of the country’s population. As such, it is a logic of security, one that operates on the basis of employing various measures of exclusion and oppression in the name of protecting a threatened group. These exclusionary oppressive measures are mainly legitimated through the spectacle of the
Hegelian Marxism and Situationist Theory
performance and visual spectacle comprising word, gesture, and image; a complete system of performed communication to which she has applied the term “total rhetoric.” 2 Studying Jesuit works of art and architecture in the seventeenth century alongside the ephemeral creations which the Society produced
This article examines how temporal and ecclesiastic authorities on Lusignan Cyprus used rhetoric and performance to mobilize support for the Alexandria Crusade. While King Peter I appealed to the chivalric ideals of his vassals in order to overcome their reluctance to endanger the kingdom’s economic and military security, papal legate Peter of Thomas led interfaith processions that presented Cyprus’s population as united in its Christian devotion despite long-standing tensions between the Latin and Greek communities. This presentation of a shared Cypriot identity reflected nascent moves away from the physical and social segregation of confessional groups. It also clarifies the role played by perceptions of a constant threat of Mamlūk invasion in this process of acculturation. Such concerns and responses were not unique to Cyprus. By considering late-medieval Cyprus as a frontier society, we can gain insight into the complex politics of holy war in other composite medieval communities.
Selected papers of the XXXIInd Conference at the Centre d'Études Supérieures de la Renaissance de Tours, 29 June-8 July 1989 / Choix de Communications du XXXIIe Colloque du Centre d'Études Supérieures de la Renaissance de Tours, 29 Juin - 8 Juillet 1989
Edited by Lascombes
After a recall of what neurophysiology says about brain treatment of images and what dominant codings of image may have been in Renaissance commonalty culture, four studies examine the way propagandistic imagery operates and its various effects, from benign submission to fierce opposition. Most studies, however, review accepted or moot points regarding interpretation of plays or staging. Interestingly, even if the papers build on different premises, they come up with fairly consistent findings about theatrical coding and image reception.
While the selection helps see why study of popular shows - including plays - needs be rooted in the broadest cultural context, it also illustrates how basic similitudes in the strategic use, and the impact, of images underlie superficial generic differences.
The Triumphal Entry of Prince Philip of Spain into Antwerp
Edited by Robert E. Stillman
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.