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Toward an Urban Cultural Studies is a call for a new interdisciplinary area of research and teaching. Blending Urban Studies and Cultural Studies, this book grounds readers in the extensive theory of the prolific French philosopher Henri Lefebvre. Appropriate for both beginners and specialists, the first half of this book builds from a general introduction to Lefebvre and his methodological contribution toward a focus on the concept of urban alienation and his underexplored theory of the work of art. The second half merges Lefebvrian urban thought with literary studies, film studies and popular music studies, successively, before turning to the videogame and the digital humanities. Benjamin Fraser's approach consistently emphasizes the interrelationship between cities, culture, and capital.

Introduction: Henri Lefebvre and the city -- Henri Lefebvre's life, work and influence -- Key Lefebvrian concepts: critique of static space; critique of modern urban planning; critique of knowledge; critique of alienation in everyday life, movement and method -- The birth of the modern urban critic: Larra vs. Mesonero Romanos -- The living city: from Cerdà to Martín-Santos -- Traversing the city, from Millás to Delgado Ruiz -- Visualizing the mediterranean, from Goytisolo to the videogame -- Conclusion

Cover -- TABLE OF CONTENTS -- INTRODUCTION: BERGSON(ISM) IN SPAIN -- PART I. THE SPANISH NOVEL -- 1. Pío Baroja: Medicine and Mysticism -- 2. Miguel de Unamuno: Against Abstract Philosophy -- 3. Juan Benet: Recalibrating Space and Time in Región -- 4. Belén Gopegui: Mental and Cartographic Space -- PART II. FILM STUDIES -- 5. From Bergson to Deleuze: Duration and Multiplicity in Two Spanish Films -- 6. Film as the Redemption of Reality: The Importance of Iconicity/Indexicality -- 7. Carlos Saura's Taxi: Reconciling Filmspace and Urban Space -- PART III. URBAN THEORY -- 8. From Bergson to Lefebvre: Toward a Philosophy of the Urban -- 9. Manuel Delgado Ruiz: Theorizing the Living City -- CONCLUSION -- APPENDIX: Bergson's addresses in Madrid at the Ateneo on May 2 and 6, 1916 -- REFERENCES -- INDEX -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z

As the Journal of Urban Cultural Studies (JUCS) closes its tenth year of publication, this second instalment of a two-part editorial turns towards questions regarding the nature of scholarly journals. Building from Part 1's exploration of comics artist Chris Ware's tactile puzzle Building Stories: Vortex of Anamnesis, the central metaphor of journal as an intellectual puzzle is considered. Specific aspects of time and collaboration are addressed as fundamental concerns for the puzzle of journal editing. After considering, in passing, challenges to editing in the twenty-first century, final comments address the notion of closure, drawn from comics theory.

As the Journal of Urban Cultural Studies enters its tenth year of publication, this first instalment of a two-part editorial turns towards questions of memory and urban life. The vehicle for thinking through these questions is the actual, tactile puzzle that comics artist Chris Ware released as an extension to his Building Stories box set. In the guise of a review-style piece, that is, a close reading of the puzzle as an urban comics text in its own right, this instalment indirectly introduces themes to be continued in the second editorial, due out later this year.

This interview documents a conversation between two scholars of space and comics. Benjamin Fraser asks Dominic Davies about his recently published book, titled Urban Comics. Conversation ranges from the author's experience connecting the medium of comics and graphic novels with various themes from the geographical and social sciences. Readers are introduced to the general arguments of the book, which are supported with specific quotations from selected chapters. A range of aesthetic and political concerns are discussed, as are various comics creators and their projects.

This short-form article reviews three texts by women comics artists published with publishing house Sexto Piso. María Luque's graphic novel, titled Casa transparente ('Transparent house') (2017), won the first Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize) and captures her travels to Bariloche, Rosario, Buenos Aires, Cusco and Mexico City. The volume Las ciudades que somos ('The cities we are') (2018), authored by Chicks on Comics, won the second Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize). It contains comics in Spanish by an international collective of seven creators from Argentina, Colombia, Holland, Latvia and Singapore (Bas, Caro Chinaski, Clara Lagos, Delius, Power Paola, Weng Pixin and Zane Zlemeša). The third text discussed is Power Paola's graphic novel Virus tropical (2018), a Künstlerroman or autobiographical portrait of the artist covering her adolescence and family connections to both Ecuador and Colombia.

Como una contribución a la tradición quincemayista de España y a la primera novela gráfica del artista, la publicación de Lo que (me) está pasando (2015) por Miguel Brieva (1974, Sevilla) requiere un análisis dual. La obra es una meditación autoconsciente que comenta la tradición artística del propio autor a la vez que explora el papel de la cultura del cómic pos-15-M en la crítica política y espacial actual. Aquí Brieva continúa el compromiso social de producción cultural anterior y enfatiza más concretamente el potencial de modos de crítica colectivos frente a la enajenación y la colonización del espacio llevados a cabo por el capitalismo contemporáneo. / As a contribution to the quincemayista tradition in Spain and the artist's first graphic novel, the publication of Lo que (me) está pasando (2015) by Miguel Brieva (1974, Sevilla) prompts a dual analysis. The work is a self-conscious meditation that comments on the artist's own artistic tradition at the same time that it explores the role of post-15-M comics culture in the political and spatial critique of the present moment. Here Brieva continues the social commitment of his previous cultural production and emphasizes more concretely the potential of collective modes of critique in confronting the alienation and the colonization of space carried out by contemporary capitalism. ; Open access journal ; This item from the UA Faculty Publications collection is made available by the University of Arizona with support from the University of Arizona Libraries. If you have questions, please contact us at repository@u.library.arizona.edu.

Como una contribución a la tradición quincemayista de España y a la primera novela gráfica del artista, la publicación de Lo que (me) está pasando (2015) por Miguel Brieva (1974, Sevilla) requiere un análisis dual. La obra es una meditación autoconsciente que comenta la tradición artística del propio autor a la vez que explora el papel de la cultura del cómic pos-15-M en la crítica política y espacial actual. Aquí Brieva continúa el compromiso social de producción cultural anterior y enfatiza más concretamente el potencial de modos de crítica colectivos frente a la enajenación y la colonización del espacio llevados a cabo por el capitalismo contemporáneo. As a contribution to the quincemayista tradition in Spain and the artist's first graphic novel, the publication of Lo que (me) está pasando (2015) by Miguel Brieva (1974, Sevilla) prompts a dual analysis. The work is a self-conscious meditation that comments on the artist's own artistic tradition at the same time that it explores the role of post-15-M comics culture in the political and spatial critique of the present moment. Here Brieva continues the social commitment of his previous cultural production and emphasizes more concretely the potential of collective modes of critique in confronting the alienation and the colonization of space carried out by contemporary capitalism.