Ideology and Social Constructs

Hall's emphasis on how meaning is constructed socially and culturally (Hall, 1997) dovetails with Lefebvre's idea that "conceived space" is an abstract space shaped by planners, architects, and other professionals to serve specific ideologies (Lefebvre, 1974). Both are forms of social constructs shaped by prevailing powers.

Representation and Planning

Hall asserts that meaning is produced and circulated through language and other systems of representation (Hall, 1997, p. 16-18). In a similar vein, Lefebvre's "conceived space" is a representation in the form of plans, maps, and models that not only describe but also prescribe spatial organization (Lefebvre, 1974).

Material Versus Symbolic

While Hall focuses on the symbolic and representational systems (Hall, 1997, p. 24-25), Lefebvre's "conceived space" translates these abstract representations into the material world. Yet both scholars would agree that the material and the symbolic are intrinsically linked; the material world is imbued with symbolic meaning and vice versa.

Subject in the System

Hall speaks about the subject as both a consumer and producer of meaning, emphasizing that individuals are shaped by the representational systems they engage with (Hall, 1997, p. 55-56). Lefebvre similarly posits that while individuals live within the "conceived spaces" designed by those in power, they also engage with and modify these spaces through their lived experiences (Lefebvre, 1974).

The Relational Character

Hall posits that meaning is not fixed but is relational (Hall, 1997, p. 26-27). Lefebvre too emphasizes the relational nature of "conceived space," stating that its meaning is not fixed but emerges in relation to how it is lived and perceived (Lefebvre, 1974).

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Dressed in a sailor's hat, jacket, and white pants, the artist leans on a wooden frame, his gaze directed into the distance. The pose evokes a sense of longing or perhaps contemplation of voyages yet to come.

Set against a red background, the artist embodies the quintessential rocker in a leather jacket, gold-patterned pants, and dark glasses. The vivid backdrop amplifies the rebellious spirit of the character.

Surrounded by a medley of fabrics and patterns, the artist sits on a leopard-print chair, holding sunflowers. He wears a hat made of animal fur and pants in a similar print. Gold necklaces and a fancy ring add a touch of bling. His shoes are off, placed beside a small mat for his bare feet. A bag with fabric lies next to the chair.

Wearing a pointed hat and a silver band wrapped around his head to cover one eye, the artist dons an unbuttoned Victorian jacket that exposes his chest. He holds pieces of jewellery, adding a touch of plunder to the portrait.

Dressed in traditional golfing attire, the artist holds what appears to be an old-fashioned wooden club. His gloves seem oversized, and he wears glasses. The backdrop is a painted sheet that resembles a field, yet the lighting is so muted that he almost blends into the sky.

Donning a suit bursting with colours and patterns, purple heels, and an eclectic mix of jewellery, the artist also wears a scarf on his head topped with a hat. The backdrop mimics a natural setting, painted to resemble leaves and greenery, while the floor looks like a woven picnic basket.

In a wider shot, the artist is again on the phone but this time without glasses. His full attire, down to his shoes, is visible. The white background is punctuated by the casting of three distinct shadows, adding a surreal touch.

Clad only in a towel and sporting swimming goggles, the artist presents a bare torso against a stark white background. The minimalistic setting focuses attention on the subject, evoking a sense of vulnerability and strength.

Dressed in a grey suit and tie, and wearing glasses, the artist holds a landline telephone in a deliberately posed manner. His gaze is directed into the distance, and his smile suggests a sense of optimism or aspiration. The white background adds a corporate sterility.

A close-up reveals the artist's face adorned with a muted, almost inebriated smile that doesn't quite reach his eyes. He holds a white fur jacket and wears an array of fancy jewellery, adding layers of opulence.

Draped in a black formal dress and adorned with a wig, the artist sits elegantly on a chair. The rich red background serves as a vivid contrast, amplifying the sense of sophistication and grace.

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Identity can be seen as both a national trait and a personal characteristic.

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The emergence of African nations from the colonial era reflect the tumultuous history of the 20th century. The text highlights the use of pan-African theories of nationalism as a refuge and a collective identification.

Making a new identity for modern African countries hasn't been easy. It's been heavily influenced by the tricky history of foreign rule and its after-effects.

With the decline of pan-African unity, the text discusses the transition towards more localized or individual quests for identity. The focus shifts from a collective definition to a complex existential consideration of the African individual on the global stage.