, post-reunification public sculptures, and images and sites from the street art scene. Her careful analyses show how these developed new architectural and spatial vocabularies that drew on the city's infrastructure and daily urban experience. These works challenged mainstream urban development practices and engaged with citizen activism and with a wider civic discourse about what a city can be. Loeb extends this urban focus to her examination of the extensive outdoor installation of the Berlin Wall Memorial and its mandate to represent the history of the city's division. She studies its surrounding neighborhoods to show that, while the Memorial adopts many of the urban-oriented vocabularies established by the earlier works of public art she examines, it truncates the story of urban division, which stretches beyond the Wall's existence. Loeb suggests that, by embracing more multi-vocal perspectives, the Memorial could encourage the kind of participatory and heterogeneous construction of the city championed by the earlier works of public art.

In this dazzling multidisciplinary tour of Mexico City, Mauricio Tenorio-Trillo focuses on the period 1880 to 1940, the decisive decades that shaped the city into what it is today. Through a kaleidoscope of expository forms, I Speak of the City connects the realms of literature, architecture, music, popular language, art, and public health to investigate the city in a variety of contexts: as a living history textbook, as an expression of the state, as a modernist capital, as a laboratory, and as language. Tenorio’s formal imagination allows the reader to revel in the free-flowing richness of his narratives, opening startling new vistas onto the urban experience. From art to city planning, from epidemiology to poetry, this book challenges the conventional wisdom about both Mexico City and the turn-of-the-century world to which it belonged. And by engaging directly with the rise of modernism and the cultural experiences of such personalities as Hart Crane, Mina Loy, and Diego Rivera, I Speak of the City will find an enthusiastic audience across the disciplines.

This book considers twentieth and twenty-first century literary and cultural formations of the postcolonial city and the constitution of new subjects within it. Varma offers a reading of both historical and contemporary debates on urbanism through the filter of postcolonial fictions and the cultural fields surrounding and containing them. In particular, she presents a representational history of London, Nairobi and Bombay in the twentieth and twenty-first centuries and engages three key theoretical frameworks—the city within postcolonial theory and culture (its troubled salience in the construction of postcolonial public spheres and identities, from local, rural, ethnic/"tribal", and regional to "national", cosmopolitan and transnational subjects and spaces); postcolonial fictions as constituting a new world literary space and as a site of the articulation of contending narratives of urban space, global culture and postcolonial development; and postcolonial feminist citizenship as a universal political project challenging current neo-liberal and post neo-liberal contractions and eviscerations of public spaces and rights.

Winner of the 2017 Virginia Marie Folkins Award, Association of King County Historical Organizations (AKCHO) Winner of the 2017 Hal K. Rothman Book Prize, Western History Association Seattle would not exist without animals. Animals have played a vital role in shaping the city from its founding amid existing indigenous towns in the mid-nineteenth century to the livestock-friendly town of the late nineteenth century to the pet-friendly, livestock-averse modern city. When newcomers first arrived in the 1850s, they hastened to assemble the familiar cohort of cattle, horses, pigs, chickens, and other animals that defined European agriculture. This, in turn, contributed to the dispossession of the Native residents of the area. However, just as various animals were used to create a Euro-American city, the elimination of these same animals from Seattle was key to the creation of the new middle-class neighborhoods of the twentieth century. As dogs and cats came to symbolize home and family, Seattleites’ relationship with livestock became distant and exploitative, demonstrating the deep social contradictions that characterize the modern American metropolis. Throughout Seattle’s history, people have sorted animals into categories and into places as a way of asserting power over animals, other people, and property. In The City Is More Than Human, Frederick Brown explores the dynamic, troubled relationship humans have with animals. In so doing he challenges us to acknowledge the role of animals of all sorts in the making and remaking of cities.

The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

Introduction : a brief history of the recent past -- The (near) death and life of postwar American cities : the roots of contemporary placemaking -- The roaring '90s -- Into the twenty-first century -- Growing place : toward a counterhistory of contemporary placemaking -- Producing place -- Creating place -- Conclusion : Placemaking is for people.

This title provides an examination of the rise, evolution and decline of the city-state, from ancient times to the present day.