Academic literature on the topic 'Spectator's contract'
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Journal articles on the topic "Spectator's contract"
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Bowker, Anne, Belinda Boekhoven, Amanda Nolan, et al. "Naturalistic Observations of Spectator Behavior at Youth Hockey Games." Sport Psychologist 23, no. 3 (2009): 301–16. http://dx.doi.org/10.1123/tsp.23.3.301.
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The purpose of the current study was to conduct an examination of spectator (i.e., parental) behavior at youth hockey games in a large Canadian city. Using naturalistic observation methods, an event sampling procedure was used to code spectators’ comments. Of specific interest were the type of remarks made, who made them (i.e., males versus females), the intensity of those remarks and whether they varied by child age, gender, and competitive level. We were also interested in whether the majority of onlookers’ comments were actually directed at the players, on-ice officials, or fellow spectators. Five observers attended 69 hockey games during the 2006–2007 hockey season. There was a significant variability in the number of comments made, with an average of 105 comments per game. The majority of the comments were generally positive ones, directed at the players. Negative comments, although quite infrequent, were directed largely at the referees. Females made more comments than did males, although males made more negative and corrective comments, and females made mostly positive comments. Comments varied significantly as a function of gender and competitive level. Proportionally more negative comments were made at competitive, as opposed to recreational games. An interaction was found for female spectators as their comments varied as a function of both the competitive level and the gender of the players. Results of this study are in direct contrast to media reports of extreme parental violence at youth hockey games, and provide unique information about the role of parental involvement at youth sporting events.
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Wuttig, Anna, Momo Yaguchi, Kenta Motobayashi, Masatoshi Osawa, and Yogesh Surendranath. "Inhibited proton transfer enhances Au-catalyzed CO2-to-fuels selectivity." Proceedings of the National Academy of Sciences 113, no. 32 (2016): E4585—E4593. http://dx.doi.org/10.1073/pnas.1602984113.
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CO2 reduction in aqueous electrolytes suffers efficiency losses because of the simultaneous reduction of water to H2. We combine in situ surface-enhanced IR absorption spectroscopy (SEIRAS) and electrochemical kinetic studies to probe the mechanistic basis for kinetic bifurcation between H2 and CO production on polycrystalline Au electrodes. Under the conditions of CO2 reduction catalysis, electrogenerated CO species are irreversibly bound to Au in a bridging mode at a surface coverage of ∼0.2 and act as kinetically inert spectators. Electrokinetic data are consistent with a mechanism of CO production involving rate-limiting, single-electron transfer to CO2 with concomitant adsorption to surface active sites followed by rapid one-electron, two-proton transfer and CO liberation from the surface. In contrast, the data suggest an H2 evolution mechanism involving rate-limiting, single-electron transfer coupled with proton transfer from bicarbonate, hydronium, and/or carbonic acid to form adsorbed H species followed by rapid one-electron, one-proton, or H recombination reactions. The disparate proton coupling requirements for CO and H2 production establish a mechanistic basis for reaction selectivity in electrocatalytic fuel formation, and the high population of spectator CO species highlights the complex heterogeneity of electrode surfaces under conditions of fuel-forming electrocatalysis.
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Jang, Wonseok, Yong Jae Ko, Daniel L. Wann, and Daehwan Kim. "Does Spectatorship Increase Happiness? The Energy Perspective." Journal of Sport Management 31, no. 4 (2017): 333–44. http://dx.doi.org/10.1123/jsm.2016-0113.
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Based on self-determination theory, the current research examined the effect of team identification on spectators’ energy and happiness. Most importantly, this research attempted to identify a key underlying mechanism of why and when sport spectatorship enhances spectators’ happiness by adapting energy, a new concept to the sport management literature. The results indicate that spectators with high team identification reported a greater level of happiness than those with low team identification only when their team won the game. When the supported team lost the game, spectators with both high and low team identification experienced similar levels of happiness. Furthermore, this study proposed a moderated mediation effect of vitality to provide evidence for the anticipated underlying mechanism. The results of the moderated mediation test indicated that a feeling of vitality mediated the effect of team identification on happiness, but only in the winning game condition. In contrast, in the losing game condition, a feeling of vitality did not mediate the effect of team identification on happiness. Theoretical and practical implications are discussed.
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Grehan, Helena. "Actors, Spectators, and “Vibrant” Objects: Kris Verdonck’s ACTOR #1." TDR/The Drama Review 59, no. 3 (2015): 132–39. http://dx.doi.org/10.1162/dram_a_00475.
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In contrast to much new media performance, Kris Verdonck’s ACTOR #1 does not attempt to accelerate time or to enhance the spectatorial experience by juxtaposing theatrical elements. Instead the work presents a three-phase meditation that strips back the tools and techniques of theatre to allow, or perhaps even compel, spectators to focus on a single element, to inhabit one state, or to consider a single idea at a time.
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Furlong, Anne. "Shared communicative acts in theatre texts in performance." International Journal of Literary Linguistics 9, no. 3 (2020): 1–23. http://dx.doi.org/10.15462/ijll.v9i3.121.
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This paper adopts a relevance theoretic approach to meaning making in theatrical texts and performances. Text-based theatrical performances are collaborative creative events, many of whose participants may never engage directly with an audience member, but all of whom are engaged in making and conveying meaning. Such texts communicate immediately to multiple audiences: readers, actors, directors, producers, and designers. They communicate less directly to the writer’s ultimate audience – the playgoer or spectator – through the medium of performance. But playgoers are not passive receptacles for interpretations distilled in rehearsal, enacted through performance, or developed in study and reflection. Rather, in the framework of communication postulated by relevance theory, the audience is an active participant in making meaning. I will briefly review a range of approaches to meaning making in theatre, and then outline my view of a relevance theoretic account of theatre texts and performances as related but distinct communicative acts. For Weimann (1992), discussing the German playwright, Heiner Müller, “language is first and foremost material with which the audience is expected to work so as to make and explore their own ‘experiences’” (p. 958). By contrast, T. S. Eliot characterised performances as ‘interruptions’ of the relationship between writer and audience; in ‘a true acting play’, he asserted, the actor added nothing (Eliot, 1924, p. 96). Campbell (1981) argues that “the theatre cannot gear its production to actual audiences”, as only the “finest and most appreciative of abstract audiences for that play” (p. 152) can properly grasp its meaning. For him, the disparate capacities, views, and expectations of a given audience present a profound challenge to theatre as communication. Connor (1999) addresses the same issue, pointing out that if readers can disagree about the meaning of a text, then spectators are even less likely to agree on what a given performance means (p. 417). Unlike Campbell, however, she regards this diversity as enriching, concluding that meanings “develop from co-production with spectators as subjects” (p. 426). Relevance theory provides a framework in which to begin to disentangle the overlapping and interacting, but equally vital, contributions of writer, company, and audience in making meanings.
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Furlong, Anne. "Shared communicative acts in theatre texts in performance." International Journal of Literary Linguistics 9, no. 3 (2020): 1–23. http://dx.doi.org/10.15462/ijll.v9i3.121.
Full textAbstract:
This paper adopts a relevance theoretic approach to meaning making in theatrical texts and performances. Text-based theatrical performances are collaborative creative events, many of whose participants may never engage directly with an audience member, but all of whom are engaged in making and conveying meaning. Such texts communicate immediately to multiple audiences: readers, actors, directors, producers, and designers. They communicate less directly to the writer’s ultimate audience – the playgoer or spectator – through the medium of performance. But playgoers are not passive receptacles for interpretations distilled in rehearsal, enacted through performance, or developed in study and reflection. Rather, in the framework of communication postulated by relevance theory, the audience is an active participant in making meaning. I will briefly review a range of approaches to meaning making in theatre, and then outline my view of a relevance theoretic account of theatre texts and performances as related but distinct communicative acts. For Weimann (1992), discussing the German playwright, Heiner Müller, “language is first and foremost material with which the audience is expected to work so as to make and explore their own ‘experiences’” (p. 958). By contrast, T. S. Eliot characterised performances as ‘interruptions’ of the relationship between writer and audience; in ‘a true acting play’, he asserted, the actor added nothing (Eliot, 1924, p. 96). Campbell (1981) argues that “the theatre cannot gear its production to actual audiences”, as only the “finest and most appreciative of abstract audiences for that play” (p. 152) can properly grasp its meaning. For him, the disparate capacities, views, and expectations of a given audience present a profound challenge to theatre as communication. Connor (1999) addresses the same issue, pointing out that if readers can disagree about the meaning of a text, then spectators are even less likely to agree on what a given performance means (p. 417). Unlike Campbell, however, she regards this diversity as enriching, concluding that meanings “develop from co-production with spectators as subjects” (p. 426). Relevance theory provides a framework in which to begin to disentangle the overlapping and interacting, but equally vital, contributions of writer, company, and audience in making meanings.
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Crone, Manni. "It's a man's world: carnal spectatorship and dissonant masculinities in Islamic State videos." International Affairs 96, no. 3 (2020): 573–91. http://dx.doi.org/10.1093/ia/iiaa047.
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Abstract Islamic State videos have often been associated with savage violence and beheadings. An in-depth scrutiny however reveals another striking feature: that female bodies are absent, blurred or mute. Examining a few Islamic State videos in depth, the article suggests that the invisibility of women in tandem with the ostentatious visibility of male bodies enable gendered and embodied spectators to indulge in homoerotic as well as heterosexual imaginaries. In contrast to studies on visual security and online radicalization which assert that images affect an audience, this article focuses on the interaction between video and audience and argues that spectators are not only rational and emotional but embodied and gendered as well. Islamic State videos do not only attract western foreign fighters through religious–ideological rhetoric or emotional impact but also through gendered forms of pleasure and desire that enable carnal imagination and identification. The article probes the analytical purchase of carnal aesthetics and spectatorship.
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Horeck, Tanya. "The affective labour of One Born Every Minute in its UK and US formats." Critical Studies in Television: The International Journal of Television Studies 11, no. 2 (2016): 164–76. http://dx.doi.org/10.1177/1749602016642917.
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This article examines the relationship between the British and American versions of the hit reality television birthing show One Born Every Minute ( OBEM) in order to consider how the representation of different national childbirth practices invites a different kind of affective labour from the spectator. It argues that OBEM UK attempts to position the spectator in an ethical relation of care towards the subjects depicted. By contrast, on the US version, any such intimacy is forestalled by the use of distancing techniques, including an external voice-over and a heavy-handed dramatic shaping of the material through comedic devices.
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Chouliaraki, Lilie. "Moraliseringen af seeren." Dansk Sociologi 14, no. 1 (2006): 7–26. http://dx.doi.org/10.22439/dansoc.v14i1.376.
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Lilie Chouliaraki: The Moralisation of the Spectator. On the September 11th live footage
 
 In this paper, I discuss extracts of the September 11th live footage on television from the vantage point of discourse, that is of how the reported event “comes to mean“, how it becomes intelligible through television’s meaning-making operations. Specifically, I study the mediation of the September 11th as a mediation of “distant suffering“, drawing upon the work of Luc Boltanski (1999) on “morality, media and politics“. My aim is to identify the ways in which the September 11th television spectacle engages the affective potential of the spectator and evokes a specific disposition to act upon the suffering – that is, to act politically. My perspective on the September 11th thus concerns the televisual mediation of distant suffering and its moralising effects on the spectator. First, I introduce the problematic of representing distant suffering in terms of, what Boltanski calls, a “politics of pity“ – a politics that aims to resolve the Spacetime dimensions of mediation in order to establish a sense of “proximity“ to the events and, so, engage the spectator emotionally and ethically. Second, I contrast three different modes (or “topics“) of representing suffering, by reference to three live footage extracts from the Danish national television channel (DR): street shots of Manhattan, just after the Twin Towers’ collapse; the summary of the day events, with shots from the second plane collision and President Bush’s first public statement; a long shot of the Manhattan skyline burning. 
 I describe each “topic“ in terms of its Spacetime dimensions, its distinctive semiotic elements, and the affective mode and moral horizon it opens up for the spectator. In concluding, I briefly touch upon implications for the “moralisation“ of the spectator, involved in the September 11th “topics“ of suffering.
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Arnold, Peter J. "Aesthetic Aspects of Being In Sport: The Performer's Perspective In Contrast to That of the Spectator." Journal of the Philosophy of Sport 12, no. 1 (1985): 1–7. http://dx.doi.org/10.1080/00948705.1985.9714424.
Full textDissertations / Theses on the topic "Spectator's contract"
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Lipson, David. "Le contrat documentaire chez Michael Moore : de l'info-argument vers l'info-tainment." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA097/document.
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Michael Moore est une icône culturelle aux États-Unis. Son nom évoque la polémique, la contestation politique mais aussi le film documentaire à succès (Bowling For Columbine, primé aux Oscars, Fahrenheit 9/11, Palme d’Or à Cannes). Les six films du corpus, —Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) et Captain Mike Across America (Slacker Uprising) (2008) —, posent une triple problématique : la tension entre documentaire classique et documentaire hybride, la présence/absence du documentariste dans son film, et la réception du spectateur organisée par le divertissement et/ou la politique. Trois axes majeurs émergent, autour desquels l’articulation de la thèse peut s’effectuer : le divertissement, la politique et l’autosuffisance. La méthodologie pour rendre compte de cette triple problématique résulte d’un montage quali-quanti. Il s’agit de faire appel à l’analyse de discours mais aussi à l’analyse de contenu (pour mesurer la présence de manière quantitative). L’histoire américaine et l’histoire du documentaire sont également nécessaires pour situer Moore à la fois dans la lignée de certains de ses ainés, mais aussi pour mesurer sa propre influence sur le genre avec ses propres héritiers. Au bout du processus, il est possible de constater que Moore a insufflé un nouvel élan dans le genre du film documentaire en rejetant le modèle classique de type info-argument, rendant ses productions aussi populaires que des blockbusters hollywoodiens. Cette transformation vient de la combinaison inédite des finalités de divertissement et de politique pour créer un documentaire à la Michael Moore du type info-tainment. Avec l’ajout d’une troisième finalité d’autosuffisance, le documentaire moorien se signale aussi par une augmentation considérable de la présence du documentariste à l’écran et une densification de ses interventions au montage. En modifiant le documentaire classique, Moore a mis en place plusieurs stratégies de regard et de récit/storytelling afin de favoriser une assimilation efficace de ces trois finalités dans l’esprit du spectateur<br>Michael Moore is a cultural icon in the United States. The mere mention of his name evokes polemics, political protest but also blockbuster documentary films (The Academy award winning Bowling For Columbine and Fahrenheit 9/11 which won the Palme d’Or at Cannes). The six films of this corpus—Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) and Captain Mike Across America (Slacker Uprising) (2008)—, are problematic in three ways: the discordant relationship between classic and hybrid documentary, the presence/absence of the documentary filmmaker in his own film, and the spectator’s reception of the film along the lines of entertainment and/or politics. Three main areas, thus, emerge around which the thesis can be constructed: entertainment, politics and self-sufficiency. The methodology used to attend to these three matters of discussion comes directly from quali-quanti research. This implies calling on discourse analysis but also content analysis (to measure Moore’s presence quantitatively).The history of the United States as well as that of the documentary film are also necessary to situate Moore not only in the footsteps of some of his predecessors but also to measure his own influence on the genre as evidenced by his very own successors. Ultimately, it can be noted that Moore has breathed new life into the documentary film genre by rejecting the traditional info-argument model, thereby making his films as successful as Hollywood blockbusters.This transformation arises from the unique combination of entertainment and politics to make a Michael Moore info-tainment style documentary. With the added third documentary finality of self-sufficiency, the Michael Moore documentary film is marked by a considerable increase of the filmmakers on-screen presence as well as density of the documentarian’s interventions in the editing room. By modifying the traditional documentary film form, Moore has established several strategies of gaze and narrative/storytelling in order to stimulate the effective absorption of his three main documentary finalities into the mind of the spectator
Books on the topic "Spectator's contract"
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Fischer-Lichte, Erika. Only with Beauty Man Shall Play. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0003.
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Chapter 1, ‘Only with Beauty Man Shall Play. Goethe’s Production of Ion in Weimar (1802)’, proceeds from Goethe’s and Schiller’s responses to the French Revolution. While Goethe hailed the Bildung of the individual—that is, the development of his potential to the full—as the substitute for a revolution, Schiller believed that it was the aesthetic education of the individual that would finally result in a free state. The production of a Greek tragedy as an autonomous work of art that precluded the formation of empathy in the spectator (contrary to the domestic tragedy) was supposed to offer the spectator the possibility of aesthetic distance and thus enable him to acquire Bildung. To this end, Goethe developed a completely new aesthetics that the majority of spectators rejected—Ion turned out to be a flop.
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Mackay, Ellen. Indecorum. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.16.
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This chapter examines the ways in which the traffic between life and stage is always governed by a set of social, ethical, and interpretive norms, the violation of which threatens to humiliate (at best) or physically harm (at worst) the spectator. More specifically, it considers the problem of epistemological decorum in early modern theatre and describes the figure of the female playgoer as a model for indecorous participation, one that knowingly exploits the tensions between actuality and theatricality in order to sustain the play while also revealing its dependence upon the absorption and judgement of audiences. The chapter first provides an overview of the social logic of decorum in early modern England before turning to the perceptual contract that makes theatrical fiction possible. It argues that such a contract must be upheld by spectators in so many different ways at once—imaginatively, affectively, ethically—that it may dissolve at any moment; indeed, any act of theatre worth the same will always seek deliberately to push this contract to its limit.
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Sen, Amartya. Our Obligation to Future Generations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198825067.003.0007.
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Our reasoned sense of obligations to others can arise from at least three possible sources: cooperation, having caused harm, and effective power to improve suffering. The last source, this chapter argues, is particularly important in considering our obligations to future generations. It draws on a line of reasoning that takes us well beyond contractarian motivations to the idea of the “impartial spectator” as developed by Adam Smith. The interests of future generations come into the story because they are important in our attempt to be impartial spectators. The obligation of power contrasts with the mutual obligations for cooperation at the basic plane of motivational justification. In the context of climate concerns and intergenerational justice, this asymmetry-embracing approach seems to allow an easier entry for understanding our obligations.
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White, Bretton. Staging Discomfort. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401544.001.0001.
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Staging Discomfort examines how queer bodies are theatrically represented on the Cuban stage in order to re-evaluate the role of categorization as one of the state’s primary revolutionary tools. These performances concentrate on an aesthetics of fluidity, and thus upset traditional understandings of performer and spectator, and what constitutes the ideal Cuban citizenry. New affective modes are produced when performing bodies highlight—often in uncomfortably intimate, grotesque, or raw ways—the unavoidability of spectators’ bodies, and their capacity for queerness. Here the imagining of new continuities and subjectivities can lead to a reconfiguration of forms of Cuban citizenship. The affective responses from the closeness experienced in the performances in Staging Discomfort are challenges to the Cuban state’s self-designated role as primary provider for the needs of its citizens’ bodies. Through the lens of queer theory, the manuscript explores the body’s centrality to the state’s deployment of fear to successfully marginalize gay life, which this group of works seeks to defuse through an articulation of intimacies, shame, the death drive, cruising, and failure. These affective experiences shape Cuban subjectivities that emerge out of queerness, but whose focus on inclusivity necessarily involves all Cubans. Several of the central questions that guide Staging Discomfort are: How is Cuban theater agile in its critiques considering the state’s limitations on expression? How do queer performances allow for new understandings about the effects of the state’s failing socialist utopian contract with its citizens? And, can Cuban bodies that come together in queer ways re-imagine Cuban citizenship?
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Heins, Laura. The Nazi Modernization of Sex: Romance Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0003.
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This chapter explores how Third Reich romance melodramas attempted to form spectator desires to the benefit of Nazi imperialist aims. Nazi romance films positioned Third Reich culture as a liberation from nineteenth-century sexual morality while encouraging female participation in the public sphere in preparation for a war economy. The sexual content of Nazi films was furthermore calculated to exceed that of Hollywood in an attempt to make Nazi rule appear more attractive to German, occupied, and neutral audiences. And contrary to the assumptions that the Nazis attempted to desexualize the cinema, historical evidence shows that the erotic attractions of female performers were explicitly used in order to suppress political critique. Yet the “woman question” continually threatened to interfere with the propaganda minister's instrumentalization of the female body, and Nazi cinema's deployment of the erotic sometimes backfired.
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Friedlander, Jennifer. Real Deceptions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.001.0001.
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Through a study of recent trends within contemporary media and art, this book considers how political transformation might be facilitated from within the much maligned aesthetic category of realism. It challenges both the enduring position that the realist form tends to be complicit with ideological conservatism and the arguments traditionally made for how realism can, on occasion, play a politically transgressive role. In cases where it is appreciated for its disruptive potential, realism is assumed to have the ability to guide spectators toward previously unseen truths by lifting the veil of ideological deception. In short, at its political best, realism is seen to serve a consciousness-raising politics. By contrast, this book contends that realism’s radical political potential emerges not by revealing deception but precisely by staging deceptions—particularly deceptions that imperil the very categories of true and false. Deception, it argues, does not function as an obstacle to truth, but rather as a necessary lure for snaring the truth. In other words, rather than seek to unearth the truth behind fiction, this book argues that we would do better to turn our attention to the truth of fiction. To make the case that particular relationships between realism and deception maximize the potential for realism to disrupt ideological formations, it draws upon insights from a range of cultural theorists, most notably, Jacques Rancière, Jacques Lacan, and Jean Baudrillard. But rather than simply apply these theoretical frameworks to the media and artworks, it also engages in the reverse move of using the “cases” to illuminate and interrogate their theories.
Book chapters on the topic "Spectator's contract"
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Greiner, Rasmus. "Refiguring Historical Consciousness." In Cinematic Histospheres. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_9.
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AbstractBy way of conclusion, this chapter examines the relationship between historical films and theories of historical culture. At the heart of its discussion is the thesis that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension. Consequently, this chapter argues that two new forms of remembering make a substantial contribution to transforming our historical culture: The reminiscence triggers integrated in the audiovisual design of a historical film prompt spontaneous or “unbidden” memories that come to us contingently and are essentially receptive. The mise-en-histoire’s referentialization, by contrast, is a productive act of remembering.
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"Spectators and Contrasts in Culture." In Portuguese Cinema (1960-2010). Boydell & Brewer, 2021. http://dx.doi.org/10.2307/j.ctv136bxj0.9.
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"The Spectator Is Called to Take Part." In The Civil Contract of Photography. Zone Books, 2021. http://dx.doi.org/10.2307/j.ctv1qgnqg7.7.
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Thayer, Willy. "The Clash of Film and Theater." In Technologies of Critique, translated by John Kraniauskas. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286744.003.0019.
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This chapter talks about spectators in the theatrical matrix that retreat contemplatively into themselves before the work. It describes how an audience concentrates on theater while being absorbed in its perspectival ideality under the polytechnical matrix of the image. The cinematographic instrument of ballistics does not allow for contemplation and suppresses the theatron and point of view within a continuous tactility, introducing profound changes in the perceptive apparatus on a grand scale. The chapter also explains the contrast to the canvas that invites the spectator to contemplation and before being abandoned to the flow of the association of ideas. It further emphasizes that before the film screen, the fascinated eye is subsumed in the movement image without noticing the metamorphosis that it suffers.
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Cowan, Brian. "Mr Spectator and the Doctor." In Joseph Addison. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198814030.003.0003.
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Joseph Addison and Henry Sacheverell were almost exact contemporaries. Born within two years of one another, both men attended Magdalen College, Oxford in their youth, and they both took up their studies at the college in the wake of the Glorious Revolution. From this moment onward, the lives and public careers of Addison and Sacheverell would be curiously intertwined. Scholarship and college life would bring them together as friends, but politics and public fame would pull them apart. A contrast between the agreeable Addison and the distasteful Sacheverell is commonplace in eighteenth-century studies, and not without reason. As perhaps the chief proponent of a new culture of ‘politeness’ for post-revolutionary Britain, Addison is well known for his friendliness, if not perhaps for his volubility, in company. Addison’s powerful reputation as the patron saint of eighteenth-century politeness did not sit well with his ties to Sacheverell, whose firebrand reputation was deeply controversial in his lifetime and only declined further as time went by. For this reason, the youthful friendship of the two Magdalen scholars has been a source of awkwardness for later commentators. This chapter places the friendship between Addison and Sacheverell within the context of post-revolutionary political and literary culture.
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Cooper, Sarah. "Layering." In Film and the Imagined Image. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452786.003.0003.
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This chapter focuses on how films get spectators to perform the feat of creating imagined images and layering them over those that are on screen. Gary Tarn’s Black Sun (2005) provides the opening example in which the blind French artist Hugues De Montalembert recounts in voice-over his strong memory of a striking scene that he witnessed prior to going blind and which contrasts markedly with the images that appear on screen for the length of time that he tells his tale. This example serves to explain how and why mental images can appear just as vividly in spectators’ minds as onscreen images do. The ground of imagining is formed before spectators are guided on how to take flight from it across sections that introduce further examples, from Laurie Anderson’s Heart of a Dog (2015) through Patrick Keiller’s Robinson trilogy (1994-2010) to Agnès Varda’s Jane B. by Agnès V. (1988). In addition to an on-going dialogue with the work of Elaine Scarry, this chapter interweaves references to cognitive psychology and philosophy that inform other chapters too. Layering is just one of the processes at work in the formation of imagined images while watching films, and subsequent chapters outline others.
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Ingrassia, Catherine. "Eliza Haywood’s Periodicals in Wartime." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0012.
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Eliza Haywood’s index The Female Spectator (1744–6) does not include an entry for ‘war’. Yet that periodical like The Parrot (1746), published in the middle of a tumultuous decade in which Britain was involved in global military conflicts as well as a violent domestic rebellion, clearly engages the discourse of war. Catherine Ingrassia’s essay explores the role of war – and its attendant political dimensions – in the Female Spectator and the Parrot and reveals how each periodical engages the subject in distinctly different ways. The Female Spectator, which discusses the complex events known War of the Austrian Succession (1740–8) and many specific incidents that received extensive publicity, often seamlessly weaves descriptions of soldiers, military commanders, military equipment, battles, and political events into broader discussions of cultural, social, and political events. By contrast, the Parrot discusses global and domestic military events. Reading the war in both these periodicals, Ingrassia contends, enriches our understanding of Haywood and her strategic structuring of her periodicals, and also complicates women’s periodicals of this time.
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"Draba’s Legacy and the Spectacle of Sacrifice." In STARZ Spartacus, edited by Meredith D. Prince. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407847.003.0013.
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This chapter explores how STARZ Spartacus reworks and inverts the pivotal scene of the private fight between Spartacus and Draba for Crassus' viewing pleasure in Kubrick's iconic 1960 film. While the new series omits the figure of Draba, the chapter argues that his influence reveals that, in contrast to the elite Romans in the earlier film, the Romans of the series—ruthlessly ambitious Batiatus, and vengeance-minded Lucretia and Ilithyia—are far more base in their political scheming and sexual desires. The chapter examines the series' staging of two bespoke fight exhibitions that draw on the Draba scene to present a narrative of decline that highlights the degeneracy of the Roman spectators and ultimately leads to rebellion.
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Grundy, Isobel. "‘A moral paper! And how do you expect to get money by it?’: Lady Mary Wortley Montagu and Journalism." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0011.
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A standout example for the earliness of her periodical work, Lady Mary Wortley Montagu cut her journalistic teeth in secret with contributions to the Spectator and Flying-Post before launching her own venture, the Whiggish Nonsense of Commonsense (1737–8), intended to oppose the popular Opposition vehicle Common Sense (1737–9). Grundy offers a detailed exploration of Montagu’s periodical career, which is defined by her allegiances, often in tension, to her identity as a woman and as a member of the aristocracy—as well as a wish for literary fame that was at odds with both sides. Her male eidolon in Nonsense in particular is a study in contrasts: economically minded, politically suspicious, but also alert to gender issues and sympathetic to women in a way that the periodical culture set by titles such as the Spectator or Common Sense was not.
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Kamuf, Peggy. "Orwell’s Execution." In Literature and the Remains of the Death Penalty. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282302.003.0003.
Full textAbstract:
The question of the chapter is the role of the witness in a capital execution. In contrast to Foucault, who asserted the becoming-invisible of punishment, Derrida insists that “By definition, there will never have been any invisibility for a legal putting to death . . . the spectacle and the spectator are required.” George Orwell’s early short text “A Hanging” is read very closely here to discern how this essential trait of non-secrecy is put to the test when the witness’s testimony is consigned to a literary text and thus to a set of sealed traces.