Deck 7: City Imagery

Question 1

When people look at a building, street, neighborhood, or whole city, their impressions are influenced by…

A)only the physical characteristics of those phenomena.
B)whether or not they feel like an urban stranger.
C)only the objective factors in their environment.
D)social constructions based on mental pictures of that environment.

Answer 1

D

Question 2

Hutter suggests that it is not surprising that one's mental maps or images often overlap with and complement those of others.Why is this?

A)If people are in the same environment, then they will naturally have the same maps or images of it.
B)One person's mental map is produced by interactions with others and is thus socially learned.
C)The same ecological niche necessarily produces similar mental maps or images.
D)The biotic environment shapes our mental images.

Answer 2

B

Question 3

The way we perceive space and the environment is…

A)socially learned and based on experience.
B)objective and does not vary by person.
C)the same for anyone in the same space and environment.
D)determined by our social class.

Answer 3

A

Question 4

Hutter suggests that Lynch and Wohl and Strauss, in their discussions of the image of the city, do not place enough emphasis on…

A)the importance of symbolic factors.
B)mental maps.
C)underlying political, economic, and social factors.
D)the role of the natural environment.

Question 5

Mark Gottdiener argues that ________ play(s) a large role in urban imagery.

A)art works
B)mental maps
C)landscape
D)ideology

Question 6

Donald Olsen examined three European capitals and suggests through the title of his book the importance of seeing "the city as a work of art." Which was NOT one of the cities?

A)London
B)Paris
C)Rome
D)Vienna

Question 7

By emphasizing the importance of looking at "the city as a work of art," Olsen is stressing that great cities should be appreciated as…

A)deliberate artistic creations.
B)economic entities.
C)urban ecological settings.
D)pathological aspects of modernity.

Question 8

The development of the great industrial cities of the nineteenth century helped define that century.Social scientists and reformers were especially drawn to understanding phenomena such as…

A)poverty.
B)child labor.
C)desertions.
D)abuse of women and children.
E)all of these things

Question 9

Instead of thinking of nineteenth-century Paris as a city of gloom, with dark and filthy streets and slums rife with social disorganization, our image is of broad boulevards, of street festivals, and of happy people walking down the boulevards or congregating in cafes and restaurants.This image is powerfully influenced by…

A)Charles Dickens
B)Karl Marx
C)Jane Austen
D)the Impressionists

Question 10

The radical restructuring of Paris in the mid-nineteenth century is referred to as…

A)Impressionism.
B)Haussmannization.
C)urban renewal.
D)symbolism.

Question 11

The restructuring of Paris in the mid-nineteenth century involved all but one of the following.Which is NOT one aspect of the restructuring?

A)building new working-class neighborhoods in the center of Paris
B)bulldozing poor and working-class communities
C)forcing those evicted from restructured neighborhoods to migrate to outlying districts
D)replacing narrow, winding streets with broad boulevards

Question 12

The restructuring of Paris in the mid-nineteenth century was…

A)intended to convey a sense of Paris as a working-class city.
B)the last major urban redevelopment project in the world.
C)a precursor to the urban renewal projects of the twentith century.
D)not really a major transformation of the city.

Question 13

In discussing the transformation of Paris in the nineteenth century, Hutter stresses that…

A)the transformation emphasized social stratification.
B)works by various artists show the changes that were made.
C)this transformation was an early example of urban planning.
D)the transformation amounted to a radical rebuilding of the city.
E)all of the above

Question 14

The Impressionists' paintings of restructured Paris emphasized the city as a site for…

A)the bourgeoisie.
B)the working class.
C)crime and disease.
D)the poor.

Question 15

The Impressionists' paintings highlighted all but one of the following as aspects of the restructured Paris.Which one of these was NOT one of the highlighted aspects?

A)transportation and industry
B)sites of tourism and consumerism
C)sites of leisure for the bourgeoisie
D)political upheaval represented by street barricades

Question 16

The Ashcan School painters were part of the ________ movement in early twentieth-century art and literature.

A)social realist
B)Impressionist
C)symbolic interactionist
D)urban romantic

Question 17

In the late nineteenth and early twentieth centuries, social reformers trying to combat the social disorganization of the cities were influenced by all but one of these.Which of the following did NOT influence them?

A)Frank Norris's The Octopus
B)Upton Sinclair's The Jungle
C)Stephen Crane's Maggie: A Girl of the Streets
D)the Impressionists

Question 18

Along with social reformers and social realist writers, the Ashcan School painters focused on…

A)the impact of Haussmannization on Paris.
B)social injustice and the ills of social disorganization.
C)the better off people in New York City.
D)the necessity for enhanced policing to combat poverty, prostitution, drunkenness, and other acts of civil impropriety.

Question 19

Hutter suggests that the Ashcan School shared…

A)Durkheim's analysis of mechanical and organic solidarity.
B)Simmel's social psychological approach to cities.
C)Lofland's emphasis on the public realm.
D)Park's concept of the city as a mosaic of social worlds.

Question 20

One major theme in the paintings of the Ashcan School was their depiction of…

A)how downtrodden and hopeless the circumstances of the poor really were.
B)how art and painting are not only important for the rich, but are also important for the poor.
C)how urban sociology could help lessen social disorganization.
D)slum dwellers as not just downtrodden by their situations, but able to rise above them.

Question 21

In their paintings, Aschcan painters often took on the role of the flaneur, the…

A)nonparticipant observer of contemporary life.
B)the active, involved participant in urban life.
C)street criminal.
D)the slum dweller, who is not noticed by anyone.

Question 22

Graffiti…

A)is an entirely new phenomena that arose in the twentieth century.
B)reflects primarily destructive tendencies of those who would deface their environment.
C)has a long history.
D)must be obliterated before cities can develop.

Question 23

Although many city officials took a dim view of the graffiti "epidemic" of the 1970s, others took a more positive view, feeling that…

A)graffiti artists were contributing to tourism in their cities.
B)graffiti artists would all soon be arrested, so there was little to worry about.
C)the graffiti was a manifestation of the genius of previously unrecognized individuals.
D)the graffiti would wash off soon.

Question 24

Visual sociologist Camilo Jose Vergara observes that murals…

A)can provide a sense of presence and a response to the deprivations and realities of ghetto life.
B)represent an unwarranted and dangerous glorification of urban gang life.
C)should be disregarded because they have no artistic or political significance.
D)bear out the "broken windows" theory.

Question 25

Some city administrations, including that of New York City's Mayor Michael Bloomberg, view graffiti as a(n)…

A)manifestation of antisocial acts.
B)symbol of community neglect and abandonment.
C)direct threat to the urban quality of life.
D)invitation to criminals.
E)all of the above

Question 26

Philadelphia's anti-graffiti program aimed not only to destroy graffiti, but also to…

A)have graffiti artists arrested.
B)make a clear distinction between graffiti and murals.
C)co-opt graffiti artists by getting them involved in painting legal street murals.
D)have Philadelphia recognized as the mural capital of the country.

Question 27

Philadelphia's Mural Arts Program (MAP) works with communities to develop murals that…

A)indicate which gangs hold sway in which communities.
B)reflect and restore the community.
C)demonstrate how graffiti leads to crime and disorder.
D)have no discernible purpose.

Question 28

The contemporary subject matter of murals…

A)gives them an ephemeral quality.
B)helps mural remain timeless and continuously relevant.
C)means that their themes, symbols, and aesthetic will remain constant.
D)makes them invulnerable to change.

Question 29

Some commentators argued that the Public Works of Arts Projects (PWAP) of 1933-1943 often resulted in murals that…

A)celebrated and recognized the contributions of Mexican Americans to California's history.
B)overemphasized the contributions of Asian Americans to California's history.
C)tended to present California history from an Anglo American perspective that neglected the contributions of other groups.
D)stressed the key role that women played in California's history.

Question 30

The most famous mural in Los Angeles is probably the…

A)"Great Wall of Los Angeles."
B)"Peace Wall."
C)"Great Wall of China."
D)"Revolution Evolution."

Question 31

The Social and Public Art Resource Center (SPARC) has created many murals in Los Angeles.These murals often reflect…

A)the need for the United States to develop more trade agreements like NAFTA.
B)fairly safe and widely agreed upon perspectives.
C)pride of community issues, portraits of prominent people and political figures, and political statements.
D)noncontroversial issues that the city government wishes SPARC to support.

Question 32

The core of the mural art movement in Los Angeles is based on themes that…

A)accentuate the negative aspects of community life.
B)accentuate the positive aspects of community life.
C)most government officials approve.
D)are closely related to artistic controversies.

Question 33

Dunitz and Prigoff suggest that community murals can be seen as empowering, giving visibility to community issues and serving as a means of communication between peoples and cultures, but that

A)murals can be the solutions to serious urban problems.
B)murals need to first be artistically solid before they can empower communities.
C)murals should not be seen as solutions to community problems.
D)graffiti artists can subvert community murals.

Question 34

The decline of Detroit and its emergence as a symbol of devastation is largely due to…

A)the closing of Hudson's department store.
B)the rise of the automobile industry.
C)the relative lack of racism in the city.
D)deindustrialization.

Question 35

The Detroit Institute of Arts may be able to contribute to the revitalization of the city in part because of…

A)the construction of a new building in a depressed area of the city.
B)changes in the Institute's collection to include and acknowledge African American art and artists.
C)its name change from the Detroit Museum of Art.
D)its reflection of White upper-class aspirations.

Question 36

Shared images of places and communities facilitate the development of strong bonds between people.

Question 37

Hutter stresses that the imagery of Paris as depicted in art was created through the radical rebuilding of the city.

Question 38

According to Hutter, the depictions of New York City by the Ashcan School painters illustrated the idea of the city as a mosaic of social worlds inhabited by strangers.

Question 39

One important thing about Philadelphia's murals is that they are permanent and help neighborhoods resist change.

Question 40

The contemporary murals of Los Angeles are a very new development.

Question 41

Lynch and Wohl and Strauss emphasize how people often use specific physical symbols to construct their image of a city.According to Hutter, what don't these authors adequately take into account?

Question 42

What was Haussmannization, in regard to Paris?

Question 43

How do the Impressionist's paintings of Paris reflect the changes brought about by the radical restructuring of the city?

Question 44

What was the subject matter of the Ashcan School of painters?

Question 45

Although many view graffiti negatively, others see it in a more positive light.How can one look at graffiti positively?

Question 46

In this chapter, Hutter considers the work of the Impressionists in Paris and the Ashcan School in New York in emphasizing how images of cities are tied to underlying political, economic, and social factors.Explain how the work of either of the groups of painters illustrates Hutter's argument.

Question 47

Discuss the role of murals in Philadelphia and Los Angeles, paying particular attention to their themes, strengths, and weaknesses.