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Carolyn Marino Malone

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.

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Douglas Kellner

Guy Debord described a “society of the spectacle” in which the economy, politics, social life, and culture were increasingly dominated by forms of spectacle. 1 This collected volume updates Debord’s theory of the spectacle for the 21st century and the age of digital media and digital capitalism

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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

Art and Value

Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics

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Dave Beech

Art and Value is the first comprehensive analysis of art's political economy throughout classical, neoclassical and Marxist economics. It provides a critical-historical survey of the theories of art's economic exceptionalism, of art as a merit good, and of the theories of art's commodification, the culture industry and real subsumption.
Key debates on the economics of art, from the high prices artworks fetch at auction, to the controversies over public subsidy of the arts, the 'cost disease' of artistic production, and neoliberal and post-Marxist theories of art's incorporation into capitalism, are examined in detail.
Subjecting mainstream and Marxist theories of art's economics to an exacting critique, the book concludes with a new Marxist theory of art's economic exceptionalism.

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Patricia Emison

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.

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Yiannis Mylonas

sphere at critical moments, such as times of war or an economic crisis. As an important space of experience, the public sphere offers the pretext where hegemonic interventions unfold through the media in globalised, late capitalist societies. Simultaneously, the dimension of the spectacle is to be found

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Margherita Carucci

beasts. Charting the typical arena spectacle is a difficult task, since the ancient sources are scattered. The standard ‘classical’ form of munus with morning venationes , lunchtime executions, and afternoon gladiatorial combats is a modern reconstruction that is not supported by ancient textual

Edson G. Cabalfin

This chapter explores the changing nature of queer spaces using field study conducted in 2000-2001 and 2008-2009 on the Quezon Memorial Circle (QMC), a major urban node in the former capital city of the Philippines. The QMC is considered the heart of the erstwhile capital city, a major roundabout connecting six avenues, and houses important governmental agencies. The chapter documents the dynamics of queer cruising and gay male prostitution in the area fronting the City Hall around QMC during the beginning of the decade and its eventual decline towards the end of the decade due to the rise of Internet. Focusing on the dynamics of the queer use of public spaces, the paper explores the role of the gaze and its relationship to systems of surveillance and spectacle for the solicitation of gay sex in public urban space. The paper argues that these spaces should be understood as both a strategy for empowerment and instrument of oppression for queers.

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Michele C. Deramo

? Is the learning reciprocated by any measureable benefit to the host sites? Or is volunteerism a spectacle that furthers a Western agenda through positive public relations? The answers to these questions give insight into both the limits of these programs in achieving their desired learning outcomes

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Edited by Robert E. Stillman

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.