seeking to undermine. The establishment succeeds in shifting its position as the target of de-stabilising criticism to the host of a subversive spectacle. While this move is all too familiar in the case of Duchamp’s Fountain , most recently, this kind of dance between artist and establishment can be seen

syllables. In the end, the scene ceremonializes a ruse of power in an extravagant spectacle—and in a curious twist, it also marks one of the most famous instances in which lingua franca permeates literary form. This scene helps us to highlight the fact that lingua franca delimits far more than a category

course of G. ’s vast Histoire(s) du cinema project. Ahmet Süner, ‘Reinventing the Everyday in the Age of Spectacle: Jean-Luc Godard’s Artistic and Political Response to Modernity in his Early Works’, SFC , 15:123–137, rejects the notion that G. ’s pre-1968 films are perceived as pure

-Ibrīz , such as tiyātrū, sbiktākil , and ūbirā , for the French théâtre, spectacle, and opéra, respectively. 57 Obviously, these neologisms, while they sound imitative and parasitic, also, perhaps against al-Ṭahṭāwī’s will to suppress difference, gesture to untranslatability in their very refusal to permit

to stimulate devotion, and discusses post-Tridentine emphasis on spectacle and performance as evinced in processions and religious festivals. Miguel Ángel Núñez Beltrán, ‘Vida de santos y predicación en la Sevilla barroca’, AH , 98:103–120, compares 17th-c. sermons on Ignatius of Loyola with those

neoclassical ideology directly onto contemporary events for the first time since the French Revolution and the early Republic. 3. Poetry Marie-Clémence Régnier, ‘Le spectacle de l’homme de lettres au quotidien: de l’intérieur bourgeois à l’intérieur artiste (1840–1903)’, Romantisme

playwright’s intellectual independence. Hardy Sonia Veláquez, ‘Secular Spectacle? Cervantes, Hardy, and the Question of Religion’, RepL , 4.2:1–17, suggests that H. ’s transposition of Christian references to pagan ones in re-writing C. into his La force du sang (1625) is not so

this course should be devoted to philology, we shall not ban the study of facts and ideas for that reason. We shall not close our eyes to the brightest light that would ever come from the Orient, for we seek to understand the great spectacle offered to our eyes. It is India, with its philosophy and its