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Spectacle & image in Renaissance Europe / Spectacle & image dans l'Europe de la Renaissance

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


Edited by Lascombes

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.

Charles Alunni

« objets » mathématiques, se pose celle de l’« exclusion ou déconstruction du sujet ». « L’“omni-temporalité” dont se trouve affectée la pensée du vrai n’est pas supportée par un ego intemporel qui se donnerait à soi-même le spectacle et le tourment du temps. S’il en était ainsi, l’ ego pourrait lire en

Catherine Paoletti

by radio and television not to mention all that echoes “this depressing spectacle of depravity of human voice”, which engender forms of spontaneous repression, doxa communis , so much internalized as to become echolalia. Relation to the voice expressing its language policy, a relationship both to