42 10 581 https://collections.ecu.edu/files/original/20/566/Syllabus_HONS_2011_22_AUG_16.pdf a70fb450c8a8e5937d1b16b1393a0f4a PDF Text Text HONS 2011: (A Fall 2016 Honors Seminar) BARCELONA: AN URBAN CULTURAL HISTORY Dr. Benjamin Fraser Contact Info: BATE 3324a / fraserb14@ecu.edu MW 2:00-3:15 Mamie Jenkins 104 (Regular Class Meetings) Brewster 212-D (Digital Humanities Class Meetings) COURSE DESCRIPTION: Barcelona: An Interdisciplinary Urban Cultural History is a course foregrounding the connections between landscape, art, culture and the hallmark material sites of this coastal Catalan capital. Students will approach this single global city from multiple perspectives: fictional and documentary film with English subtitles, science fiction in English translation, urban planning, and urban history. Student-led and professor-assisted discussions of readings, filmic and literary texts emphasize the city’s history and uneven geographical development. Key questions driving the course include: How is the city both an idea and a thing, both a material and an immaterial practice? How do the rural and the urban intersect in city and area planning? How is space constructed in certain interests? Who has the ‘right to the city’ and who is excluded from a full access to public space? And even, How are the struggles over access to Barcelona we will discuss similar or different from struggles over access to spaces in Greenville, NC or across the US? Many of the readings and films of the class focus on immigration and how the notion of belonging maps to space and place unevenly for immigrant populations. The relevance of this topic will be made concrete through visits by guest lecturers: a specialist in Urban Barcelona, a specialist in immigration to Spain, and two members of Greene County Health Care. Key sites in the city reflected in film and literature include architect Antonio Gaudí’s Sagrada Familia and Parque Güell, urban planner Ildefons Cerdà’s Eixample district extending beyond the city’s medieval walls, and touristic icons of the Olympic Village, the Plaça Cataluyna, the Ramblas and the Mediterranean sea itself. A digital humanities project (students may choose to work collaboratively or individually) will transpose original student writing into written, audio and video texts mapped onto an interactive map of Barcelona itself using tools such as garageband, iMovie, Final Cut Pro, and Omeka/Neatline software. No knowledge of Spanish, literature or film necessary. This class will actively promote study abroad, in Barcelona or elsewhere, as a way of pushing Honors Students to understand the twenty-first century’s increasing emphasis on population movements and flows from an interdisciplinary perspective. �COURSE LEARNING OBJECTIVES: —Understand the material and mental aspects of space/place and landscape —Understand the interdisciplinary (humanities, social science) nature of space —Demonstrate knowledge of Barcelona, identifying its key urban sites —Demonstrate knowledge of the components of film form and literary genre —Demonstrate a familiarity with digital tools —Evaluate the potential of digital projects for connecting disciplines —Evaluate how social marginality affects one’s right to space —Evaluate the connection between form and content across artistic products —Analyze the representation of Barcelona in filmic and literary texts —Analyze the experience of immigration across multiple global contexts —Create original analyses of urban culture in written, audio and/or video form —Create a collaborative or individual digital project using Omeka/Neatline ATTENDANCE POLICY: Students are required to attend all course meetings and are expected to actively contribute to class discussion. Students who are absent more than three class meetings will have their grade lowered by 4% for each absence over three. GRADING AT A GLANCE: 100-94% = A 93-90% = A89-87% = B+ 86-83% = B 82-80% = B79-77% = C+ 76-73% = C 72-70% = C69-67% = D+ 66-63% = D 60-62% = Dbelow 60% = F COURSE ASSIGNMENTS IN BRIEF: 10% Attendance and Participation 20% Student-led (professor-assisted) discussion of readings and cultural text 10% Weekly response papers (students complete 5 out of 8; 4-5 pages each) 60% Multi-component contribution to digital project COURSE ASSIGNMENTS IN DETAIL: 10% Attendance and Participation 20% Student-led (professor-assisted) discussion of readings and cultural text In preparing for discussions, student discussion leaders should: read / watch all assignments for the week; become ‘experts’ on the material, doing further research on the web or in the library to be able to answer student questions; create materials for a presentation and a handout. The students will lead their peers in a discussion of the cultural text and readings for that Monday, and the professor will help as needed. �10% Presentation using Prezi or Power Point with images (~15 minutes) 2% Introductory interactive activity 2% Background information about cultural text (creator, origin, addl. info, etc.) 2% A 2-3 sentence summary of each reading for the day 2% Between 5-10 factual comprehension questions – cultural text 2% Quality of delivery 10% Handout (basis of class discussion and help for others in the class) 2% Background information about cultural text (creator, origin, addl. info, etc.) 2% A 2-3 sentence summary of each reading for the day 2% Between 5-10 factual comprehension questions – cultural text 2% Between 5-10 brief quotations from the readings – to be used by others 2% Between 5-10 open-ended discussion questions – cultural text and readings 10% Weekly response papers (students complete 5 out of 8; 4-5 pages each) Weekly response paper instructions (5 out of 8 required) These are first-draft attempts to reflect on one or more specific sites in Barcelona presented in the cultural text and readings for the week. Try to blend information about the site itself (outside of the text) with how the site appears or is represented in the cultural text considered (in the film, prose, etc.). What is most important is to synthesize the elements of the cultural text and elements of the critical/supplemental readings. Beyond that, the point is to work on developing an engaging writing style. These weekly response papers should yield the raw material that you will refine in creating your audio, video and text work. Write about a site that interests you presented in the material for that week, whether it is major or minor, and seek out other information (cited appropriately) about that site. 5 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Paper quotes appropriately and concisely from most or all readings for the week Demonstrates a high level of originality, intellectual curiosity, creativity Specific places in Barcelona are the center of the paper, sustained throughout 4 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Student quotes appropriately and concisely from more than 1 reading for the week Evidence of originality, intellectual curiosity, creativity There is a focus on specific places in Barcelona but this focus could be improved 3 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Student quotes appropriately and concisely from more than 1 reading for the week Some weak references to specific places in Barcelona 2 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Some implied engagement with readings for the week Some weak references to specific places in Barcelona 1 Paper is under 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Little or no engagement with readings for the week evidenced �No reference to specific places in Barcelona 60% Multi-component contribution to digital project (student may choose collaborative or individual work; in the case of collaborative work by two people, each product must be double the words/time) 5% Audio file #1 (1’30”-2’00”) and accompanying 250-word written text 5% Audio file #2 (1’30”-2’00”) and accompanying 250-word written text 5% Audio file #3 (1’30”-2’00”) and accompanying 250-word written text 5% Video file #1 (1’30”-2’00”) and accompanying 250-word written text 10% Polished written text #1 750 words and accompanying image(s) 10% Polished written text #2 750 words and accompanying image(s) 10% Polished written text #3 750 words and accompanying image(s) 10% Revised weekly response paper, expanded to 5-6 pages/1500 words Audio file and/or Video file instructions (3 audio required, 1 video required) The idea is that these are refined, condensed, improved, and rewritten revisions of one aspect of the weekly response papers. Focus on writing clearly but intelligently for a broad audience and emphasize a concrete and ‘mappable’ location in Barcelona. 5 Suitable for publication Accompanying text is 250 words and matches exactly the audio No identifiable problems with either audio quality or audio editing Main point clear at outset, no edits needed to content Clear focus on a specific place in Barcelona Text/narration quotes appropriately and concisely from 3 readings from the class Video includes clear, relevant, and public-domain images, cited appropriately Demonstrates a high level of originality, intellectual curiosity, creativity 4 Accompanying text is 250 words and matches exactly the audio Identifiable problems with either audio quality or audio editing Main point clear at outset, only one minor edit needed in content Clear focus on a specific place in Barcelona Text/narration quotes appropriately and concisely from 2 readings from the class Video includes clear, relevant, and public-domain images, cited appropriately Evidence of originality, intellectual curiosity, creativity 3 Accompanying text is 250 words and matches exactly the audio Substantial problems with either audio quality or audio editing Main point is clear at outset but some content editing is needed throughout Clear focus on a specific place in Barcelona Text/narration quotes appropriately and concisely from 2 readings from the class Video includes clear, relevant, and public-domain images, cited appropriately 2 Accompanying text is not 250 words Substantial problems with both audio quality and audio editing Content focuses on specific place in Barcelona but main point not clear at outset Text/narration quotes appropriately and concisely from 1 reading from the class �There are problems with the video images, but images are cited appropriately 1 There is no accompanying 250-word text Audio quality is poor and audio editing is poor Content does not focus on a specific place in Barcelona Text/narration lacks appropriate and concise quotations from class readings There are problems with the video images, and images are not cited appropriately Polished written text instructions (3 required) The idea is that these are refined, condensed, improved, and rewritten revisions of one aspect of the weekly response papers. Focus on writing clearly but intelligently for a broad audience and emphasize a concrete and ‘mappable’ location in Barcelona. 5 Suitable for publication Written text is 750 words, accompanying image is appropriate No identifiable problems with writing quality or editing/organization of writing Main point clear at outset and throughout, no edits needed to content Paper quotes appropriately and concisely from 3 or more readings from the class Image is clear, relevant and is cited properly Demonstrates a high level of originality, intellectual curiosity, creativity 4 Written text is 750 words, accompanying image is appropriate Identifiable problems with either writing quality or editing/organization of writing Main point clear at outset and throughout, only 1-5 minor edits needed in content Paper quotes appropriately and concisely from 2-3 readings from the class Image is clear, relevant and is cited properly Evidence of originality, intellectual curiosity, creativity 3 Written text is 750 words, accompanying image is appropriate Substantial problems with either writing quality or editing/organization of writing Main point is clear at outset but some content editing is needed throughout Paper quotes appropriately and concisely from 2-3 readings from the class Image is clear, relevant and is cited properly 2 Written text is 750 words, accompanying image is appropriate Writing quality is poor and editing is poor Content focuses on specific place in Barcelona but main point not clear at outset Paper quotes appropriately and concisely from 1 readings from the class No image or image not cited properly 1 Written text is under 1000 words and/or no accompanying image Writing quality is poor and editing is poor Content does not focus on a specific place in Barcelona No image or image not cited properly Revised weekly response paper instructions (1 required) The idea is that these are refined, expanded, improved, and rewritten revisions of one aspect of the weekly response papers. Focus on writing clearly but intelligently for a broad audience and emphasize a concrete and ‘mappable’ location in Barcelona. �5 Suitable for publication Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins No identifiable problems with writing quality or editing/organization of writing Main point clear at outset and throughout, no edits needed to content Paper quotes appropriately and concisely from 3 or more readings from the class Demonstrates a high level of originality, intellectual curiosity, creativity Specific places in Barcelona are the center of the paper, sustained throughout Expansion indicates heavy revision and great improvement from weekly paper 4 Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Identifiable problems with either writing quality or editing/organization of writing Main point clear at outset and throughout, only 1-5 minor edits needed in content Paper quotes appropriately and concisely from 2-3 readings from the class Demonstrates some originality, intellectual curiosity, creativity Expansion indicates some revision and improvement from weekly paper 3 Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Substantial problems with either writing quality or editing/organization of writing Main point is clear at outset but some content editing is needed throughout Paper quotes appropriately and concisely from 2-3 readings from the class Demonstrates some originality, intellectual curiosity, creativity Expansion indicates some revision and improvement from weekly paper 2 Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Writing quality is poor and editing is poor Content focuses on specific place in Barcelona but main point not clear at outset Paper quotes appropriately and concisely from 1 readings from the class Demonstrates little originality, intellectual curiosity, creativity Scarce evidence of revision and improvement from weekly paper 1 Written text is under 1500 words Writing quality is poor and editing is poor Content does not focus on a specific place in Barcelona Demonstrates little originality, intellectual curiosity, creativity No evidence of revision and improvement from weekly paper WRITING INTENSIVE REQUIREMENTS: This course requires 20-25 pages of reflective, unedited writing-to-learn (5 response papers of 4-5 pages each) and also 18-19 pages of polished edited academic writing (creating 1 polished critical paper @ 5-6 pages/1250-1500 words, 3 polished critical written products @ 3 pages / 750 words each; and 4 polished critical audio/video products @ 1 page/250 words each). �UNIVERSITY WRITING PORTFOLIO REQUIREMENT: As part of campus writing assessments, you will submit one major writing project, along with a description of the assignment for that project and brief responses to four questions about your writing, near the end of this course. These materials will be uploaded to your "University Writing Portfolio," which you will access and create (if you have not already done so in a previous WI course) through the "iWebfolio Student portfolio" link in Pirate Port (https://pirateport.ecu.edu/portal/). Instructions for creating your University Writing Portfolio and uploading your materials are available online (www.ecu.edu/QEP) and in person at the University Writing Center (www.ecu.edu/writing/uwc), located in Joyner Library. You will be asked to answer the following Writing Self-analysis Questions: 1. What aspects of your writing in the project are effective and why do you think they are effective? 2. What do you think could be improved in your written project and how could it be improved? 3. Briefly describe the process you used to write the project. Do you think the process you used was effective? Why or why not? 4. Have you applied anything that you learned in previous WI courses, including English 1100 and 2201 (or the equivalent if taken at another institution), to the writing that you have done in this course? What have you applied and how have you applied it? HUMANITIES FOUNDATIONS GOALS: Goal 1. Students will learn the subject matter of at least one discipline in the humanities. (Film) Students will gain familiarity with the formal analysis of filmic texts, the relationship between form and content in a film (mise-en-scene, camera, sound, editing…). (Genre Literature) Students will gain familiarity with the central characteristics and the history of science fiction literature in Spain. Goal 2. Students will learn the research methodology applied by disciplines in the humanities. Students will gain practice in identifying themes and strategies of representation in both film and in literature and advancing original analyses of cultural products. These practices will be modeled by the professor and by secondary literature and will familiarize students with humanistic inquiry in a broad sense. Goal 3. Students will learn about the discipline’s contribution to general knowledge. In understanding and applying the research methodology characteristic of the humanities, students will appreciate how individual films and literature express perspectives on the �representation of the lived human experience in specific times and places. They will also tie these insights into problems that relate to the social sciences. INNOVATIVE INSTRUCTIONAL TECHNIQUES: This class is highly innovative in its use of a digital humanities approach to the culture of Barcelona. Thanks to a generous start-up grant I have added 8 MAC computers equipped with digital humanities software to the GIScience Lab in Brewster 212-D, and am working with Geography, Planning and Environment Chair Burrell Montz and GIScience Center director Tom Allen to open that space up for collaborative student work. Working with Wendy Creasey, Ginny Sconiers and Laurie Godwin of ITCS and the Multimedia Center I have been able to request a network installation of digital mapping software Omeka/Neatline. Students will use this software, as well as digital tools for the creation of audio and video files (garageband, iMovie, Final Cut Pro) to contribute their original analyses of cultural products to an individual or collective digital project on Barcelona. Students will have the option of contributing to a project that will be turned into an app. In addition, there will be a connection with the East Carolina region that centers on the theme of immigration. Both of the films Biutiful and En construcción foreground the theme of immigration to Barcelona (from China and Senegal; and from North Africa respectively). Having students converse with outreach workers from the organization Greene County Health Care, which serves 20,000+ migrants in the Eastern NC area, provides an opportunity that will connect the themes of these films with our area. ACADEMIC INTEGRITY: The following Academic Integrity Violations appear in the Academic Integrity policy of East Carolina University: A. Principle of Academic Integrity Academic integrity is expected of every East Carolina University student. Academic honor is the responsibility of the students and faculty of East Carolina University. B. Academic Integrity Violations--Academically violating the Honor Code consists of the following: 1. Cheating--Unauthorized aid or assistance or the giving or receiving of unfair advantage on any form of academic work. 2. Plagiarism--Copying the language, structure, ideas, and/or thoughts of another and adopting same as one's own original work. 3. Falsification--Statement of any untruth, either spoken or written, regarding any circumstances relative to academic work. 4. Attempts--Attempting any act that if completed would constitute an academic integrity violation as defined herein. PLEASE NOTE: Academic integrity is a fundamental value of higher education and East Carolina University; therefore, I will not tolerate acts of cheating, �plagiarism, falsification or attempts to cheat, plagiarize or falsify. Should I determine that an academic integrity violation has taken place, I reserve the right either to assign a grade penalty or to refer the case to the Office of Student Conflict Resolution for an Academic Integrity Board hearing. The minimum grade penalty that I will assign is an F for the assignment/course. Should it come to my attention that you have had a prior academic integrity violation, or if there are other aggravating circumstances, I will refer the case directly to the Office of Student Conflict Resolution. Should the Academic Integrity Board determine that you committed an academic integrity violation, you may be assigned a grade penalty and/or any other sanction allowed in the student Code of Conduct, up to and including suspension from the University. EMERGENCY CLOSINGS: To access University information about school closings IN CASE OF EMERGENCY: Severe weather: http://www.ecu.edu/cs-admin/oehs/emergency/severe-weather.cfm ECU Emergency notices (including closings): http://www.ecu.edu/alert/ Emergency information hotline: (252) 328-0062 STUDENTS WITH DISABILITIES: East Carolina University seeks to comply fully with the American with Disabilities Act (ADA). Students requesting accommodations based on a disability must be registered with the Department for Disability Support Services located in Slay 138. (252) 737-1016 (Voice⁄TTY) COURSE CONTENT: All course materials on Blackboard DUE DATES AT A GLANCE: Rule 1: If you miss an initial deadline, or resubmit an assignment, the highest possible score you may receive on an assignment is a 4.5 (out of 5; 90%). Rule 2: All assignments may be revised and handed in by the final exam date. Your new grade will replace the old grade (see rule 1). Weekly response papers: #1 Wednesday August 31 #2 Wednesday September 7 #3 Wednesday September 14 #4 Wednesday September 21 #5 Wednesday October 19 #6 Wednesday October 26 #7 Wednesday November 2 �#8 Wednesday November 9 Wednesday September 28 Audio file #1 and written text (250 words) Audio file #2 and written text (250 words) Polished Written text #1 (750 words) Wednesday November 15 Audio file #3 and written text (250 words) Polished Written text #2 (750 words) Monday December 12 (DATE OF FINAL EXAM) Polished Written text #3 (750 words) Video file and written text (250 words) Revised Weekly Response Paper (1500 words) +any rewrites/re-recordings may be turned in by the start of the final exam course period WEEK 1: [INTRODUCTION TO THE COURSE] Introduction to Barcelona / Introduction to the course Monday August 22 Professor-led discussion of readings and introduction to cultural text Bowen, William M. et al. “What Is Urban Studies?” Jacobs, Jane “The Uses of Sidewalks” Wirth, Louis “Urbanism as Way of Life” Mumford, Lewis. “What is a City?” Wednesday August 24 Professor-led discussion of readings and introduction to cultural text Vilarós, Teresa M. “A Cultural Mapping of Catalonia.” Elorza, Antonio. “Some Perspectives on the Nation-State and Autonomies in Spain.” Mar-Molinero, Clare. “The Politics of Language: Spain’s Minority Languages.” Fernández, Josep-Anton. “Becoming Normal: Cultural Production and Cultural Policy in Catalonia.” de Toro Santos, Xelís. “Negotiating Galician Cultural Identity.” Lasagabaster, Jesús María. “The Promotion of Cultural Production in Basque.” WEEK 2: [INTRODUCTION TO BARCELONA] This Week’s Cultural Text Hughes, Robert Barcelona the Great Enchantress (2004) Chapter 1 Monday August 29 �Student-led discussion of readings and cultural text [group 1] Choay, Françoise. The Modern City: Planning in the 19th Century Hall, Thomas. Planning Europe’s Capital Cities: Aspects of Nineteenth–Century Urban Development. Chapter on Barcelona. **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #1 Wednesday August 31 Professor-led discussion of readings and cultural text Degen, Mónica Montserrat. Sensing Cities: Regenerating Public Life in Barcelona and Manchester, Introduction. Resina, Joan Ramon. Barcelona’s Vocation of Modernity. Rise and Decline of an Urban Image, Introduction. **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #1 WEEK 3: [SAGRADA FAMILIA, PARC GÜELL, MONTJUÏC] This Week’s Cultural Text Teshigahara, Hiroshi Antonio Gaudí (1984) Monday September 5 No class – State Holiday Wednesday September 7 Student-led discussion of readings and cultural text [group 2] Sobrer, Josep Miquel. “Against Barcelona? Gaudí, the City and Nature.” Longhurst, Alex. “Culture and development: The impact of 1960s ‘desarrollismo’.” **FIRST AND LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #2 OPTIONAL READING: Kent, Conrad. “From Pleasure Gardens to Places Dures: Continuity and Change in Barcelona’s Public Spaces.” WEEK 4: [THE EIXAMPLE AND THE BARRIO CHINO] This Week’s Cultural Text Guerín, José Luis En construcción (2001) Monday September 12 Student-led discussion of readings and cultural text [group 3] Zarzoso, Alfons and Àlvar Martínez-Vidal. “Laboratory medicine and surgical enterprise in the medical landscape of the Eixample district.” Zarzoso, Alfons and José Pardo-Tomás. “Anatomy of an urban underworld: A medical geography of the Barrio Chino.” �**FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #3 Wednesday September 14 Professor-led discussion of readings and cultural text Loxham, Abigail “Barcelona under construction” Resina, Joan Ramon “The Construction of the Cinematic Image” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #3 WEEK 5: [PLAÇA CATALUNYA, RAMBLAS, PARC DE LA CIUTADELLA] This Week’s Cultural Text: Hughes, Robert Barcelona the Great Enchantress (2004) Chapter 2 Monday September 19 Student-led discussion of readings and cultural texts [group 4] Hochadel, Oliver and Agustí Nieto-Galan. “Introduction.” Hochadel, Oliver and Laura Valls. “Civic nature: The transformation of the Parc de la Ciutadella into a space for popular science.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #4 Wednesday September 21 Professor-led discussion of early short films: de Chomón, Segundo El hotel eléctrico/The Electric Hotel (1908) https://www.youtube.com/watch?v=aZFdaqQky2o de Chomón, Segundo Barcelone, principale ville de la Catalogne/Barcelona, Principal Town of Catalonia (1912) https://www.youtube.com/watch?v=Nw19vfHjAKw More available at: https://archive.org/details/segundodechomon Creating good quality digital audio and video files **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #4 WEEK 6: [GUEST SPEAKER WEEK] Monday September 26 Visitors: Dr. Stephen Vilaseca, Northern Illinois U Dr. Araceli Masterson, Augustana C **FIRST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #1, #2 **FIRST DAY TO TURN IN POLISHED WRITTEN TEXT #1 Wednesday September 28 Visitors: Steve Davis and Imelda Moye, Greene County Health Care **LAST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #1, #2 �**LAST DAY TO TURN IN POLISHED WRITTEN TEXT #1 WEEK 7: [PEER EDITING / TECHNICAL EDITING OF CONTRIBUTIONS] Monday October 3 Workshop contributions already turned in or in preparation Wednesday October 5 How to create videos with iMovie: Laurie Godwin, University Multimedia Center, ITCS WEEK 8: [FALL BREAK on Oct. 10, Dr. FRASER away Oct. 12] Monday October 10 No class – fall break Wednesday October 12 No class – Dr. Fraser away. In lieu of class, each student should continue working on: AUDIO FILES WITH WRITTEN TEXT #3 POLISHED WRITTEN TEXT # 2 WEEK 9: [SCIENCE FICTION AS IMMIGRATION] This Week’s Cultural Text Mendoza, Eduardo No Word from Gurb (1991) Monday October 17 Student-led discussion of readings and cultural text [group 5] Malmgren, Carl D. “Self and Other in SF: Alien Encounters.” Oxford, Jeffrey. “(De)Constructing Cultural Identity in Sin noticias de Gurb.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #5 Wednesday October 19 Professor-led discussion of readings and cultural text Santoro Domingo, Pablo. “Science Fiction in Spain: A Sociological Perspective.” Jameson, Fredric. “Science Fiction as a Spatial Genre: Generic Discontinuities and the Problem of Figuration in Vonda McIntyre’s ‘The Exile Waiting.’” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #5 WEEK 10: [MENTAL HEALTH AND HOSPITALS] �This Week’s Cultural Text García Roure, Abel Una cierta verdad [A Certain Truth] (2008) Monday October 24 Student-led discussion of readings and cultural text [group 6] Ochoa, S. et al. “Met and Unmet Needs of Schizophrenia Patients in a Spanish Sample.” Duñó, Rosó et al. “Subjective Quality of Life in Schizophrenia Outpatients in a Catalan Urban Site.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #6 Wednesday October 26 Professor-led discussion of readings and cultural text Conway, Madeline. “The Politics of Representation of Disability in Contemporary Spain.” Snyder, Sharon L. and David T. Mitchell “Body Genres: An Anatomy of Disability in Film.” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #6 WEEK 11: [AMUSEMENT PARKS] This Week’s Cultural Text Hughes, Robert Barcelona the Great Enchantress (2004) Chapter 3 Monday October 31 Student-led discussion of readings and cultural text [group 7] Sastre-Juan, Jaume and Jaume Valentines-Àlvarez. “Technological fun: The politics and geographies of amusement parks.” Ferran, Jordi and Agustí Nieto-Galan. “The city of electric light: Experts and users at the 1929 international exhibition and beyond.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #7 Wednesday November 2 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #7 WEEK 12: [POBLE NOU, THE OLYMPIC VILLAGE, THE MEDITERRANEAN] This Week’s Cultural Text González Iñárritu, Alejandro Biutiful (2010) Monday November 7 Student-led discussion of readings and cultural text [group 8] McNeill, Donald. “Barcelona: Urban Identity 1992-2002” �Sánchez, Antonio. “Barcelona’s Magic Mirror: Narcissism or the Rediscovery of Public Space and Collective Identity?” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #8 Wednesday November 9 Professor-led discussion of readings and cultural text Del Mar Azcona, María “‘We Are All Uxbal’: Narrative Complexity in the Urban Borderlands in Biutiful” Lefebvre, Henri “The Right to the City” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #8 WEEK 13: [VIDEO PROJECTS IN DISSH/GIS Lab Brewster D-212] Monday November 14 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **FIRST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #3 **FIRST DAY TO TURN IN POLISHED WRITTEN TEXT # 2 Wednesday November 15 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **LAST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #3 **LAST DAY TO TURN IN POLISHED WRITTEN TEXT # 2 WEEK 14: [VIDEO PROJECTS IN DISSH/GIS Lab Brewster D-212] [THANKSGIVING WEEK, NO CLASS ON NOV. 23] Monday November 21 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **FIRST DAY TO TURN IN POLISHED WRITTEN TEXT #3 **FIRST DAY TO TURN IN VIDEO FILE #1 WITH WRITTEN TEXT **FIRST DAY TO TURN IN REVISED WEEKLY RESPONSE PAPER EXPANDED **FIRST DAY TO TURN IN ANY REVISIONS (AUDIO #1, #2, #3; POLISHED #1, #2) Wednesday November 23 No class - Thanksgiving WEEK 15: [VIDEO PROJECTS IN DISSH/GIS Lab Brewster D-212] Monday November 28 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. Wednesday November 30 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. �WEEK 16: Monday December 5 Meet in Mamie Jenkins to discuss your favorite contribution informally 2-3 minutes Possibility of presenting final project to entire Honors College students and staff in public venue to be explored. FINAL EXAM DAY AND TIME Monday December 12, 2:00-4:30pm **LAST DAY TO TURN IN POLISHED WRITTEN TEXT #3 **LAST DAY TO TURN IN VIDEO FILE #1 WITH WRITTEN TEXT **LAST DAY TO TURN IN REVISED WEEKLY RESPONSE PAPER EXPANDED **LAST DAY TO TURN IN ANY REVISIONS (AUDIO #1, #2, #3; POLISHED #1, #2) PARTIAL LIST OF COURSE READINGS: FILMS (with English subtitles): García Roure, Abel, dir., Una cierta verdad [A Certain Truth] (2008) González Iñárritu, Alejandro, dir., Biutiful (2010) Guerín, José Luis, dir., En construcción [In Construction] (2001) Teshigahara, Hiroshi, dir., Antonio Gaudí (1984) de Chomón, Segundo, dir. El hotel eléctrico [The Electric Hotel] (1908); Barcelone, principale ville de la Catalogne[Barcelona, Principal Town of Catalonia] (1912) NOVELS (in English translation): Mendoza, Eduardo. Sin noticias de Gurb [No Word from Gurb], (English reprint 2007) NON-FICTION / SECONDARY READINGS: Bodenhamer, David J. John Corrigan, Trevor M. Harris, eds. 2010. The Spatial Humanities: GIS and the Future of Scholarship. Bloomington & Indianapolis. Bowen, William M., Ronnie A. Dunn and David O. Kasdan. 2010. “What is ‘Urban Studies’: Context, Internal Structure and Content.” Journal of Urban Affairs 32(2): 199–227. Choay, Françoise. 1969. The Modern City: Planning in the 19th Century. Trans. M.Hugo and G. R. Collins. New York: George Braziller. Conway, Madeline. “The Politics of Representation of Disability in Contemporary Spain.” Contemporary Cultural Studies. Ed. Barry Jordan and Rikki MorganTamosunas.London: Oxford UP, 2000. 251-59. Print. �Daniels, Stephen, Dydia DeLyser, J. Nicholas Entrikin and Douglas Richardson, eds. 2011. Envisioning Landscapes, Making Worlds: Geography and the Humanities. London and New York: Routledge. Dear, Michael, Jim Ketchum, Sarah Luria, and Doug Richardson, eds. 2011. GeoHumanities: Art, History, Text at the Edge of Place. Abingdon; New York: Routledge. Degen, Mónica Montserrat. 2008. Sensing Cities: Regenerating Public Life in Barcelona and Manchester. London & New York: Routledge. Duñó, Rosó, Esther Pousa, Cristina Domènech, Ainhoa Díez, Ada Ruiz, Roser Guillamat.“Subjective Quality of Life in Schizophrenia Outpatients in a Catalan Urban Site.” Journal of Nervous and Mental Disease 189.10 (2001): 685-90. Web. Accessed 15 Nov. 2015. http://schizophreniabulletin.oxfordjournals.org/content/29/2/201.full.pdf Epps, Brad, ed. 2002. “Barcelona and the Projection of Cataluña,.” Special Section of the Arizona Journal of Hispanic Cultural Studies 6: 191–287. Hall, Thomas. 1997. Planning Europe’s Capital Cities: Aspects of Nineteenth–Century Urban Development. London: E and FN SPON. Hughes, Robert. 1992. Barcelona. New York: Knopf. Jameson, Fredric. “Science Fiction as a Spatial Genre: Generic Discontinuities and the Problem of Figuration in Vonda McIntyre’s ‘The Exile Waiting.’” Science Fiction Studies 14.1 Loxham, Abigail. 2006. “Barcelona under Construction: The Democratic Potential of Touch and Vision in City Cinema as Depicted in En construcción (2001).” Studies in Hispanic Cinemas 3(1): 35–48. Malmgren, Carl D. “Self and Other in SF: Alien Encounters.” Science Fiction Studies 20.1 (1993): 15-33. McNeill, Donald. 1999. Urban Change and the European Left: Tales from the New Barcelona. London; New York: Routledge. Mumford, Lewis. 2005. “What is a City?” 1937. In The City Reader, Richard T. LeGates and Frederic Stout, eds., 3rd edition, 92–96. London: Routledge. Ochoa, S., J.M. Haro, J. Autonell, A. Pendàs, F. Teba, M. Márquez, and the NEDES Group. “Met and Unmet Needs of Schizophrenia Patients in a Spanish Sample.”Schizophrenia Bulletin 29.2 (2003): 201-10. Web. Accessed 15 Nov. 2015. Oxford, Jeffrey. “(De)Constructing Cultural Identity in Sin noticias de Gurb.” Ojáncano 25 (abril de 2004): 75-89. Resina, Joan Ramon. 2008. Barcelona’s Vocation of Modernity. Rise and Decline of an Urban Image, Stanford: Stanford University Press. Santoro Domingo, Pablo. “Science Fiction in Spain: A Sociological Perspective.” Science Fiction Studies 33.2 (2006): 313-31. Snyder, Sharon L. and David T. Mitchell “Body Genres: An Anatomy of Disability in Film.” The Problem Body: Projecting Disability on Film. Ed. S. Chivers, N. Markotić. Columbus: The Ohio State University Press, 2010. 179-204. Print. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Syllabus Subject The topic of the resource Digital Barcelona Syllabus Description An account of the resource Syllabus for the HONS2011 Class, a Fall 2016 Honors Seminar at East Carolina University Creator An entity primarily responsible for making the resource Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/20/2017 Language A language of the resource English Type The nature or genre of the resource Document https://collections.ecu.edu/files/original/20/565/Barcelona_International_Expo_1929.jpg 43c11c216edde26f5bfb4417ef215dc7 https://collections.ecu.edu/files/original/20/565/Barcelona_International_Expo_1929_2.jpg a4309eddf1e6f9738f50b479be5fe352 https://collections.ecu.edu/files/original/20/565/montjuic.jpg 1e5b426eac12a508d2a3b18becc7c193 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource International Exhibitions Subject The topic of the resource International Exhibitions Creator An entity primarily responsible for making the resource Camille Kresz Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/17/2017 Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Still Image https://collections.ecu.edu/files/original/20/564/Eixample_aire_OR.jpg 9e2e64c5bcc76834ba60c3b9d820e4df https://collections.ecu.edu/files/original/20/564/Rachel_Harris_-_Ildefons_Cerda_the_Eixample.pdf e73df340496650bc01faa55b36506674 PDF Text Text Ildefons Cerdà & the Eixample Due to the growth of the city, something had to be done to handle the larger population. The rational response was the development of more buildings for housing, shopping, and other things that are needed for city-life. Therefore, the Eixample was constructed. Built after the city had already been constructed, in essence, it is an addition or an annex. Even though the plan was formulated in the year 1855, it took a few years for the plans to be pushed into action. It was officially approved in 1859 but revised again in the year 1863. Eventually, the area would serve as a “solution to the problems of developing a new city on a grand scale” (Kent 2002: 224). The urban planner and architect behind this massive project was a Catalan named Ildefons Cerdà. Originally trained as a civil engineer, he devoted himself to politics and urban planning after the death of his brothers. When they did, it resulted with him inheriting a fortune. Once he discovered that the government decided to listen to the people’s pleading to tear down the city walls, he realized that the new extension was in peril of being designed just like the old town. He knew that if it was designed to model the Barcelona at the time, the area would be too uninhabitable and unattractive—not to mention unhealthy and unclean. Despite all his hard work, he passed away before he could receive all his wages from the Eixample. The walls were in place by Barcelona since they were historically used for protection from invading enemies. When cannons were the primary weapon, it was in the city’s best interest to have a large vast area; therefore, they could not be easily wiped out by a single cannonball. The tearing down of the wall and building of the Eixample held “extraordinary significance for Catalans: it was an epochal event marking [...] the aggregation of urban space” (Resina 2008: 7). 1 �By undertaking work to ensure the new addition would meet the needs of the community, Cerdà designed a plan that was ahead of its time. He focused on making the streets wider to accommodate the traveling of carriages and horses. In addition, Cerdà noticed that there was a need for natural beauty in the city, namely sunlight, greenery, and a clean way to dispose of waste. Taking these facts into account, Cerdà designed what he termed “interways.” Interways were similar to squares, but instead of being closed off on all four sides, the fourth side was open. In some cases, more than one side was left opened. This further allowed for more gardens, which were an essential aspect of the Eixample. The interway composed a grid or interweaving of several street blocks. Each measuring 113 x 113 meters, the street blocks were uniformed and added to the structured and orderly atmosphere of the addition. In Cerdà’s perception, gardens were more than just a distraction from buildings—they were essential to a city. While it was undeniable that gardens can be a spectacle, they are also a hygienic necessity. Cerdà even states that “gardens act as air tanks.” He felt that gardens were so important that he wanted to incorporate green spaces throughout Barcelona. This plan included developing two parks: one on Montjuïc and one alongside the Besòs River. While his plans involving these two parks were never actualized, his ideas sparked the government in Barcelona to consider its need for a large substantial park or green space. Instead of an interlocking network, which was traditional for many city planners at the time, Cerdà’s plan included a rectilinear grid for the Eixample that was vastly complex and disciplined. In Peter J. Taylor’s book World City Network: A Global Urban Analysis, the idea of an interlocking network was explained as, “a general conceptualization of city network formation involving a range of city networkers” (2003: 94). An example of an interlocking network would be Gaudí’s Parc Güell. 2 �In conclusion, another accomplishment that can be attributed to Ildefonso Cerdà is the creation of many words in the Spanish language. One of these words is “urbanizaciόn,” which he coined in 1867. He meant it “to define a new field of activity, as yet ‘intact, virgin’, for which the Spanish language had no appropriate term” (Choay 1969: 7). Up until the Industrial Revolution, little thought was given to the creation of a plan. Even though the idea of town planning is common to modern-day urban dwellers, during the nineteenth century this concept was unprecedented. 3 � https://collections.ecu.edu/files/original/20/564/Andrew_Lee_-_The_Eixample.pdf 9cf28394aa5fd211d71cbd66b46fec38 PDF Text Text The Eixample The Eixample district of Barcelona is one which has been enhanced by a vast incorporation of plant life and medical advances throughout history. From its inception, Ildefons Cerdà developed the plans for district, which were revised twice. Cerdà’s district planning revolved around a 113 by 113 meter block system, though these were not standard city blocks. The blocks designed by Cerdà had “remained open on at least one side, thus allowing gardens to be an essential part of the Eixample” (Kent 2002: 224). Another incorporation of greenery that can be seen in the Eixample district is the Rambla de Mar, a wooden walkway that extends into the Mediterranean sea. Plant life is an essential aspect of the district, as it acts as a comforting agent from the surrounding city. The Eixample also saw many advances in medicine. The Hospital de Sant Pau was designed with the patients in mind. Its goal was to “banish some of the association of hospitals with death and suffering” (Hughes 2004: 118). Dr. Cardenal and Dr. Botey’s healing houses further demonstrated the new concept of approaching medicine on a patient-first basis. These healing houses made patient comfort a priority. Cardenal’s is even described as “abundantly airy and sunny” (Zarzoso and Martínez-Vidal 2016: 79). This relates to modern-day amenities in hospitals, such as televisions and internet in waiting rooms as well as toys with which children can play. The Eixample is separated from other districts by its modern take on plant life within the city along with its early adoption of modern medicine, putting the patient’s comfort first. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eixample Subject The topic of the resource Eixample Description An account of the resource The Eixample is a district located in Barcelona, Spain Creator An entity primarily responsible for making the resource Andrew Lee, Rachel Harris, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/16/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/16/2017 Andrew Lee Barcelona Eixample Rachel Harris Spain https://collections.ecu.edu/files/original/20/563/OR_Barrio_Chino.png 0190272438f0f1dd4d8434f726ac4d63 https://collections.ecu.edu/files/original/20/563/Barrio_Chino2_OR.1.jpg a3ae19961dc3d121e3e704d5c40b6cd5 https://collections.ecu.edu/files/original/20/563/Camille_Kresz_Benjamin_Fraser_[eds]_-_Barrio_Chino.pdf ded90165346de1135bdefbe7ac38925f PDF Text Text Barrio Chino: Description and Important Sites Barcelona is a city that is divided into two major sections: the old city, more specifically the Barrio Chino, and the Eixample. Historically, the Barrio Chino (Fifth District) was a place in Barcelona that remained constantly busy regardless of the bad reputation that it held. People went there to enjoy themselves and relish in the excitement of the nightlife full of sex, music, drugs and consequently disease. Nowadays, the area is characterized by construction sites, graffiti, debris, tight corners, and crooked streets, which paints a negative and grotesque view of El Barrio. The sounds of jackhammers, bulldozers, and breaking concrete that fill the streets creates an atmosphere of discontent and restlessness. The Barrio Chino had a poor reputation around the beginning of the 1900s. It was an area known for illicit activities, decrepit behavior, and libertarian forms of anarchism. It was full of crowded streets, large factories full of immigrants, and homes with people in desolate conditions. Along with these, it was a place that night-life thrived where visitors could gamble and listen to jazz music. Indeed, this borough played and large role in the emergence of various musical styles, including jazz, as well as housing concepts of political change related to libertarian anarchism. Most of the inhabitants of the Barrio Chino worked in factories and workshops. To quote Zarzoso and Pardo-Tomás, “Barrio Chino was home to a “complex coexistence of diverse urban subcultures” (2016: 165). Their cafes, cabarets, and taverns were buzzing with political and social talk. The streets that were known for drugs and prostitution were also home to places for the sick and poor to be cared for. The Barrio Chino is a place that brought medical advances, even despite the lack of attention, such as the layout of the healing houses. Likewise, the Barrio Chino contained anatomical museums, known as museos anatómicos, which helped to popularize medical culture for the masses. The Barrio Chino was also home to the exclusively 1 �female Queen Amalia prison dedicated to reforming prisoners. Nonetheless, the ruling government was disgusted, appalled, and wanted a change. (Zarsoso Pardo-Tomas 2016: 165). In April 1932, the Fifth District in Barcelona was poised to see a rapid change, when Francesc Macià, a significant political figure in Barcelona, Dr. Jaume Aiguade, the mayor of the time, and some young Barcelonan architects along with Le Corbusier constructed a plan to overhaul the space. These plans were incredibly aggressive: they proposed tearing down all buildings and roads in the area. Despite having high hopes for the region, very few aspects of the original plan were fully carried out. Construction was essentially halted at the onset of the civil war when the Franco regime came into power. While these improvements were largely positive for the new residents of Barrio Chino, the previous inhabitants faced many hardships with the renovations. Many inhabitants of the city were forced out of their homes and given a settlement for the homes to be rebuilt and sold at a higher price to middle-class homebuyers. The inability to convince middle-class homebuyers of the affluent status of the neighborhood caused the idea of gentrification to fail. The area was renamed El Raval after the post-Olympic era but is still informally known as the Barrio Chino (Zarzoso and Pardo-Tomás 2016: 178). Several important monuments are located in the Barrio Chino, such as the Romea Teater and the church of Sant Pau de Camp. —Edited by Camille Kresz and Benjamin Fraser with text from Samuel Alvarado, Victoria Bishop, Grace Langley, Tricia Malcom, Amy Musgrave, Lillie Rhodes, Kendall Schunk, Jayati Vyas and Ashley Weingartz 2 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barrio Chino Subject The topic of the resource Barrio Chino Description An account of the resource The Barrio Chino is a district located in Barcelona, Spain Creator An entity primarily responsible for making the resource Samuel Alvarado, Victoria Bishop, Grace Langley, Tricia Malcom, Amy Musgrave, Lillie Rhodes, Kendall Schunk, Jayati Vyas Ashley Weingartz Camille Kresz, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/16/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image Date Created Date of creation of the resource. 02/16/2017 Amy Musgrave Ashley Weingartz Barcelona Barrio Chino Camille Kresz Grace Langley Jayati Vyas Kendall Schunk Lillie Rhodes Samuel Alvarado Spain Tricia Malcom Victoria Bishop https://collections.ecu.edu/files/original/20/562/Monjuic_OR.jpg fb5b89b2960a235551f7d0c9ace339a8 https://collections.ecu.edu/files/original/20/562/Grace_Langley_-_Monjuic_Hill.pdf 200865d6bbc62a7fde26116d90278e05 PDF Text Text Montjuïc Montjuïc hill is located towards the center of Barcelona in a very popular area of the city. The site was used for “expressions of self-managed fun by the working class, such as picnics by the many wells (known as fontades) or popular dancing” (Sastre-Juan and Valentines-Álvarez, 2016: 107). The popularity of the area made Montjuïc hill the perfect place to introduce new, more technological modes of fun and entertainment through urbanization and modernization. In addition to introducing technology as a source of entertainment, the urbanization of the hill was also meant to promote the use of electric light. The urbanization of Montjuïc hill was part of the 1929 International Exhibition, which included the modernization of many other sites. One of the most famous engineers in Catalonia, Marian Rubió, and his two sons, Nicolau and Santiago Rubió, oversaw, planned, and executed the urbanization of the hill with the assistance of other engineers and architects. The project included mechanical rides, a funicular railway, pavilions, and an “electric magic fountain” (Ferran and Nieto-Galan 2016: 223). Montjuïc hill would become one of the final pieces of the ‘technological fun belt’. The ‘technological fun belt’ included “the Parc de la Ciutadella in the eastern part of the old city center, the Collserola mountain in the northern part of the new expanded city, and finally the Montjuïc hill in the western part” (Sastre-Juan and Valentines-Álvarez, 2016: 95). The introduction of new technological fun played a key role in the overall urbanization of the city. Montjuïc hill remains a significant artifact today marking the cultural transformation of Barcelona. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Montjuïc Subject The topic of the resource Montjuïc Description An account of the resource Montjuïc Hill is located in Barcelona, Spain Creator An entity primarily responsible for making the resource Grace Langley, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/16/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image Date Created Date of creation of the resource. 02/16/2017 Barcelona Grace Langley Monjuïc Hill Spain https://collections.ecu.edu/files/original/20/561/eduardo_mendoza.jpg dc659f59f0109bcff79e270face5dbf6 https://collections.ecu.edu/files/original/20/561/Alien_human.jpg 5e5babb5f8476b0798da4da7f28e55f7 https://collections.ecu.edu/files/original/20/561/barcelona.jpg fac82c8565940ece83e6baaf4209df55 https://collections.ecu.edu/files/original/20/561/olympics_barcelona.jpg 81a7aa195fb1c0bc8aa6d97e2d50a37e https://collections.ecu.edu/files/original/20/561/globe.jpg 66a19f735de29ad6136f289ec60e86d7 https://collections.ecu.edu/files/original/20/561/No_Word_From_Grub.jpg 01f532c699fb46ae42cee73ae2d3b1c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Science Fiction in Barcelona Creator An entity primarily responsible for making the resource Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/16/2017 Rights Information about rights held in and over the resource Creative Commons https://collections.ecu.edu/files/original/20/560/health_1.jpg 51f859ad6a96b4d9e272794a38cef7db https://collections.ecu.edu/files/original/20/560/Parc_tauli.png 3e1dce5fa31678c405f5e20836341b4b https://collections.ecu.edu/files/original/20/560/Parc_tauli_2.png 65f0151ec9726430d9cd70cc24347ea4 https://collections.ecu.edu/files/original/20/560/Health_map.png 7c464310abd4ad982ffb1015ac60333b https://collections.ecu.edu/files/original/20/560/Health_plan.jpg 6f706bfe69e18d663764505b0f09c974 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Health in Barcelona Creator An entity primarily responsible for making the resource Camille Kresz Rights Information about rights held in and over the resource Creative Commons Google Earth https://collections.ecu.edu/files/original/20/559/Las_Ramblas_2.jpg f4995bc63dfcfad7ec7e946bb22f21e0 https://collections.ecu.edu/files/original/20/559/Las_Ramblas.jpg 5b96a3949420f2d14d7737ff975f5b49 https://collections.ecu.edu/files/original/20/559/Tricia_Malcom_Jayati_Vyas_-_La_Rambla.pdf dc992d49a631a0b02b43fb436434862e PDF Text Text La Rambla La Rambla, also known as Las Ramblas or Rambla del Raval, is a street in central Barcelona that attracts tourists and visitors alike. A pedestrian mall lined on both sides with luscious trees, La Rambla stretches for 0.75 miles. It forms the boundary between the quarters of Barri Gòtic to the east and El Raval to the west, and lies south of the Plaça de Catalunya. It is referred to as ‘Las Ramblas’ for the multitude of shorter streets that it is comprised of, including Rambla de Canaletes, Rambla dels Estudis, Rambla de Sont Josep, Rambla dels Caputxins, and Rambla de Santa Mónica. There was a period of time when La Rambla lost its charm—when the city of Barcelona was in a state of political and social transition. During this time, “the Rambla became a somewhat traumatic red light, with not infrequent cases of drug-fuelled physical attacks and even murder serving to disconnect the old town from la zona alta” (McNeill 2002: 251). A long, wide thoroughfare that replaced and cleansed the degraded zones of poverty and prostitution that is now used for festivals, markets, and sports, La Rambla is crowded throughout the day and well into the night. “The street is increasingly log-jammed, its old kiosk-inspired role as an informal ingestion of news replaced, or at least hindered, by an array of performance artists, the protrusion of metallic café chairs, caricaturists, and trinket stalls” (McNeill 2002: 250). La Rambla was initially a simple river bed. It then was transformed into a street and became a major part of the city (“Barcelona: The History of La Rambla” 2012). As Hall says, “It was now that La Rambla acquired the character of a promenade, as the watercourses were covered and trees were planted” (Hall 1997: 127-28). It also solved the city’s need for nature, because as Kent declares “Among the extreme architectural solutions to the need for parks […] is the Rambla de Mar…” (Kent 2002: 234). During this period, Hughes describes that, “Today, for most people, the Ramblas is Barcelona” (2004: 79). This streetway was always busy with visitors or various vendors selling �different products or goods. One of products frequently sold are flowers, in fact, one thing that Catalans are known for are their overly gaudy flower arrangements. Next door, people are selling different species of birds, such as finches, toucans, and macaws. Hilariously, the birds would occasionally escape and fly to the Parc de Ciutadella, joining the other escapees (Hughes 2004: 79). The most distinguishing feature of La Rambla, besides the assortment of business and restaurants, are the trees surrounding the roads on both sides (Hall 1997: 127-128). The best way to illustrate how important the Ramblas are would be described by Robert Hughes, “The Ramblas is and always will be one of the great, seedy, absorbing theatres of Spain, or for that matter of Europe” (2004: 80). —Edited by Irina Swain and Benjamin Fraser with text from Tricia Malcolm and Jayati Vyas � https://collections.ecu.edu/files/original/20/559/Bishop_Victoria_-_Las_Ramblas.pdf 09f18b62fe5515d8295077505cef30c3 PDF Text Text Las Ramblas When tourists are not at Sagrada Familia, another popular place to visit in Barcelona to experience the culture is Las Ramblas. There are many sites located on Las Ramblas that many tourists want to stop and see such as the Boquería, the statue of Christopher Columbus, the port, and shops and restaurants to try out. There is no shortage of people on the Las Ramblas and there is always some aspect of Catalan culture to look at, admire and take in the when on Las Ramblas. Las Ramblas is a place in Barcelona that extends from Plaça de Catalunya to the Port of Barcelona. Las Ramblas “became the first true avenue in Catalunya” (Hughes 2004: 79) making it quite the accomplishment in Barcelona, especially considering the fact that Las Ramblas is located in the old part of the city. In fact, “today, for most people the Ramblas is Barcelona” (Hughes 2004: 79) making it one of the top places that tourists come to see. At the end of Las Ramblas is the Port of Barcelona, where cruise ships come in and dock giving those passengers easy access to Las Ramblas. It is set up in a way that is very friendly to pedestrians—there is a large space in the middle of the road to walk up and down and look at everything that is going on, and cars drive by on each side. There are many crosswalks making it easy to cross the street and get to the shop that catches someone’s eyes. This is quite the place for tourists to go and get a quick glimpse at Barcelona. Also on Las Ramblas there are many vendors who set up and sell paintings and other crafts to the tourists. There are also stores on Las Ramblas that tourists can go into to get their souvenirs, along with kiosks that line the middle of the avenue. There are painters and street performers who line the street, including people who play the part of a statue. Hughes describes them: “here are ‘human statues’ poised immobile on their crates, bizarre and infrangibly silent” (2004: 79). There are so many different kinds of statues that line the streets, everyone can probably find one that they 1 �enjoy—and they are hard to miss because they are so common. When walking past the people standing there it can be easy at first to mistake them for actual statues, until they start to move to strike a different pose for those passing by to take a picture of them. Displays like that are what make the avenue a place that is to produce a “successful cultural product” (Vilarós 1995: 45). Las Ramblas is quite the place to experience the culture of Barcelona, and get a little bit of everything. While Las Ramblas has a lot of culture from Barcelona, there are some places on the avenue that may be familiar to international visitors. Because Las Ramblas is a poplar place for tourists to visit there are some chain restaurants located along the avenue, some of them are even popular here in the United States. Starting at the beginning of the Avenue in Plaça de Catalunya, there is a Hard Rock Café, the café is surrounded by shops that are from Spain, but it can give a sense of home to tourists who are visiting the city. There is also a Subway, KFC, and McDonalds located down the avenue, which plays to the international crowd that comes to visit Las Ramblas. In No Word From Gurb Eduardo Mendoza describes Las Ramblas as “full of the most varied specimens of the human race, and just seeing then would be enough to confirm that Barcelona is a seaport” (Mendoza 1990: 79). This shows how diverse that crowd on the avenue is and how being right off the port diversifies the crowd even more. Las Ramblas offers a wide array of activities to do, places to see and culture to witness. It gives the person who is visiting Barcelona that does not have much time an easy way to absorb a lot of the culture in a relatively short amount of time. So many wonderful things happen on Las Ramblas that it is totally worth a visit if one is ever in Barcelona because it will provide an experience that is unforgettable. 2 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Las Ramblas Subject The topic of the resource Las Ramblas Description An account of the resource Las Ramblas are located in Barcelona, Spain Creator An entity primarily responsible for making the resource Victoria Bishop, Tricia Malcom, Jayati Vyas, Benjamin Fraser, Irina Swain Type The nature or genre of the resource Document, Still Image Publisher An entity responsible for making the resource available Irina Swain Date A point or period of time associated with an event in the lifecycle of the resource 02/16/2017 Rights Information about rights held in and over the resource Victoria Bishop Language A language of the resource English, Spanish Date Created Date of creation of the resource. 02/16/2017 Barcelona Jayati Vyas La Rambla Las Ramblas Spain Tricia Malcom Victoria Bishop https://collections.ecu.edu/files/original/20/558/Barcelona_light_2.jpg 552774c098a4b60af779dc94ab6263fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Technology Picture4 Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/10/2017 Rights Information about rights held in and over the resource Creative Commons https://collections.ecu.edu/files/original/20/557/Palau_musica_catalana_tech.jpg 603842fb06580ebec72e65abd83d49cd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Technology Picture3 Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/10/2017 Rights Information about rights held in and over the resource Creative Commons