NASCAR, Sturgis, and the New Economy of Spectacle maps the structure of economies of spectacle in stock car racing and large displacement motorcycle rallying. The book traces the historical development of economic spectacles and models the structural components and moving parts that sustain them. Economies of spectatorship emerge when activities and legends in the cultural commons are privatized or enclosed as immaterial property. Once privatized, a spectacular diegesis supports a triple-circuit of profit: spectatorship markets (payments to see), sponsorship markets (payments to be seen) and trophy markets (payments to be seen enjoying). Vivid illustrations of legendary action in NASCAR and carnivalesque displays at Sturgis reveal how spectator events function as intensive sites of profit-making in contemporary capitalism.
Debord, Time and Spectacle Tom Bunyard provides a detailed philosophical study of the theoretical work of Guy Debord and the Situationist International. Drawing on evidence from Debord’s books, films, letters and notes, Bunyard reconstructs the Hegelian and Marxian ideas that support Debord’s central concept of ‘spectacle’. This affords a reconsideration of Debord’s theoretical claims, and a reinterpretation of his broader work that foregrounds his concerns with history and lived time. By bringing Situationist theory into dialogue with recent reinterpretations of Marx, this book also identifies problems in Debord’s critique of capitalism. It argues, however, that the conceptions of temporality and spectacle that support that critique amount to a philosophy of praxis that remains relevant today.
Selected papers of the XXXIInd Conference at the Centre d'Études Supérieures de la Renaissance de Tours, 29 June-8 July 1989 / Choix de Communications du XXXIIe Colloque du Centre d'Études Supérieures de la Renaissance de Tours, 29 Juin - 8 Juillet 1989
These nineteen papers focus on the 1480-1610 period in England, France and Spain, offering a range of views on the use of images to spectacular ends in institutional form or in artifacts.
After a recall of what neurophysiology says about brain treatment of images and what dominant codings of image may have been in Renaissance commonalty culture, four studies examine the way propagandistic imagery operates and its various effects, from benign submission to fierce opposition. Most studies, however, review accepted or moot points regarding interpretation of plays or staging. Interestingly, even if the papers build on different premises, they come up with fairly consistent findings about theatrical coding and image reception.
While the selection helps see why study of popular shows - including plays - needs be rooted in the broadest cultural context, it also illustrates how basic similitudes in the strategic use, and the impact, of images underlie superficial generic differences.
This interdisciplinary study interprets the façade of Wells Cathedral as an integral part of thirteenth-century English Church liturgy and politics. Carolyn Malone posits that architectural motifs, as signs, complemented not only the façade’s sculptural program of the Church Triumphant but also its use during liturgical processions. Interpreted as an ideological construct, the façade’s design is related to theological change, liturgical innovation and political strategy, as well as to the conjuncture of several major historical and cultural events of the 1220s. As part of the Church’s empowering ritual, the façade expressed the reforming views of the Fourth Lateran Council, promoted Wells as the seat the diocese and proclaimed the covenant between Church and State in England following Magna Carta.
Turning a skeptical eye on the idea that Renaissance artists were widely believed to be as utterly admirable as Vasari claimed, this book re-opens the question of why artists were praised and by whom, and specifically why the language of divinity was invoked, a practice the ancients did not license. The epithet ''divino'' is examined in the context of claims to liberal arts status and to analogy with poets, musicians, and other ''uomini famossi.'' The reputations of Michelangelo and Brunelleschi are compared not only with each other but with those of Dante and Ariosto, of Aretino and of the ubiquitous beloved of the sonnet tradition. Nineteenth-century reformulations of the idea of Renaissance artistic divinity are treated in the epilogue, and twentieth-century treatments of the idea of artistic "ingegno" in an appendix.
No volume about the spectacles and public performances of early modern England could pretend to treat comprehensively a body of materials so conspicuously vast. Rather than efforts to survey the territory, these essays are best understood in the original sense of the term as “essays”—as trials, attempts, experiments to open alternative ways of understanding that vast corpus of mystery plays, civic pageants, court masques and professional dramas that constitute its subject. The book crosses traditional period lines, including studies of Medieval as well as Renaissance entertainments. Once more, the essays are not organized according to a single critical or historical methodology. They employ an eclectic range of interpretive practices, reflecting the variety of interpretive approaches now current in the field.
Contributors include: Tiffany J. Alkan, Robert W. Barrett, Jr., Sarah Beckwith, Tom Bishop, Peter Cockett, Richard K. Emmerson, Peter Holland, Nora Johnson, Richard C. McCoy, Lauren Shohet, and Robert E. Stillman.
The Political Economy of the Spectacle and Postmodern Caste, John Asimakopoulos analyzes the political economy of the society of the spectacle, a philosophical concept developed by Guy Debord and Jean Baudrillard. Using the analytical tools of social science, while historicizing, Asimakopoulos reveals that all societies in every epoch have been and continue to be caste systems legitimized by various ideologies. He concludes there is no such thing as capitalism (or socialism)—only a caste system hidden behind capitalist ideology. Key features of the book include its broad interdisciplinary-nonsectarian approach with quantitative and qualitative data.
The Political Economy of the Spectacle and Postmodern Caste is well written and clear, making it accessible to the general public.
This issue of
Matatu offers cutting-edge studies of contemporary Nigerian literature, a selection of short fiction and poetry, and a range of essays on various themes of political, artistic, socio-linguistic, and sociological interest. Contributions on theatre focus on the fool as dramatic character and on the feminist theatre of exclusion (Tracie Uto-Ezeajugh). Several essays examine the poetry of Hope Eghagha and the Delta writer Tanure Ojaide. Studies of the prose fiction of Chinua Achebe, Tayo Olafioye, Uwem Akpan, and Chimamanda Adichie are complemented by a searching exposé of the exploitation of Ayi Kwei Armah on the part of the metropolitan publishing world and by a recent interview with the poet Jumoko Verissimo. Traditional culture is considered in articles on historical sites in Ile-Ife, witchcraft in Etsako warfare, and the Awonmili women’s collective in Awka. Linguistically oriented studies consider political speeches, drug advertising, and Yoruba anthroponyms. Performance-focused essays focus on Emirate court spectacle (durbar), Yoruba drum poetry in contemporary media, gospel music, indigenization and islamization of military music, and the role of the filmmaker. Contributions of broader relevance deal with Islamic components of Nigerian culture, the decline of the educational system, and the socio-economic impact of acquisitive culture.
Following the pioneering work of Francis Xavier in establishing Christianity in Japan, his successor Alessandro Valignano, decided to send a legation to Europe representing the three Christian
daimyo of Kyushu, southern Japan. It consisted of two Christian samurai boys who were chosen as legates, together with two teenage companions. The group set sail from Nagasaki in February 1582 and were to be away for eight years. The purpose of the mission was twofold: it would give Europeans the chance of seeing Japanese people at first hand and appreciating their culture, thereby publicising the work of the Catholic Church in Japan and so (it was hoped) increase much-needed financial support; and secondly on their return to Japan the envoys would give eyewitness reports of the splendours of Renaissance Europe, thus moderating Japanese notions about the outside world and foreign barbarians. The boys travelled through Portugal, Spain and Italy and were feted wherever they went. In Venice, the authorities even postponed the annual festival in honour of St Mark, the city’s patron, so that the Japanese might view the spectacle. More importantly, the boys met Philip II of Spain several times, as well as Pope Gregory XIII and his successor Sixtus V. This is the first book-length study in English of the mission and provides important new insights into the work of the Jesuits in Japan and the nature of the legation’s impact on late-sixteenth-century European perceptions of Japan.