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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.

Shelley Sang-Hee Lee

immigrant store owner as spectacle, signifier, and actor in relation to the issue of Black-Korean relations in Los Angeles during the late twentieth century and argues that the “Black-Korean conflict” was both unwatchable historical phenomenon and eminently watchable (and consumable) media spectacle, in

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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

Transnational Intellectuals

Celebrities, Diplomacy, and Currency

Graciela Montaldo

intersections between mass culture and lettered culture in the world of spectacle and I want to focus on the political implications of the 1907 visit of Italian philosopher Guglielmo Ferrero and his wife Gina Ferrero-Lombroso to Buenos Aires and Rio de Janeiro. Why this particular case? The Ferrero’s trip had a

J. Marshall Beier

subjecthood, ‘are the consumers of the ever delightful spectacle of poverty and catastrophe, and of the moving spectacle of our own efforts to alleviate it’. 3 Critical interventions of the sort brought by Cole, Baudrillard, and others 4 alert us to how the pretension to protect may all too often be

J. Marshall Beier

delightful spectacle of poverty and catastrophe, and of the moving spectacle of our own efforts to alleviate it’. 3 Critical interventions of the sort brought by Cole, Baudrillard, and others 4 alert us to how the pretension to protect may all too often be complicit in domination and the erasures of

Kevin van Doorn and Jacob G. Sivak

Edited by J. van Rooijen

The spectral transmittance of the optical media of the eye plays a substantial role in tuning the spectrum of light available for capture by the retina. Certain squamate reptiles, including snakes and most geckos, shield their eyes beneath a layer of transparent, cornified skin called the ‘spectacle’. This spectacle offers an added opportunity compared with eyelidded animals for tayloring the spectrum. In particular, the hard scale that covers the surface of the spectacle provides a unique material, keratin, rarely found in vertebrate eyes, a material which may have unique spectral properties. To verify this, shed snake and gecko skins were collected and the spectral transmittance of spectacle scales was spectrophotometrically analyzed. The spectacle scale was found generally to behave as a highpass filter with a cut-off in the ultraviolet spectrum where taxonomic variation is mostly observed. The spectacle scales of colubrid and elapid snakes were found to exhibit higher cut-off wavelengths than those of pythonids, vipers, and most boids. Gecko spectacle scales in turn exhibited exceptional spectral transmittance through the visual spectrum down into the UV-B. It is suggested that this is due to the absence of beta-keratins in their spectacle scale.

Benedict Anderson

Do we construct the experiencing of site and performance through the contract of the theatre that is performer/spectator, seen/unseen, sensed/felt, light/darkness, stasis/movement, silence/sound, and imagined/real? Exploring the theme Visual literacy and perception within performance, the chapter will propose that space, spectacle, and body become implicated through vagrant appearances in site-specific performance. Social occupation of space we encounter and share manifests in the display of fireworks, shopping arcades, entertainment spectacles, national celebrations, Las Vegas, etc. In the permanency of the theatre, its space, like the social spaces outlined above are principally forged by capital and are designed for a fixed separation and submission of performance and its experiencing. The discursive nature of site-specific works inherently involves site as something that becomes the subject and context of the performance. Site-specific performance is predominantly actualised through responding to the physical conditions and history, creating vagrant relationships to the performance site. In contrast, theatre space, held to its architecture of separation, unable to structurally transform and set to spectacle/phantasmagoria manifestations, relies instead on stationary formulations for spatial transformation. Referencing a number of projects from my own practice including: En Residencia for Teatro Laboral Gijon Spain 2009, Shed*Light Cardiff/Madrid 2006 and California Roll 2005 Berlin, I will highlight the spatial shifts in creating site-specific performative works composed through a spatial realignment between body and space. The requirement for working in site-specific spaces is to explore opportunities for spatial propositions coming via the site and performance. Whilst much has been written about site-specificity in relationship to the appearances of visual art, the address of vagrant spatial occupations in site-specific performance remains under-theorised.

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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