-chronological form. Many but not all are dated. Some have titles, others do not. Some are short (just a paragraph), others stretch to four or five pages. These dream-transcriptions, or ‘ limbo things [ ces choses de limbes ]’ (vii/9) as Cixous calls them, are set off, divided from, doubled by a sort of preface, in the plural , a few pages of ‘Avertissements’ or what the English translation calls ‘Forewarnings’ (1–11/11–21).
‘Avertissement’ means ‘warning’ but also ‘foreword’. The English word ‘advertisement’ comes from the French avertissement , and originally meant
In 1807, the Duchess of Bedford and several of her circle attended a performance of the opera The First Attempt at Dublin‘s Theatre Royal. Their hair was not coifed in the style of the day but rather swept up and fastened with golden bodkins in the ancient Irish manner. Soon this became all the rage in polite Irish society, and Dublin jewellers, struggling to compete, took out advertisements to accuse other firms of making less than authentic replicas. Indeed, the great demand in Dublin for these golden bodkins inflated the price of gold in Ireland. Drapers soon saw a business opportunity in this Celtic fashion renaissance and started producing the `Glorvina Mantle, a flowing scarlet cape, ideally secured with golden replicas of Celtic broaches. Eventually these ancient Gaelic styles made their way to London and became fashionable among ladies from the upper class. The popularity of this exotic dress resulted from a confluence of factors. While the growing interest in Irish antiquarianism, the European fascination with orientalism and the popularity of Gothic romance fed the fire, the spark that ignited the blaze was The Wild Irish Girl, a novel written by a young Irish governess. Not only does this fashion craze bear witness to the popularity of the text, but so do the sales figures. This popular novel, first published in 1806, went through seven editions in two years, and was even successful on the Continent, especially in Germany, where the young authors popularity almost eclipsed Scott‘s and Byron‘s and her sales figures surpassed those of her fellow Irish writers, Maria Edgeworth and Charles Maturin. In fact, the great Gothic writer Maturin openly borrowed from The Wild Irish Girl in his own work.
Visual Advocacy in the Early Decades of Humanitarian Cinema
public image, to give visibility, to be open to public observation, to make oneself known, to advertise. William Hereford, Head of Information Services at the League of Red Cross, observed this confusion in the International Review of the Red Cross :
This science is so recent that it is impossible to find a proper naming. It is named ‘publicity’, for the lack of a better denomination.… The francophone word ‘publicité’ brings inevitably the idea of a paid advertisement. The word ‘propaganda’ could be used, if inappropriate, hidden, deceitful attempts had not been
were children, he would encourage them, saying, ‘You are a paediatrician,
you are a gynaecologist, you are a doctor of ….’
During our final interview, Hadiya shyly told me that she had an interview for a
scholarship programme in a completely different field. She had seen an
advertisement for scholarships and without telling her husband or parents (whom
she lives with), applied for the programme, which involved an 18-week intensive
training. She said
an example of where, to be able to work in a particular
location in the first place, the humanitarian principles of impartiality and
neutrality can be unavoidably compromised by the reality of operating in a setting
where international humanitarian actors are obliged to collude with the actuality of
a political context that is at odds with their humanitarian principles. While
Christian LFAs were informed about the project via advertisements and word of mouth
This book explores the appropriation of science in French society and the development of an urban scientific culture. Science underwent a process of commodification and popularization during the eighteenth century as more and more individuals sought to acquire some knowledge of scientific activities and as more and more people entered public debates on science. Popular science took many forms in the eighteenth century. While books, periodicals, universities, and academies all provided a breadth of scientific popularization at different levels and for different audiences, this book focuses on popular science within urban culture more generally. More than ever before, public lectures and demonstrations, clubs, and other activities arose in the eighteenth century as new opportunities for the general population to gain access to and appropriate science. These arenas for popular science were not restricted to people of a certain education. In fact, popular science, and public lecture courses in particular, was often set at a level that could be understood by pretty much anyone. This was a bone of contention between popularizers and their critics who felt that in some cases popular science lacked any sort of real scientific content. In reality, some popularizers had specific theoretical content in mind for their courses while others were admittedly more interested in theatrics. Identifying the audience, cost, and location of popular science helps reveal its place in urban culture. The book looks at the audience, identified through advertisements and course descriptions, as well as the economics of courses.
Nostrums for sale: advertising
Dr. See’s Universal Cathartique Pill, suited to all tempers, cleansing all parts of the
body, and working upon all superfluous humours, being fit to be taken at any time,
and for any chronique Disease by any person; is to be sold by Tho. Fairfax, under St.
Edmonds [sic] Church in Lumbard-Street and William Flindel in Westminster-Hall.1
his advertisement for Dr See’s pills represents just one of dozens of different branded medicines that played a major role in the growing commercialization of medicine
represent the peoples and lands of the colonies and emerging
Commonwealth. Through these images we can trace the attitudes of
companies to changing and conflicting colonial policy, as they attempted
to defend their overseas interests at a time of relative
Advertisements in establishment papers such as the
Illustrated London News represent the corporate companies as
Dr Williams’ Pink Pills for Pale People and the hybrid pathways of Chinese
tale also suggests the ubiquity and pervasiveness of the product to which it alludes.
In real life, Dr Williams’ Pink Pills for Pale People never languished in the sea but made it across several oceans. This chapter examines advertisements for the product in Chinese-language publications in Shanghai during the early twentieth century, comparing them to English-language advertisements printed in Shanghai, England, and the United States. Much like the telephone poles that refuse to be silenced, the long advertising history of Dr Williams’ Pink Pills
representations on television and in popular advertisements. I do so with particular
Safer sex representations
reference to the Australian ‘Grim Reaper’ advertisement together
with audience research studies on this national AIDS awareness
campaign. In so doing I seek to highlight the ways in which the
condom has come to define national identity, sexual citizenship
and the production and recognition of difference.
The Grim Reaper campaign
I am taking the 1987 ‘Grim Reaper’ television advertisement as
my main object of analysis because of its significance as the first