High Quality Content by WIKIPEDIA articles! Fruit Market also known as Yau Ma Tei Fruit Market and Yau Ma Tei Wholesale Fruit Market, is a wholesale fruit market in Yau Ma Tei, Kowloon, Hong Kong. Yaumatei Fruit Market, corner of Reclamation Street and Waterloo Road. A portion of the Yaumati Theatre is visible on the left of the picture. It is known as gwo laan in Cantonese. gwo means fruit while laan means wholesale market, derived from railing and enclosed area. The market is a historically valuable site and is classified as a Grade III Historic Building since 1990. It consists of several blocks of one or two storey brick and stone buildings. Pre-World War II signboards are on the outer walls of the buildings. Another historical building, Yaumati Theatre is adjacent to the market, across Reclamation Street.
High Quality Content by WIKIPEDIA articles! Yaumati Theatre, once the largest theatre in Kowloon, is located at the junction of Waterloo Road and Reclamation Street, in Yau Ma Tei, Hong Kong. It is classified as "Grade II Historic Building" The abandoned building is the only remaining pre-World War II theatre in Kowloon. It is to be converted into a venue for Cantonese opera, scheduled for completion in 2011. Another historical structure, Yau Ma Tei Fruit Market is adjacent to the theatre, across Reclamation Street. Situated in the south of Kowloon, Yau Ma Tei was once a village and is now one of the most historic areas in Hong Kong. Before British rule of Kowloon in 1860, Yau Ma Tei was known in historical documents by the name of Kwun Chung with Tanka fisherman clustering around its beach and bay. Today, after many reclamation attempts by the Hong Kong Government, a harbour still stands which is used for the fishing industry. Yau Ma Tei is also famous for its Typhoon Shelter and seafood dishes which are offered both on and off-shore.
This book examines the spatial morphologies represented in a wide range of contemporary ethnic American literary and cinematic works. Drawing from Henri Lefebvre's theorization of space as a living organism, Edward Soja's writings on the postmetropolis, Marc Augé's notion of the non-place, Manuel Castells' space of flows, and Michel de Certeau's theories of walking as a practice, the volume extends previous theorizations by examining how spatial uses, appropriations, strictures, ruptures, and reconfigurations function in literary texts and films that represent inhabitants of racial-ethnic borderlands and migrational U.S. cities. The authors argue for the necessity of an alternative poetics of place that makes room for those who move beyond the spaces of traditional visibility-displaced and homeless people, undocumented workers, hybrid and/or marginalized populations rendered invisible by the cultural elite, yet often disciplined by agents of surveillance. Building upon Doreen Massey's conceptualization of liminal space as a sphere in which narratives intersect, clash, or cooperate, this study recasts spatial paradigms to insert an array of emergent geographies of invisibility that the volume traverses via the analysis of works by Chuck Palahniuk, Helena Viramontes, Karen Tei Yamashita, Gloria Anzaldúa, Alejandro Morales, and Li-Young Lee, among others, and films such as Thomas McCarthy's The Visitor, Steven Spielberg's The Terminal, and Alejandro Gonzalez Iñárritu's Babel.