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Costas M. Constantinou

Debord’s pioneering work, it can be argued that the spectacle has become the dominant form of representation in modern society, supplanting the actuality of social experience and serving as a paradigm of power. Power is not just exercised through the words of force and the force of words. It is also

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.

Paul Sharp, Jan Melissen, Constance Duncombe and Marcus Holmes

more problematic by President Trump’s use of social media and the importance he assigns to the spectacle of highly mediated diplomatic situations. The second, however, is the set of problems presented by the involvement of more actors, as various colleagues noted, and newly influential old ones, such

Iver B. Neumann

has been with us since the dawn of complex polities, 14 one might expect the question of presentable performances to have been thoroughly studied by students of politics and diplomacy. If spectacle, pomp and ritual are central to politics and diplomacy, then we must ask how they came to be occluded

Ilan Manor and Rhys Crilley

: Twitter as a Tool for Engaging in Public Diplomacy and Promoting US Foreign Policy .’ Place Branding and Public Diplomacy 15 ( 2 ) ( 2019 ), 78 - 96 . Constantinou , Costas M. ‘ Visual Diplomacy: Reflections on Diplomatic Spectacle and Cinematic Thinking ’. The Hague Journal of Diplomacy 13

Shane Markowitz

parliament and government buildings. 105 Some members of parliament were also cooperative, welcoming the bees and providing them “asylum.” 106 The bees were the stars of the spectacle, though. Once their hives were opened, the bees refused to obey the security parameters and barriers of parliament, with

Christopher Fynsk

. It is the recognition of form that gives us the principal pleasure in mimesis, not the sensible qualities of the presentation (a fundamental point for the Poetics, as we see in the almost constant derogation of spectacle [c£ 1450b17-20] ) . Moreover, this is a pleasure that transmutes a kind of pain

William Gaillard

Court of Justice, C-415/93. 9) Wolfram Manzenreiter and Georg Spitaler, ‘Governance, Citizenship and the New European Football Championships: The European Spectacle’, Soccer & Society , vol. 11, no. 6, November 2010, p. 699. 10) Manzenreiter and Spitaler, ‘Governance, Citizenship and the New

Rebecca Comay

persistence than when he retrieves it.18 Leaving aside for now the very practical and far from irrelevant question as to how exactly the child manages to stage (or how the spectator manages to view) dis- appearance as a "game in itself" or self-contained spectacle-given that the bobbin has to be reeled in if

Mónica Brito Vieira

Thomas Hobbes: His View of Man , ed. J.G. van der Bend (Amsterdam: Rodopi, 1982), 89–98; Christopher Pye, “The Sovereign, the Theatre, and the Kingdom of Darkenesse: Hobbes and the Spectacle of Power”, Representations 8 (1984), 85–106; Lucien Jaume, “La théorie de la ‘personne fictive’ dans le