Pub Date : 2019-12-31DOI: 10.2478/9783110623758-012
Ran Morin
Mount Scopus in Jerusalem, at an altitude of 828 m, is the location of the main campus of the Hebrew University of Jerusalem.1 Three kilometers northeast of the old city of Jerusalem, it is situated on a vantage point overlooking the city as well as the Judean desert and the mountains of Transjordan. Positioned on the watershed of the AfroSyrian rift, this site stands on a highly sensitive geographical and political borderline between the Judean Mountains and the Judean desert and between the Jewish and Arab populations of the city. Mount Scopus invites reflections, interventions and readings of its multiple associations with diverse and contrasting claims of ownership. The following essay engages with three environmental interventions performed “on the ground” of Mount Scopus that address the geographical and social complexity of the place. Three environmental-artistic “Creative Preservation” 2 projects, which I generated in three distinct parts of Mount Scopus between 2003–2015, attempt to recall, expose, and unite elements of the genius loci of Mount Scopus. They operate in a complex field of conflict where national, economic, and ideological agendas create borders and divisions, covering, disguising, dissembling and even leading to large-scale physical elimination of vast layers of the Place.3 The three environmental projects presented here, all realized at a distance of less than 500 meters from each other, endeavor to rethink the intricate ways in which time has registered its marks on this location, while attempting to create a contemporary connection with the different social groups that inhabit Mount Scopus today.
{"title":"Three Trees: Environmental Projects on Mount Scopus, Jerusalem (2003–2015)","authors":"Ran Morin","doi":"10.2478/9783110623758-012","DOIUrl":"https://doi.org/10.2478/9783110623758-012","url":null,"abstract":"Mount Scopus in Jerusalem, at an altitude of 828 m, is the location of the main campus of the Hebrew University of Jerusalem.1 Three kilometers northeast of the old city of Jerusalem, it is situated on a vantage point overlooking the city as well as the Judean desert and the mountains of Transjordan. Positioned on the watershed of the AfroSyrian rift, this site stands on a highly sensitive geographical and political borderline between the Judean Mountains and the Judean desert and between the Jewish and Arab populations of the city. Mount Scopus invites reflections, interventions and readings of its multiple associations with diverse and contrasting claims of ownership. The following essay engages with three environmental interventions performed “on the ground” of Mount Scopus that address the geographical and social complexity of the place. Three environmental-artistic “Creative Preservation” 2 projects, which I generated in three distinct parts of Mount Scopus between 2003–2015, attempt to recall, expose, and unite elements of the genius loci of Mount Scopus. They operate in a complex field of conflict where national, economic, and ideological agendas create borders and divisions, covering, disguising, dissembling and even leading to large-scale physical elimination of vast layers of the Place.3 The three environmental projects presented here, all realized at a distance of less than 500 meters from each other, endeavor to rethink the intricate ways in which time has registered its marks on this location, while attempting to create a contemporary connection with the different social groups that inhabit Mount Scopus today.","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125045696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.2478/9783110623758-014
Yaron Jean
The evolution of modern warfare technology and its sensual array frequently rely on two core elements: the level of progress achieved in a given country and the prevalent notion of the future war.1 The war that broke out in Europe in summer 1914 combined these elements in a horrible fashion. Most of the warring countries had not foreseen any future war in terms of a global conflict. Consequently, in early twentieth century Europe, concepts of military technology were rather limited in comparison to other developments at the time in areas such as commerce and civil engineering. Strategists viewed modern technology in terms of a one-dimensional battlefield; its major purpose was to facilitate a limited engagement consisting of a series of swift, knockout victories. Imperial Germany, for instance, derived most of its pre-World War I combat experience from the Napoleonic wars and the German wars of liberation. Ironically, at least from the standpoint of its military equipment, the German army of 1914 strongly resembled the one of the 1860s. Breech loading firearms, bayonets, horses, and frontal engagement still dominated the mind-set of the early twentiethcentury military.2 It is an open secret, however, that many of the warfare technologies that were used in World War I had seen some action outside Europe during the last third of the nineteenth century.3 The ironclad ships and the dreadnoughts were products of the Crimean War. The utilization of submarines, torpedo boats, mines and machine guns traces back to the American Civil War and the Russo-Japanese War.4 The Aeroplane flew first in 1903 in the United States and Zeppelins became a German symbol of power over the continent from the late nineteenth century.5 Despite this fact, they were not mass produced. Advanced military technology was still considered a prerequisite for supporting the traditional maxima. In short, the cavalry should light the way and the infantry was supposed to win the way.6 The outbreak of hostilities in Europe in August 1914 created a gap between the actual combat situation and the way it was experienced. Those who were mobilized
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Pub Date : 2019-12-31DOI: 10.2478/9783110623758-010
Nili Belkind
“So what happens when you put three Ukrainians, two Georgians, and one Arab together in a rehearsal room? Here is the result....” Amir thus introduced the debut performance of Contrasto, an ensemble of fourteen to twenty-year olds that developed out of music workshops offered at Beit System Ali (Home of System Ali). Amir is a young Palestinian rapper from Jaffa and the “one Arab” among the former Soviet Union (FSU) immigrants who call Bat Yam home. Contrasto was performing at “Party in the Yard,” an event where all Bat Yam and Jaffa youth working with members of the hip hop collective System Ali came together for the first time (March 25, 2015), in a shared evening of performances. The performance was staged outdoors at Mitham Geulim (Geulim Compound, aka Hamitham), which for the past four years has served as a home for the System Ali collective and for their educational projects. Currently supported by Mif‘al Hapayis – Israel’s national lottery – and by the Bat Yam municipality, the “Lottery’s Laboratory for the Culture of Beit System Ali Bat Yam”1 included at this time a well-equipped rehearsal room, an office, and a crumbling hangar slated to become a performance venue, in the mitham. Beit System Ali shares the mitham with the sports-focused youthbased Geulim community center, the Center for Ukrainian Culture, and Fest’ Factory, the administrative center of Bat Yam’s annual Street Theater Festival. Since the fall of 2014 and with the support of Mif‘al Hapayis and the municipality, Beit System Ali has been serving as a creative hub for youth who attend the different workshops and jam sessions run by members of System Ali or their expanding community. The workshops focus on music, rap, spoken word, poetry, sound production, and the development of music ensembles. What does it mean for three Ukrainians, two Georgians and an Arab to come together in a rehearsal room? This statement sounds like the beginning of a joke, one that destabilizes norms and practices based on structural divisions in Israeli society long maintained by hegemonic views, attendant policies, and inherent social tensions:
“那么，当你把三个乌克兰人、两个格鲁吉亚人和一个阿拉伯人放在一个排练室里会发生什么?”这是结果....”因此，阿米尔介绍了“对比”的首次演出，这是一个由14到20岁的年轻人组成的合奏团，由贝特阿里系统(阿里系统之家)提供的音乐研讨会发展而来。阿米尔是一名来自雅法的年轻巴勒斯坦说唱歌手，也是前苏联(FSU)移民中“唯一的阿拉伯人”，他们把巴特Yam称为家。2015年3月25日，Contrasto在一个名为“Party in the Yard”的晚会上表演，所有Bat Yam和Jaffa青年与嘻哈团体System Ali的成员第一次聚在一起。这场表演在户外的Mitham Geulim (Geulim Compound，又名Hamitham)举行，在过去的四年里，这里一直是System Ali集体和他们的教育项目的家园。目前，在以色列国家彩票公司Mif 'al Hapayis和巴特亚姆市的支持下，“贝特系统阿里巴特亚姆文化彩票实验室”包括一间设备齐全的排练室、一间办公室和一个即将成为表演场地的破旧机库。拜特系统阿里与以体育为重点的青年社区中心、乌克兰文化中心和巴特Yam年度街头戏剧节的行政中心Fest ' Factory共享米特姆。自2014年秋季以来，在Mif 'al Hapayis和市政府的支持下，拜特系统阿里一直是青年的创意中心，他们参加由系统阿里成员或其不断扩大的社区举办的各种讲习班和即兴表演。工作坊的重点是音乐、说唱、口语、诗歌、声音制作和音乐合奏的发展。三个乌克兰人、两个格鲁吉亚人和一个阿拉伯人聚在一个排练室里，这意味着什么?这句话听起来像是一个笑话的开头，它破坏了基于以色列社会结构性分裂的规范和实践的稳定，这些分裂长期以来一直由霸权主义观点、随之而来的政策和固有的社会紧张局势维持。
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Pub Date : 2019-12-31DOI: 10.2478/9783110623758-013
Brandon LaBelle
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Pub Date : 2019-12-31DOI: 10.2478/9783110623758-002
Z. Gurevitch
A border is a place of encounter, a place as encounter.1 Powerful encounters, interesting conversations, political and cultural tension take place on the border. To be on the border is to be at the edge, on the brink, in a place via which one passes to another place. In terms of extent, too, the border is a critical concept. It is a limit that divides the refined from the crude, laughter from gravity, the permitted from the forbidden. Both formally and esthetically, then, the border sets up two poles representing a dichotomy of values in which worse is less good and saner is less mad. We can express this dichotomy in behavioral-experiential terms if we understand the border as signifying containment – the border as a halt, an obstacle, a last restraint before an outburst, a perversion, a distortion, or the loss of wits. It follows that the border is supposed to be on the edge, the tip of the tongue, on the verge of. It is a state of transition involving loss and liberation, release and trance, digression from the usual, familiar self. As such, a border not only lies outside, between things, but is also internalized socially, psychologically, and intellectually. In what way does the phrase “being on the border” differ from simply “the border”? There are always borders, barricades, walls, and crossings. To be on the border, in a borderline state, however, is a rare experience; at least, the awareness of it is rare, perhaps because it requires great concentration, greater than in situations far from the border. Being on the border carries the risk of ejection from the soothing waters of the usual. We tend to construct and maintain borders that we do not inhabit. On the contrary, they distance us from ourselves, by surrounding us, delineating a horizon, forming a conceptual skeleton around which we create a world and wrap ourselves with it, live in it as within an enclosed sphere, rather than on the brink of empty space. Alfred Schutz, in the manner of his teacher Edmund Husserl, described this imaginary, shared world as a universe of meaning, perpetuating itself as self-explanatory, a “taken-for-granted-world,” endowed with a patina of familiarity covering or even permeating realness and restraining, habituating, and domesticating it.2 Sometimes the habitual order is disrupted, as when people find themselves on opposite sides of a border that was suddenly brought to the fore. The border may have always been there, but it is now exposed, overriding anything else. It overwhelms the existing routine and becomes the focus of the relationship; every action, every
边界是一个相遇的地方，一个相遇的地方强大的相遇，有趣的对话，政治和文化的紧张局势发生在边境。To be on the border是指在边缘，在边缘，在一个地方可以通往另一个地方。就范围而言，边界也是一个关键的概念。这是一个界限，区分高雅与粗俗，欢笑与严肃，允许与禁止。因此，无论是在形式上还是在美学上，这条边界都设置了两极，代表了一种价值观的二分法:越差越不好，越理智越不疯狂。我们可以用行为经验的术语来表达这种二分法，如果我们把边界理解为遏制——边界是一个停顿，一个障碍，爆发前的最后约束，一种变态，一种扭曲，或失去智慧。因此，边界应该在边缘，舌尖，在…的边缘。它是一种过渡的状态，包括失去和解放，释放和恍惚，脱离通常的、熟悉的自我。因此，边界不仅存在于事物之间的外部，而且在社会、心理和智力上也被内化。短语“在边界上”与简单的“边界”有什么不同?总是有边界、路障、围墙和过境点。然而，在边界上，在一个边缘国家，是一种罕见的经历;至少，意识到这一点是罕见的，也许是因为它需要高度集中，比远离边境的情况更严重。站在边界上有被通常的平静水域所排斥的风险。我们倾向于建立和维护我们并不居住的边界。相反，它们将我们与自身隔离开来，它们围绕着我们，勾勒出一个地平线，形成一个概念骨架，我们围绕着它创造了一个世界，并将自己包裹在其中，生活在一个封闭的球体中，而不是在空白空间的边缘。阿尔弗雷德·舒茨，以他的老师埃德蒙·胡塞尔的方式，将这个想象的、共享的世界描述为一个有意义的宇宙，以自我解释的方式永存，一个“理所当然的世界”，被赋予一种熟悉的光泽，覆盖甚至渗透现实，并抑制、适应和驯化它有时，习惯的秩序会被打乱，就像人们突然发现自己站在边界的两端一样。边界可能一直存在，但现在它暴露了，压倒了其他一切。它打破了现有的常规，成为关系的焦点;每一个动作，每一个
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Pub Date : 2019-12-31DOI: 10.2478/9783110623758-015
Ruthie Abeliovich
This chapter examines a vocal representation of a borderline from an audio recording of Hanna Rovina in Habima’s 1923 production of The Eternal Jew .1 Analyzing Rovina’s recording of the lamentation of the Messiah’s mother, I discuss how aural manifestations articulate cultural distinctions. Gershom Scholem expressed the idea of language emission as a liminal repository in his 1917 essay “On Lament and Lamentation” (“Über Klage und Klaglied”), in which he defines the language of the border: ( verschweigt ) its entire is based on a revolution of silence. It is not but only points toward the symbol; it is not concrete ( gegenständlich ), but annihilates the object. This lament.2
本章研究了汉娜·罗维娜在1923年哈比玛制作的《永恒的犹太人》中对边缘的声音表现。1分析罗维娜对弥赛亚母亲的哀悼录音，我讨论了声音表现如何阐明文化差异。Gershom Scholem在他1917年的文章《On Lament and Lamentation》(Über Klage und klaglies)中表达了语言发射作为一个阈限存储库的想法，他在文中定义了边界语言:(verschweight)它的全部是基于沉默的革命。它不是而只是指向符号;它不是具体的(gegenständlich)，而是湮灭了对象。这lament.2
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Pub Date : 2019-12-31DOI: 10.2478/9783110623758-009
Yael Eylat Van-Essen
The present essay discusses new perceptions of spatial organization in the sphere of geographic cartography and their utilization in marking borders. It deals with various mapping practices, some traditional and others based on the possibilities posed by novel technologies for gathering, organizing, and presenting spatial knowledge. It examines the approaches created by a political reading of mapping through mechanisms of revealing and concealing – whether by exposure of an existing political reality or as an invitation to action based on comprehension enabled by the very act of mapping. My essay explores the effect of map design on the interpretative systems derived from them and the influence of the act of mapping itself on the reorganization of the mapped space. In this framework, I propose viewing the various phases of mapping as a political act, which, in certain cases, “acts against itself,” or, in other words, undermines the act of mapping. I
{"title":"Can We Talk About Cartography Without Borders?","authors":"Yael Eylat Van-Essen","doi":"10.2478/9783110623758-009","DOIUrl":"https://doi.org/10.2478/9783110623758-009","url":null,"abstract":"The present essay discusses new perceptions of spatial organization in the sphere of geographic cartography and their utilization in marking borders. It deals with various mapping practices, some traditional and others based on the possibilities posed by novel technologies for gathering, organizing, and presenting spatial knowledge. It examines the approaches created by a political reading of mapping through mechanisms of revealing and concealing – whether by exposure of an existing political reality or as an invitation to action based on comprehension enabled by the very act of mapping. My essay explores the effect of map design on the interpretative systems derived from them and the influence of the act of mapping itself on the reorganization of the mapped space. In this framework, I propose viewing the various phases of mapping as a political act, which, in certain cases, “acts against itself,” or, in other words, undermines the act of mapping. I","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114271596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.2478/9783110623758-005
Ayala Amir
How can we speak of borderlines in a work of fiction? What are the spaces that stories demarcate? Who introduces us, the readers, to these spaces and makes us cross their borders? Along with a brief review of some spatial approaches to fiction and their treatment of the notion of borderlines, this essay will focus on a story by Gustav Flaubert. Following the movement – both physical and mental – of the story’s protagonist in the everyday space she inhabits, enables one to reflect on the meanings of boundary crossing in fiction. In the course of the discussion, the notion of borderlines will expand beyond its denotation as a mapping practice, as the story’s character and form present a challenge to other kinds of borders, such as the boundaries of subjectivity and personality. The servant Félicité in Flaubert’s tale “A Simple Heart” (1877) misses her nephew, Victor. On the day of his departure, she had rushed to the harbor in Honfleur, where his boat was docked. On her way, Félicité has a vision of horses in the sky. These were the horses – she later discovered – that were hauled up into the air by a derrick and dumped into the boat. The boat sails, however, before she has the chance to bid farewell to her nephew. As Félicité’s knowledge of the world comes from an illustrated geography book presented to her mistress’s children by the lawyer Monsieur Bourais, she has only a vague notion of Havana – the destination Victor’s vessel had reached:
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Pub Date : 2019-12-31DOI: 10.2478/9783110623758-011
Diego Rotman
The utopia that Boris Schatz described in his novella The Rebuilt Jerusalem: A Daydream, written in 1918 during his exile in Safed, is supposed to be realized in the year 2018. Schatz envisioned a paradisiacal Jerusalem. The Jews will coexist in harmony with nature and with the Arab residents of the city, and, with the consent of the Arab minority, they will build the Third Temple, which will serve as a museum for Jewish art and Jewish science. In this futuristic, utopian vision, the Land of Israel is a Biblical paradise where Jewish inhabitants wear Middle Eastern garb and have biblical names but lead modern lives. In July 2015, a group of Jerusalem-based artists decided to conduct a dialogue with Schatz’s novella, contextualizing and materializing his utopian and paradisiac Jerusalem.1 They chose to do so not on the Temple Mount, where some traditions situate paradise2 but in the Talbiyeh neighborhood, inside the walls of the former leper’s home of Jerusalem, a nineteenth century hospital established outside the Old City’s limits and surrounded, like the city of Jerusalem, by its own walls.
鲍里斯·沙茨(Boris Schatz)在1918年流亡萨法德(Safed)期间写的中篇小说《重建的耶路撒冷:白日梦》(The rebuilding Jerusalem: A Daydream)中描述的乌托邦，预计将在2018年实现。沙茨设想了一个天堂般的耶路撒冷。犹太人将与自然和城市的阿拉伯居民和谐共处，在阿拉伯少数民族的同意下，他们将建造第三圣殿，作为犹太艺术和犹太科学的博物馆。在这个未来的乌托邦愿景中，以色列的土地是圣经中的天堂，那里的犹太居民穿着中东服装，有着圣经中的名字，但却过着现代生活。2015年7月，一群耶路撒冷的艺术家决定与Schatz的中篇小说进行对话，将他乌托邦和天堂般的耶路撒冷置于语境和物化。他们选择的地点不是圣殿山，那里有一些传统的天堂2，而是在Talbiyeh社区，在耶路撒冷以前的麻风病人之家的墙内，这是一个19世纪的医院，建立在老城的界限之外，像耶路撒冷一样，被自己的城墙包围着。
{"title":"The Fragile Boundaries of Paradise: The Paradise Inn Resort at the Former Jerusalem Leprosarium","authors":"Diego Rotman","doi":"10.2478/9783110623758-011","DOIUrl":"https://doi.org/10.2478/9783110623758-011","url":null,"abstract":"The utopia that Boris Schatz described in his novella The Rebuilt Jerusalem: A Daydream, written in 1918 during his exile in Safed, is supposed to be realized in the year 2018. Schatz envisioned a paradisiacal Jerusalem. The Jews will coexist in harmony with nature and with the Arab residents of the city, and, with the consent of the Arab minority, they will build the Third Temple, which will serve as a museum for Jewish art and Jewish science. In this futuristic, utopian vision, the Land of Israel is a Biblical paradise where Jewish inhabitants wear Middle Eastern garb and have biblical names but lead modern lives. In July 2015, a group of Jerusalem-based artists decided to conduct a dialogue with Schatz’s novella, contextualizing and materializing his utopian and paradisiac Jerusalem.1 They chose to do so not on the Temple Mount, where some traditions situate paradise2 but in the Talbiyeh neighborhood, inside the walls of the former leper’s home of Jerusalem, a nineteenth century hospital established outside the Old City’s limits and surrounded, like the city of Jerusalem, by its own walls.","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117223961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.2478/9783110623758-008
Dilek Inan
David Greig contributes significantly to contemporary British drama, directing his attention to current political, cultural, and aesthetic issues. Moving beyond his Scottish identity, the playwright has become one of the most prolific, influential, versatile, and recognized playwrights not only in Great Britain but also in Europe. Born in Edinburgh, brought up in Nigeria, and educated in Bristol, Greig, indeed, has always crossed borders and lived transnationally. In two decades, he has written more than forty plays, most of which have been staged and acclaimed internationally.1 Studies of Greig’s oeuvre focus primarily on the staging of “a transnational space, a contact zone,” where characters with different national, ethnic, class, or religious backgrounds have crossed borderlines and try to form new relationships through intracultural contacts.2 In analyzing one of Greig’s overlooked plays, One Way Street (1995), this chapter will use spatial terminology to interpret Greig’s portrayal of the contemporary human condition as transnational and moving beyond borders. Inspired by Walter Benjamin’s idea of “drawing a map of your life” (Berliner Chronicle), Greig intended to create a play that was both a map and theater at the same time. In One Way Street, his main artistic concern was thus to explore the “theatrical possibilities of maps and mapping.”3 The title of the play alludes to one of Benjamin’s works, Einbahnstrasse, a collection of philosophical sketches assessing the vestiges of nineteenth-century culture in Paris of the 1920s: “I was sitting inside the café where I was waiting, I forget for whom. Suddenly, and with compelling force, I was struck by the idea of drawing a map of my life, and knew at the same moment exactly how it was to be done.”4 The fall of the Berlin Wall was a watershed in redrawing the map of Europe. Applying the terminology of geocriticism, this essay maps Greig’s use of place, specifically Berlin, both in real and fictional terms in One Way Street. First, the paper establishes theater as a heterotopic space in the Foucaldian sense. Similarly, Edward Soja’s term “thirdspace” is helpful in arguing that theater is a borderline – a hybrid zone where fiction meets reality. Second, the paper continues exploring One Way Street in territorial terms in order to map real and imaginary places, and it emphasizes
{"title":"Un/Mapping Mindscapes in David Greig’s Theater","authors":"Dilek Inan","doi":"10.2478/9783110623758-008","DOIUrl":"https://doi.org/10.2478/9783110623758-008","url":null,"abstract":"David Greig contributes significantly to contemporary British drama, directing his attention to current political, cultural, and aesthetic issues. Moving beyond his Scottish identity, the playwright has become one of the most prolific, influential, versatile, and recognized playwrights not only in Great Britain but also in Europe. Born in Edinburgh, brought up in Nigeria, and educated in Bristol, Greig, indeed, has always crossed borders and lived transnationally. In two decades, he has written more than forty plays, most of which have been staged and acclaimed internationally.1 Studies of Greig’s oeuvre focus primarily on the staging of “a transnational space, a contact zone,” where characters with different national, ethnic, class, or religious backgrounds have crossed borderlines and try to form new relationships through intracultural contacts.2 In analyzing one of Greig’s overlooked plays, One Way Street (1995), this chapter will use spatial terminology to interpret Greig’s portrayal of the contemporary human condition as transnational and moving beyond borders. Inspired by Walter Benjamin’s idea of “drawing a map of your life” (Berliner Chronicle), Greig intended to create a play that was both a map and theater at the same time. In One Way Street, his main artistic concern was thus to explore the “theatrical possibilities of maps and mapping.”3 The title of the play alludes to one of Benjamin’s works, Einbahnstrasse, a collection of philosophical sketches assessing the vestiges of nineteenth-century culture in Paris of the 1920s: “I was sitting inside the café where I was waiting, I forget for whom. Suddenly, and with compelling force, I was struck by the idea of drawing a map of my life, and knew at the same moment exactly how it was to be done.”4 The fall of the Berlin Wall was a watershed in redrawing the map of Europe. Applying the terminology of geocriticism, this essay maps Greig’s use of place, specifically Berlin, both in real and fictional terms in One Way Street. First, the paper establishes theater as a heterotopic space in the Foucaldian sense. Similarly, Edward Soja’s term “thirdspace” is helpful in arguing that theater is a borderline – a hybrid zone where fiction meets reality. Second, the paper continues exploring One Way Street in territorial terms in order to map real and imaginary places, and it emphasizes","PeriodicalId":166006,"journal":{"name":"Borderlines: Essays on Mapping and The Logic of Place","volume":"193 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123329180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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