The last time we did an issue about cities, three Kallipolitan staff members — Anders, Antonio, and myself — travelled together to three different cities, Vienna-Austria, Luanda-Angola, and Paramaribo-Suriname. We knew we could not do another issue dedicated to our unbridled love of cities without another trip. This time around, the entire staff travelled, but instead of one city we chose to roam across the Welsh countryside and take in two major cities, Cardiff and Swansea. As with the last trip, we did not do regular tourist stops, we only aimed to experience the intricacies that make up the totality of Wales.
By Gabriel Zultanic
The last time we did an issue about cities, three Kallipolitan staff members — Anders, Antonio, and myself — travelled together to three different cities, Vienna-Austria, Luanda-Angola, and Paramaribo-Suriname. We knew we could not do another issue dedicated to our unbridled love of cities without another trip. This time around, the entire staff travelled, but instead of one city we chose to roam across the Welsh countryside and take in two major cities, Cardiff and Swansea. As with the last trip, we did not do regular tourist stops, we only aimed to experience the intricacies that make up the totality of Wales. By Ahmed Latif
During tough times, readers and audiences often seek an escape from the banality of life. The turn of the twentieth century was unequivocally a disconcerting time of transition for Europe. It is in this context that Franz Kafka (1883-1924) captured the complex surrealism and absurd loneliness of urban life. His writing functioned as a condemnation and a vindication of an era that provided no simplistic answers to pressing social questions. Anarchist overtones, Marxist critiques, and deliberate existentialism; all of it dark and none of it clear-cut. When readers sought an escape in his works they were provided with a precise account of the bleakest truth. Kafka does not provide an elaborate fantasy to distract from the truth. On the contrary, he illustrates the truth by distorting; empowering the reader with a fringe perspective. His writing created an escape that emphasized the fact that there was no escape, society was at a dead-end. By Madeleine Caprosz
The suburban setting of the Nickelodeon cartoon Rugrats(1991-2004) is more than a simple background. It functions to enable the characters with some of the realities of suburban life; giving Tommy, the leader of the rugrats, the space to explore the world around him. Because of this space, the trust of the neighbour is ingrained in the good-natured Tommy. Suburbia becomes a magical place where backyards and shopping malls can be explored. Tommy must be resourceful and imaginative because suburbia demands independence and uniformity. It is likely that Tommy would not be the same self-assured baby if he was confined to an apartment and did not have the space to explore and the chance to discover. In many ways, Rugrats is a glorification, if not a vindication, of the suburban lifestyle. By Kamran Dadi
The urban environment of Hey Arnold! (1996-2004) on Nickelodeon shapes the worldview of the show's football-headed protagonist episode after episode. It provided the setting which would nurture his good nature as well as equip him with distinct perspectives and insight on life. Arnold is independent, well-intentioned, amicable, and has a genuine care for those around him by wishing for their successes and helping them in times of failure. He lives in a boarding home with his grandparents and other characters of multi-ethnic origins. This provides him with a unique cosmopolitan understanding of the people in Hillwood City. His densely populated inner city neighborhood fosters a communal spirit as characters are active participants in each other’s lives even if they are unaware of each other’s presence. |
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