In his 1975 work Discipline and Punish , French philosopher Michel Foucault declared that statist spectacle had lost its relevance and been replaced by more contemporary modes of governmental control through biopolitics.
The unique forms of spectacle that have emerged across the resource
idea is also convincing. Essential to this task is the extensive translation published here of A.M. Panchenko’s Laughter as Spectacle : “Holy Foolishness in Old Russia,” “Holy Foolishness as Spectacle,” and “Holy Foolishness as Social Protest.” These three chapters, ably translated by Hunt, Kobets and
The Republic of Latvia is a fascinating mirror of the development of European democratic culture and reflects both the rise of democracy in Eastern Europe after the end of World War I and its deterioration into authoritarianism in the early 1930s.
The regime, which lasted for only six years (1934-1940), was shaped by the controversial figure of Prime Minister and Leader of the People (Vadonis) Karlis Ulmanis.
This new, archive-based study illustrates the development of authoritarianism in the region, shows controversies and similarities and places the regime's leader in the international context of European authoritarian culture. The book shows how mass culture and technologies, ancient drama and European modernism were combined to reinforce the idea of legitimacy of a new non-democratic regime.
performers' approaches to repertoires and spectacle reveal a non- linear understanding of time which subverted the materialist, ideological emphasis on the march of history and the movement toward communism. This "folding" was re- flected in songs by the overlap of the "past" or "future" with the "present
played right into the hands of Catholic polemicists. It was discussed in the popular ultramontane paper The World in spring 1861, and excerpts from it were published in French translation in the same paper starting in September 1861, two weeks after the Russians staged a big spectacle in Paris by
inevitably de-emphasizes the visual side o f theater, and driven to the extreme, is capable o f reducing the theatrical action to zero. On the contrary, circus is the action, the visual attraction, the spectacle as such. In this regard, circus is for the theater what the futurist "autonomous word (samovitoe
terrorist violence, Savinkov also does not depict the heroics of the revolutionary martyr. Instead, he exposes how the revolutionary makes an unnecessary spectacle of blood sacrifice to immortalize himself as a heroic martyr. In his works, Savinkov uses journalistic sensationalism to satirize the print
- lished Duortsovye razriady and Zabelin's classic Doma8hnyi byt' russkikh tsarits. Some anecdotes are illuminating and fascinating. For example, in 1672, the tsarevna attended a day-long theatrical spectacle, "Ahasuersus and Esther," but since women of this station were still secluded, they had to observe
WILLIAM C. BRUMFIELD I N V I T A T I O N TO A B E H E A D I N G : T U R G E N E V A N D T R O P P M A N N The penalty o f death becomes for most men a spectacle, and for a few an object o f compassion mingled with indignation, one or other o f these senti- ments occupying the spectator's mind