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The creative city approach is going through a redefinition after the 2008 global financial crisis. In the specific case of South-European cities, in the context of austerity and cuts in public investment, creativity is becoming a strategy for achieving maximum social benefit and improvement of the built environment with minimum economic expenditure. This paper looks at this redefinition of creativity through the case study of Seville, in southern Spain. Through research methods that include video-recorded testimonies of the actors involved, mapping at the online platform "Laboratorio Q", and public engagement activities, this paper explores how the civic society, professional, and public authorities have reinvented how to produce collective spaces. The paper concludes that bottom-up creative processes for producing collective spaces have become more visible since the 2008 crisis, when architects, planners, public authorities and policy-makers have been "learning" from them. [ABSTRACT FROM AUTHOR]

Touristification refers to the multi-dimensional transformation of an area due to severe and rapid tourism intensification, which can harm that place's inhabitants in different ways. The activity's boom in the 2010s brought about an exponential increase in short-term tourist rentals (STRs) in traditionally non-tourist areas across cities worldwide, triggering or expanding displacement dynamics. The study delves into the connections between touristification and displacement and how the latter has conditioned neighbors' lives. As the health crisis abruptly stopped tourist hypermobility, we also question how displacement has been affected and the ways in which it might evolve in the post-pandemic city. We focus on Seville, the capital of Andalusia in southern Spain, a region highly dependent on the tourism and real estate sectors that has annually broken its visitors' records until the Covid-19 pandemic broke out. We reflect upon how local populations in central and increasingly tourist neighborhoods have experienced expulsion before and amidst the pandemic through thirty interviews with residents and displacees from different socio-economic backgrounds in Seville's historic district. We conclude that the reconversion of STRs into long-term leases during and after the pandemic has resolved little compared with the damage already done. [ABSTRACT FROM AUTHOR]

The organ and the clock were, up until the Industrial Revolution, the two most complex machines ever to have been created. Their ingenuity, cost, and ability to elicit reactions of wonder meant that they were readily adopte d as symbols of power and prestige, and over time were to become incorporated into the very fabric of both city and church. As elsewhere in Europe, the organ in the Hispanic world reached its zenith in the seventeenth and eighteenth centuries as a result of technological advances and a quest for new sounds, in keeping with the insatiable desire for novel experiences that was typical of the epoch. Unlike its counterparts, the unique central location of the liturgical nucleus within the interiors of Hispanic cathedrals privileged the organ as a visual, spatial, and sonic focus. Conditioned by the broad hall-like configuration of these interiors, Hispanic organs developed a lateral façade, evolving in the eighteenth century as monumental walls of sight and sound - a nexus of architecture and music. This paper uses a lens of spatial analysis to explore the quest for architectural and sonic symmetry, spatial novelty, and sensorial affect in the Hispanic world. Examples such as the cathedrals of Seville, Mexico City, Granada, and Malaga are used to assess the role that the double-façade mirror organ played in the configuration of the sonic-architectural experience of the Baroque. [ABSTRACT FROM AUTHOR]

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tourism Geographies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many studies have focused on the importance of immigrants participating in the public spaces of the cities where they have settled in order to become integrated. Our research, in contrast, demonstrates the importance of contextualizing participation within the framework of the power relationships that justify and give meaning to certain practices of discipline and control. We look at one concrete example in Seville (Spain): the regulation of the Latin American sports leagues of San Jeronimo. This case demonstrates the central role of public space in monitoring and controlling immigrants and in the dynamics of resistance they develop. [ABSTRACT FROM AUTHOR]

An unpublished manuscript, containing a unique version of a travelogue, documented the travels of a Moroccan ambassador to the court of Charles II in 1690–91 to negotiate a prisoner exchange as well as the return of a number of Arabic-language manuscripts held at the royal palace near Madrid. After summarising and comparing the travelogue to other known copies, this article explores how this narrative came to reside at the University of Seville's archive. Seeking answers to this question, the reader is transported to the Franciscan missions in Morocco where nineteenth-century missionaries studied the Arabic language. Maghrebi- and Arabic-language documents were subsequently smuggled into Spain by the missionaries. Al-Ghassani's narrative of discovery transformed into an opportunity for missionaries and government officials to discover historical perspectives and knowledge about Spain. [ABSTRACT FROM PUBLISHER]

This study builds on the concepts developed by Florida in his work “The Rise of the Creative Class”. In doing so it seeks evidence for the claims made that the creative arts address deficiencies identified in the terminology of ‘cultural tourism’. The case relates to flamenco performances in Seville. The art complex of flamenco survived on the one hand as a symbol of Andalusian culture on the other hand it depends strongly on the international tourism market. Additionally flamenco is used in destination marketing to differentiate Seville from other Spanish cities. [ABSTRACT FROM PUBLISHER]