By Paul Dr Newland
Paul Newland's illuminating learn explores the ways that London's East finish has been constituted in a large choice of texts - motion pictures, novels, poetry, tv exhibits, newspapers and journals. Newland argues that an concept or photograph of the East finish, which built throughout the overdue 19th century, maintains to operate within the twenty-first century as an inventive area during which carrying on with anxieties stay labored via referring to fabric growth and modernity, rationality and irrationality, ethnicity and 'Otherness', classification and its comparable structures of behaviour. The Cultural building of London's East finish deals precise examinations of the ways that the East finish has been developed in various texts together with BBC Television's EastEnders, Monica Ali's Brick Lane, Walter Besant's every kind and prerequisites of fellows, Thomas Burke's Limehouse Nights, Peter Ackroyd's Hawksmoor, movies resembling Piccadilly, Sparrows cannot Sing, The lengthy strong Friday, From Hell, The Elephant guy, and Spider, and within the paintings of Iain Sinclair.
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Additional info for The Cultural Construction of London's East End: Urban Iconography, Modernity and the Spatialisation of Englishness.
A number of cultural geographers have argued that our sense of place can be best understood as a biological response to our physical surroundings as well as a cultural construction (see Tuan 1977: 6). Moreover, many working within the discipline of cultural landscape studies have focused on the evolution of places; that is, the ways in which people shape places and become attached to them. 9 Likewise, a number of theorists have explored the power of place as a source of memory (Hayden 1997). In his examination of marginal spaces that function as products of modernity, Rob Shields has argued that “the social ‘Other’ of the marginal and low cultures is despised and reviled in official discourse of dominant culture and central power while at the same time being constitutive of the imaginary and emotional repertoires of that dominant culture” (1991: 5).
However, this novel clearly constructs Limehouse as a space that is somehow different to the rest 54 The Cultural Construction of London’s East End of London. Indeed, it is in Our Mutual Friend that Dickens really begins to draw a distinction between the character of east London and other areas of the city. After they are interrupted during the banquet at the bourgeois Veneering’s house with news of a body found in the Thames, Eugene Wrayburn and Mortimer Lightwood take a coach to Gaffer Hexham’s lodgings by the docks.
This spot affords the first glimpse of the metropolis for the traveller from the Channel ports. 5 Significantly, when viewed from this height, east London is closer than west London. It is undoubtedly the eastern aspect of the city that is captured here: A mighty mass of brick and smoke and shipping, Dirty and dusty, but as wide as eye Could reach, with here and there a sail just skipping In sight, then lost amidst the forestry Of masts, a wilderness of steeples peeping On tiptoe through their sea coal canopy, A huge, dun cupola, like a foolscap crown On a fool’s head – and there is London town!