LEADER 01111nam0-22003851--450- 001 990006537750403321 005 20130204122146.0 035 $a000653775 035 $aFED01000653775 035 $a(Aleph)000653775FED01 035 $a000653775 100 $a20110321d1974----km-y0itay50------ba 101 0 $aita 102 $aIT 105 $ay-------001yy 200 1 $aSistema dei Regulatory powers e Corte suprema federale$fMario Patrono 210 $aMilano$cGiuffrè$d1974 215 $a307 p.$d25 cm 225 1 $aQuaderni della giurisprudenza costituzionale$iNuova serie$v3 676 $a342 676 $a328.73$v20$zita 700 1$aPatrono,$bMario$0229493 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990006537750403321 952 $aCOLLEZ. 969 (3)$b27421$fFSPBC 952 $aXXVII 461$b41$fDDCIC 952 $aI H 62 (3)$b102075$fFGBC 952 $aPecoraro Albani P58$b5837$fDSPCP 959 $aDDCIC 959 $aFSPBC 959 $aFGBC 959 $aDSPCP 996 $aSistema dei "regulatory powers" e Corte suprema federale$9243743 997 $aUNINA LEADER 00920nam0-22003131i-450- 001 990004175050403321 005 20080429094502.0 010 $a88-7119-304-0 035 $a000417505 035 $aFED01000417505 035 $a(Aleph)000417505FED01 035 $a000417505 100 $a19990604d1991----km-y0itay50------ba 101 0 $aita 105 $ay-------00-c- 200 1 $a<>comici dell'arte perduta$ele compagnie comiche italiane alla fine del secolo 18.$fOrietta Giardi 210 $aRoma$cBulzoni$dc1991 215 $a301 p.$d21 cm 225 1 $aBiblioteca teatrale$v67 610 0 $aCompagnie teatrali$aItalia$aSec.18. 676 $a792.0945 700 1$aGiardi,$bOrietta$0162972 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990004175050403321 952 $a792.09 GIA 1$bBibl.22743$fFLFBC 959 $aFLFBC 996 $aComici dell'arte perduta$9199875 997 $aUNINA LEADER 05548nam 2201201 450 001 9910786788703321 005 20230629172000.0 010 $a1-4008-5263-3 024 7 $a10.1515/9781400852635 035 $a(CKB)3710000000202081 035 $a(EBL)1689371 035 $a(OCoLC)884645763 035 $a(SSID)ssj0001377996 035 $a(PQKBManifestationID)11805197 035 $a(PQKBTitleCode)TC0001377996 035 $a(PQKBWorkID)11329712 035 $a(PQKB)10820842 035 $a(MiAaPQ)EBC1689371 035 $a(StDuBDS)EDZ0000890048 035 $a(MdBmJHUP)muse43370 035 $a(DE-B1597)454039 035 $a(OCoLC)984688465 035 $a(DE-B1597)9781400852635 035 $a(Au-PeEL)EBL1689371 035 $a(CaPaEBR)ebr10901630 035 $a(CaONFJC)MIL630207 035 $a(EXLCZ)993710000000202081 100 $a20140813h20142014 uy 0 101 0 $aeng 135 $aur|n#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aUpscaling downtown $efrom bowery saloons to cocktail bars in New York City /$fRichard E. Ocejo 205 $aPilot project. eBook available to selected US libraries only 210 1$aPrinceton, New Jersey :$cPrinceton University Press,$d2014. 210 4$d©2014 215 $a1 online resource (273 p.) 300 $aDescription based upon print version of record. 311 0 $a0-691-17631-0 311 0 $a0-691-15516-X 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tIntroduction. Night and Day --$tChapter 1. The Bowery and its Bars --$tChapter 2. Growing Nightlife Scenes --$tChapter 3. Weaving a Nostalgia Narrative --$tChapter 4. Entrepreneurial Spirits --$tChapter 5. Regulating Nightlife Scenes --$tChapter 6. The Limits of Local Democracy --$tConclusion. Upscaling New York --$tMethodological Appendix. Studying the Social Ecosystem of Bars --$tNotes --$tReferences --$tIndex 330 $aOnce known for slum-like conditions in its immigrant and working-class neighborhoods, New York City's downtown now features luxury housing, chic boutiques and hotels, and, most notably, a vibrant nightlife culture. While a burgeoning bar scene can be viewed as a positive sign of urban transformation, tensions lurk beneath, reflecting the social conflicts within postindustrial cities. Upscaling Downtown examines the perspectives and actions of disparate social groups who have been affected by or played a role in the nightlife of the Lower East Side, East Village, and Bowery. Using the social world of bars as windows into understanding urban development, Richard Ocejo argues that the gentrifying neighborhoods of postindustrial cities are increasingly influenced by upscale commercial projects, causing significant conflicts for the people involved. Ocejo explores what community institutions, such as neighborhood bars, gain or lose amid gentrification. He considers why residents continue unsuccessfully to protest the arrival of new bars, how new bar owners produce a nightlife culture that attracts visitors rather than locals, and how government actors, including elected officials and the police, regulate and encourage nightlife culture. By focusing on commercial newcomers and the residents who protest local changes, Ocejo illustrates the contested and dynamic process of neighborhood growth. Delving into the social ecosystem of one emblematic section of Manhattan, Upscaling Downtown sheds fresh light on the tensions and consequences of urban progress. 606 $aCentral business districts$zWashington (D.C.) 606 $aCommunity organization$zWashington (D.C.) 606 $aUrban renewal$zWashington (D.C.) 607 $aNew York, NY$2gnd 610 $aLower East Side. 610 $aManhattan. 610 $aNew York City. 610 $aNew York Police Department. 610 $aNew York State Liquor Authority. 610 $abar owners. 610 $abars. 610 $abartenders. 610 $abroken windows. 610 $acollective action. 610 $acommunity boards. 610 $acommunity ideology. 610 $acommunity life. 610 $acommunity socializing. 610 $acommunity. 610 $acrime. 610 $adowntown neighborhoods. 610 $adowntown. 610 $aeconomic development. 610 $aentrepreneurialism. 610 $agentrification. 610 $aliquor licensing. 610 $alocal government. 610 $alocal participatory democracy. 610 $aneighborhood growth. 610 $aneighborhood residents. 610 $anightlife. 610 $anostalgia narrative. 610 $aplace entrepreneurs. 610 $aplace making. 610 $apolicing. 610 $apostindustrial city. 610 $aprotests. 610 $aquality of life. 610 $aself-identity. 610 $aslums. 610 $asocial conflict. 610 $asocial ecosystem. 610 $asocial history. 610 $asocial life. 610 $aupscaling. 610 $aurban entrepreneurialism. 610 $aurban transformation. 615 0$aCentral business districts 615 0$aCommunity organization 615 0$aUrban renewal 676 $a307.76 700 $aOcejo$b Richard E.$0967862 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786788703321 996 $aUpscaling downtown$93840469 997 $aUNINA