Chaniotis, A., Corsten, T., Papazarkadas, N. and Tybout, R.A.
⇐ PreviousBrowse ⇑Next ⇒, Entry, Bibliography, ChristesenP.KyleD.G.A Companion to Sport and Spectacle in Greek and Roman AntiquityMalden, MA201310.1002/9781118609965, DagronG.FeisselD.Inscriptions de CilicieParis1987, MerkelbachR.StauberJ.Jenseits des Euphrat. Griechische Inschriften. Ein
Britain and Germany in a (Post)Colonial World
Edited by Ulrike Lindner, Maren Möhring, Mark Stein and Silke Stroh
This volume contributes to such developments by combining contributions from history, English and German studies, cultural geography, theatre studies, and film studies; by covering both the colonial and the postcolonial period; and by looking comparatively at two different (post)colonial contexts: the United Kingdom and Germany.
The result is productive dialogue across the distinct colonial and migration histories of the UK and Germany, which brings out divergent concepts of cultural difference – but, importantly, without neglecting similarities and transnational developments. The interdisciplinary outlook extends beyond political definitions of identity and difference to include consumer culture, literature, film, and journalism – cultural and social practices that construct, represent, and reflect personal and collective identities.
Section I discusses the historical and contemporary role of colonial experience and its remembrance in the construction of national identities. Section II follows on by tracing the reflections of (post)coloniality and twentieth-century migration in the specific fields of economic history and consumer culture. Section III centres on recent debates about multiculture and national/cultural identity in politics, literature, and film.
Thijs Porck and Sander Stolk
aware of the symbolic value and the potential for spectacle offered by the decapitated heads of their enemies. As various scholars have noted (e.g., Bremmer 1996; Owen-Crocker 2002), this potential for spectacle made decapitation and display an appealing subject for medieval writers. 8 Examples of
Eric de Bellaigue, Gordon Graham and Richard Abel
in 1950, he had in his luggage three hundred spectacle frames. The Australian customs officer who screened them accused him and his wife of trying to smuggle the items into the country. When Zifcak explained that these were samples with which he wanted to start a business, the customs officer
Richard Abel and Stephen Horvath
I think you grasp the point I seek to make. You are an intelligent observer of the human spectacle. I’m sure you cannot but have been impressed by the aura of utter phoniness that enshrouds the “art” world today and the empty but enormous regard which attends the introduction of an “artist”. “Art
succumb to the “glam- our” of the mass-popular world – bestsellers, movies, television and all the related apparatus aimed at catering to, while duping, the mass-popular minds. Once caught up in this plastic spectacle, they become wed to careers. A sense of profession is dis- missed as the “idealism of
Woeli A Dekutsey
wide berth. While this depressing spectacle casts a shadow on G h a n a i a n publishers' marketing ambitions, d e m o g i a p h i c statistics show an opposite (and rathei hopeful) pictuie of futuie prospects. T h e G h a n a Statistical Seivice in 1986 estimated t h a t 4 7 . 2 % of t h e Ghanaian
extent be blamed foi the depressing lack of density and vaiiety in S o u t h Affican liteiatuie ovei t h e last few decades. T h a t a n u m b e i of q u i t e l e m a i k a b l e texts weie produced against t h e odds is leason foi celebration, but t h e spectacle of t h e literature as a whole