Search results
1 Spectacle and martyrdom: bloody suffering, performed suffering and recited suffering in French tragedy (late sixteenth and early seventeenth centuries)1 Christian Biet During the period from the mid-sixteenth until the mid-seventeenth century when Europe experienced the ultra-violent events of the religious wars, theatre, literature and the other arts represented, staged and analysed this very same violence, sometimes for reasons of political or religious propaganda, and in other cases to stimulate reflection or even straightforward doubt on everything fixed
2 The spectacle of Monte Cristo Jennifer L. Jenkins As a serialized, episodic publication, Alexandre Dumas père’s novel Le Comte du Monte Cristo (1844–45) employs spectacle as a narrative and structural device. Written at the same time as the popularization of photography in France, the novel evokes many of the same set-pieces and subjects as the early work of Nadar and Daguerre: still-life images of orientalist exotica; landscapes of implied significance; documentary images of architecture of the empire; and portraits of social types. Dantès’s story ranges
present the finest spectacle that London affords. You may see them at the Asiatics Home … grouped about the giant stove are asiatics of every country in wonderful toilet creations. A mild-eyed hindoo, lacking a turban, has appropriated a bath towel. A Malay appears in white cotton trousers, frock coat, brown boots and straw hat … costumes, people and setting have all the appearance of the ensemble of a cheap revue. 11 Burke mobilised theatrical metaphors to underline the spectacular
Fascinated by spectacle, the Victorians flocked to the ring to see acts that spoke to the eye. (Assael 2005 : 1) Speaking to the eye In Chapter 3 I examined the literal influences of the theatre on Marie Duval's drawings, considering her biography, stage appearances and knowledge of front and backstage life and how this influenced the subject matter of her work. In this chapter I consider
important in the construction of meaning – but what about the moment when sites of death are broadcast to the world, without knowledge of the causes or perpetrators? It is in this moment that we witness the spectacle of mortality in full force. Jenny Edkins has detailed the ways in which trauma is experienced as an unreality, something that escapes the realm of language and cannot be contained, returning in nightmarish
social contact with one another, forging a dynamic by which one region’s historical experience was to an extent dependent on the other’s. All of this could figure (and has figured) in any straightforward historical narrative about the Scandinavian or English Middle Ages and their aftermath. As the philosopher R. G. Collingwood long ago observed, however, ‘History is not a spectacle. The events of history do not “pass in review” before the historian … He has to re-create them in his own mind, re-enacting for himself so much of the experience of the men who took part
that it is difficult to “Other” something which is both disparate but embedded within British nationalism – the idea of the white, British native (Tyrer, 2013 ). Conclusion The spectacle of ghost security is ever present with an ever-expanding security framework which continues to marginalize civil society because
5 ‘News of the ghastly spectacle’:1 the press Nineteenth-century Irish newspapers comprised articles about wars and politics, summaries of parliamentary proceedings and official publications, tales of local, national and international happenings, and regular columns focused on sport, business, markets, the arts, fashion and high society. Advertisements regularly occupied an entire page of Irish newspapers, sometimes spilling on to a second page, where notes from the editor, summarising events reported in the edition, were also generally positioned. In his study
Expanse and spectacle: the postmillennial revival of a genre Part V In this final part, I will explore the widespread revival and remarkable success of serial television dramas set in antiquity. Described by some scholars as the fourth wave of the peplum (see Cornelius, 2011) the revival of the genre in cinema in the early 2000s, following the success of Gladiator (2000), was replicated by notable television productions that followed in its wake. Moreover, as this section will demonstrate, the emancipation of TV antiquity from its cinematic counterpart