Abstract All parades are gatherings of curious collections, but the parades in the work of the architect-trained artist Saul Steinberg are like no others. In one particular drawing bearing the name of his childhood street, Steinberg intertwines two parades that bring forth recollections of his native Bucharest from the early decades of the twentieth century. Utilizing the focused lens of the festival, I will trace a microhistory where Steinberg constructs an allegorical narrative of the city as parade. While the city-fragment portrayed in the image is the eclectic Bucharest of the 1920s, it also makes larger, more important statements about cities as contested places of power, where the ordinary and the extraordinary, locals and guests inhabit, reclaim and negotiate the same places. The destabilizing condition of the festival is extended to the city as a whole, which thus turns into another parade of colliding, yet intertwined, fragments.

中文翻译：

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牧师、国王和街头小贩：索尔·斯坦伯格 (Saul Steinberg) 的 Strada Palas (1966) 中的城市寓言

摘要 所有游行都是好奇收藏的聚会，但受过建筑师训练的艺术家索尔斯坦伯格作品中的游行与众不同。在一幅以他童年街道的名字命名的特别画作中，斯坦伯格将两次游行交织在一起，让人想起 20 世纪初期对家乡布加勒斯特的回忆。利用节日的聚焦镜头，我将追溯斯坦伯格构建的城市作为游行的寓言式叙事的微观历史。虽然图像中描绘的城市片段是 1920 年代不拘一格的布加勒斯特，但它也对城市作为有争议的权力场所做出了更大、更重要的陈述，普通和非凡、当地人和客人在那里居住、回收和谈判相同的地方地方。