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  • All: spectacle x
  • Slavic and Eurasian Studies x

“Journalists Discovered Łódź Like Columbus”

Orientalizing Capitalism in the Late Nineteenth- and Early Twentieth-Century Polish Modernization Debates

Wiktor Marzec and Agata Zysiak

, we also believe that the archeology of discourse we perform is about examining the discursive traces and orders left by the past in order to write a “history of the present.” 32 Kristi Siegel, ed., Issues in Travel Writing: Empire, Spectacle, and Displacement (New York: Peter Lang, 2002), p. 2

Neil Davidson

old books and old buildings, still of some significance but destined to continual reduction and, moreover, increasingly highlighted and classified to suit the spectacle’s requirements, there remains nothing, in culture or nature, which has not been transformed, and polluted, according to the means and

Adolph Bolm’s Cinematic Ballet

The Spirit of the Factory

Lorin Johnson and Mark Konecny

spectacle bringing two thousand players, an orchestra of two hundred instruments, and a choir of five hundred, to be performed in an outdoor venue, presumably Bayreuth. 47 The logistical problems of lighting a production of this size, using projectors and light arrays to direct the attention of the

Georgy Kovalenko

Athenaeum Theater in London, he was inspired by the idea of staging Ondine as a ballet, seeing Tchelitchew as the sole creator of the spectacle. He entered into correspondence with him, discussing specific questions of libretto, timing, honorarium, etc. 13 World War ii interrupted the plans, but Ashton

Maryna Romanets

critical discourse has termed the modern-day image-saturated world as “hyper- visual” (Nicholas Mirzoeff ) or as a “society of the spectacle” (Guy Debord), existing under the spell of the “frenzy of the visible” (Linda Williams), craving for “visual pleasure” (Laura Mulvey), and being continuously subjected

Derek Humphreys

merchant Had ever given to any assistant. In crowds they gathered to see this great miracle. In silence they stared awaiting the spectacle. From time to time a soft whisper would claim: “It’s going to boil and burst into fl ame.” But not just yet. Th e sea was serene. It boiled not and no fl ame was seen

Sandra Pujals

example, Stephanie Sieburth, Inventing High and Low; Literature, Mass Culture, and Uneven Modernity in Spain (Durham, NC: Duke Univ. Press, 1994); Jo Labanyi, “Horror, Spectacle, and Nation- formation: Historical painting in Late 19 th century Spain,” in Lou Charnon-Deutsch, ed., Hold That Pose

Michael Sosa

n t r o l l e r is v e r y likely to be h u r t . The only p r a c t i c a l t h i n g to do is to s t a n d clear, l e t i t fly, a n d enjoy t h e spectacle. D. E. B y n u m C l e v e l a n d S t a t e U n i v e r s i t y Yu. S h c h e g l o v a n d A. Z h o l k o v s k y . P o e t i c s o f E x p

WALENTY CUKIERMAN

caught a glimpse o f the Odessan scene, as though this single episode were only part of a continual spectacle performed by the inhabitants of Odessa in their t h e a t e r - t h e city. "Milaia Odessa" (judging by the content and the role o f the Narrator) was written during the first months of Il

CHARLENE CASTELLANO

dressed in a faded mantle, carries an ancient lantern. A golden laurel wreath crowns his head. Despite this spectacle, Christ is greeted by the frightened seminarians, now returning to the shore, with cries o f disbelief. "Isn't it possible without this?" Christ cries out. "Have mercy," he begs. "It