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Epic Theatre and the Culture of Spectacle

Aesthetic Figuration of Body and Race in Suzan-Lori Parks’ Venus

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Ljubica Matek

order to clarify either the author’s position or perception of the Venus figure within its complex historical and contemporary context. Despite the relative abundance of scholarly insights into these topics, the play invites another reading focusing on the phenomenon of spectacle as played out in Venus

Image et spectacle

Actes du XXXIIe Colloque International d’Etudes Humanistes du Centre d’Etudes Supérieures de la Renaissance (Tours, 29 juin–8 juillet 1989)

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Edited by Pierre Béhar

Spectacle, Rhetoric and Power

The Triumphal Entry of Prince Philip of Spain into Antwerp

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Stijn Bussels

In 1549, Prince Philip of Spain made his entry into Antwerp together with his father, Emperor Charles V. For this occasion the rich city of commerce was transformed into a large theatrical space with triumphal arches and tableaux vivants as stage settings. The citizens and the princes acted as actors in a splendid parade, a battle array of four thousand participants, impressive tournaments and a huge firework display. This resulted in one of the most expensive and impressive festivities of the early modern period. The organizing municipality drew on various theatrical genres in an effort to bring about a renewal in the existing power relations between the Habsburg rulers and themselves, as well as the relations of the rulers with the population. Exactly how the city and the monarch were depicted was illustrative of the precious balance of power between the Habsburgs and the city fathers and of both parties toward their respective subjects. How these power relations were precisely staged in Antwerp is studied in this book.

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Rosa Tapia

spectacle—even for art-house films—through a narrative that departs from realist drama as it weaves in elements from other subgenres, including post-apocalyptic horror. The representation of spaces and bodies in Post Mortem relies primarily on the use of horror motifs in juxtaposition with elements of

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Clément Sigalas

” give an account of a war experienced indirectly rather than in harsh reality. In these, one is able to gaze at the war or to hear it without being directly struck by it. These narratives, mainly novels, emphasize the distance separating the spectator from the spectacle and highlight the mediating

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Monica Michlin

It may seem a paradox to speak of the Iraq War film as deconstructing the spectacle of war, if one has in mind either Kathryn Bigelow’s The Hurt Locker (2008) or James Cameron’s Avatar (2009). While these films’ visuals packed a relentless series of adrenaline rushes and arguably operated

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Kaspar Thormod

visual pleasure in the eyes and minds of their beholders, which is to say that Rome, even ancient Rome, has always participated in the spectacular”. 3 Rhodes goes on to distinguish between ‘spectacular’ old Rome and the ‘spectacle’ that characterises our times. He draws on Guy Debord’s concept of

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David H. Calhoun

wondrous to us: a spectacle of colors, shapes, light, and shadow, populated by wildly varied characters whose experiential paths weave together into an engaging tapestry. The sensuous wonder of the experience of film calls to mind Plato’s dialogic and poetic art. Throughout the Republic , for example

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Marianne Bessy

raconté cette anecdote quelque part » (27) ou « je me suis demandé quelle suite je devais donner à ce dialogue » (176). L’écriture est mise en spectacle à travers un processus autoréflexif qui ouvre un espace de connivence entre auteur, narrateur et lecteur. Un autre aspect frappant de cette mise en scène

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John Potvin

Abstract

Warriors, Slave Traders and Islamic Fanatics: “Reporting” the Spectacle of Oriental Male Bodies in the Illustrated London News, 1890-1900

Regular news features in the Illustrated London News commodified the news it sold on the open market as well as the bodies of the “authentic native” contained therein. Rereading the male book-body into the text of the Southern Mediterranean, specifically that of Morocco and Egypt, ostensibly provides a rarified glimpse into a region that has been popularly characterized as feminine, personified by the confinement of the harem. This paper interrogates the periodical’s symbiotic and purposeful interplay between text and image, and distance and proximity as a means to deconstruct how representations of the Islamic male body, in its various corporeal and aesthetic permutations (religious fanatics, slave traders, warriors), function as symptoms of a (white) male Victorian subjectivity.