Relevant bibliographies by topics / The society of the spectace

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Academic literature on the topic 'The society of the spectace'

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Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "The society of the spectace"

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Flyverbom, Mikkel, and Juliane Reinecke. "The Spectacle and Organization Studies." Organization Studies 38, no. 11 (January 28, 2017): 1625–43. http://dx.doi.org/10.1177/0170840616685366.

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The aim of this essay is to revisit Guy Debord’s critical theory of the spectacle as formulated 50 years ago in the ‘Society of the Spectacle’ in light of the contemporary production of spectacles. Debord’s arguments about appearance, visibility and celebrity are echoed in the way organizations increasingly focus on their brand, image, impression, and reputation. Yet, the role of spectacles in organizational life has remained under-researched in organization studies. As the boundaries between fact and fiction, reality and representation, substance and appearance become increasingly blurred, questions about the production and effects of spectacles seem more pertinent than ever. Are representations faithful mirrors of reality, or attempts to conceal reality? Do they replace reality, or bring new realities into being? By articulating three possible understandings of the spectacle, as fetishism, hyper-reality or performativity, this essay invites organization scholars to examine the organization of the real and the making of organizations through processes of spectacular representation including discursive practices, visual images and theatrical performances.
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Lytton, Randolph H. "Spectacle and Society in Livy'sHistory." History: Reviews of New Books 27, no. 2 (January 1999): 86. http://dx.doi.org/10.1080/03612759.1999.10528348.

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Monteiro, Dulcinéa da Mata Ribeiro. "Espiritualidade e saúde na sociedade do espetáculo." O Mundo da Saúde 31, no. 2 (June 6, 2007): 202–13. http://dx.doi.org/10.15343/0104-7809.200731.2.8.

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Heroldová, Helena. "Spectacles and Embroidered Spectacle Cases from China in the Náprstek Museum." Annals of the Náprstek Museum 40, no. 1 (June 1, 2019): 103–20. http://dx.doi.org/10.2478/anpm-2019-0007.

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Abstract Spectacles from China appear in many museum collections, and they are popular collectibles in private collections. The collection of ten spectacles and their cases in the Náprstek Museum in Prague shows its technological and material development from the pince-nez type in the second half of the 19th century to early 20th century tortoiseshell and plastic spectacles. As signs of learning, these different types of spectacles and their cases show their social context and meaning in Chinese society during the transition period from the traditional to the modern era.
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Brown, Robert, and Andrew Feldherr. "Spectacle and Society in Livy's History." Classical World 93, no. 2 (1999): 205. http://dx.doi.org/10.2307/4352395.

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Trier, James. "Guy Debord's The Society of the Spectacle." Journal of Adolescent & Adult Literacy 51, no. 1 (September 2007): 68–73. http://dx.doi.org/10.1598/jaal.51.1.7.

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Moore, Timothy J. "Spectacle and Society in Livy's History (review)." American Journal of Philology 121, no. 3 (2000): 487–90. http://dx.doi.org/10.1353/ajp.2000.0039.

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Lee, Francis L. F. "Spectacle and Fandom: Media Discourse in Two Soccer Events in Hong Kong." Sociology of Sport Journal 22, no. 2 (June 2005): 194–213. http://dx.doi.org/10.1123/ssj.22.2.194.

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This article examines the role of the news media in the production of media sports spectacle through representation of soccer fandom and articulation of the meanings of sports events. The article analyzes the visits of two European soccer teams (Liverpool FC and Real Madrid) to Hong Kong in the summer of 2003. Newspaper discourses are found to generate a picture of generalized fandom and normalized fanaticism towards these events. At the same time, the media articulated the meanings of the events within the context of both global and local processes. The overall result is that public discourse embraced the commercialization of sports, and the media helped to transform the preseason “friendlies” into hugely successful spectacles. These results are understood within the theoretical framework of the society of the spectacle proffered by Debord (1995), though the analysis also points to the limitations of Debord’s framework.
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Sasani, Samira, and Marjan Darayee. "Suzanne Collins’ Hunger Games and the Society of the Spectacle." International Letters of Social and Humanistic Sciences 48 (February 2015): 31–40. http://dx.doi.org/10.18052/www.scipress.com/ilshs.48.31.

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The theory of spectacle is introduced by Guy Debord in his famous book The Society of Spectacle. Debord presents the society of Spectacle as a mere representation of seemingly real images which is used by the capital for its own good. Spectacle consists of images such as games, entertainments or television shows which are political tools in the hands of the Capitol to stabilize its power. In fact, by applying these images through different exciting entertainments and shows, the Capitol disperses people more and destroys their unity so that people cannot be united to rebel against the Capitol’s power. This paper tries to apply the theory of spectacle to Suzanne Collin’s Hunger Games and as the title of the novel is very telling of itself, it revolves around the annual event of Hunger Games connoting the starvation of the poor people in the twelve districts and the Capitol. The setting of this novel is Panem which is shown as a dystopia because of its misusing of the modern technologies which are much more developed than our own so that people’s mind will be entrapped within the images produced by these technologies. This research tries to prove that the city of Panem, with its governor President Snow, well represents the society of spectacle. This paper shows the influence of such a society on the poor people of these districts and the way they overcome President Snow.
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Bazin, Yoann, Gazi Islam, Martin Parker, and Yiannis Gabriel. "The (academic) society of the spectacle (of publication)." M@n@gement 21, no. 3 (2018): 1118. http://dx.doi.org/10.3917/mana.213.1118.

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Dissertations / Theses on the topic "The society of the spectace"

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Richardson, Mark. "Re-reading The Situationists : theory, practice and the text : 'The Society of the Spectacle' in critical perspective." Thesis, University of South Wales, 2006. https://pure.southwales.ac.uk/en/studentthesis/rereading-the-situationists(aaa94636-6a24-4090-a153-60c6472c9cfe).html.

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Hellgren, Amanda, and Anastasia Partanen. "Becoming-Fashion : Begäret efter övermänniskan." Thesis, Blekinge Tekniska Högskola, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12350.

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Vi vill med det här kandidatarbetet ifrågasätta begäret efter övermäniskan som vi menar att reklam för modeindustrin idag porträtterar. Med hjälp av Guy Debords skådespelssamhälle och Gilles Deleuze och Felix Guattaris teorier ifrågasatter vi vad det är vi begär och varför vi gör det. Vi ifrågasätter övermänniskan som modeindustrin producerar med förhoppningen att det ökar medvetenheten för personer i samhället.    Ifrågasättandet av begäret har resulterat i två gestaltningar, en klänning av sönderrivna sidor ur boken Mein Kampf och en kreation av hönsnät formad som en naken kvinna. Vi känner oss fångade av modeindustrin och känner oss illa till mods över hur den mänskliga kroppen porträtteras i reklam för mode. Vi menar att det i klädreklam snarare handlar om avsaknaden av den mänskliga kroppen då bilderna retuscheras till en artefakt.     Vi ser vår undersökning som en grund till en fortsatt undersökning om ett alternativ och förhoppningsvis kommer vårt begär i framtiden förflyttats från övermänniskan till något mer mänskligt.
In this Bachelor thesis we question the desire for the übermensch that we mean advertising for the fashion industry portrays today. With help of Guy Debord's “Society of the Spectacle” and Gilles Deleuze and Felix Guattari's theories we question our desire and why we desire it. We question the übermensch that the the fashion industry produces with the hope that it will increase the society’s awareness.    The questioning of desire has resulted in two designs, a dress of torn pages from the book Mein Kampf and the creation of chicken wire shaped like a naked woman. We feel trapped by the fashion industry and feel uneasy about how the human body is portrayed in advertisements for fashion. We believe that the advertising for clothing is more about the lack of the human body when the images are retouched into an artifact.    We see our study as a basis for a continued research for an option and in the future hopefully our desire will be moved from the übermensch into something more human. In this Bachelor thesis we question the desire for the übermensch that we mean advertising for the fashion industry portrays today. With help of Guy Debord's “Society of the Spectacle” and Gilles Deleuze and Felix Guattari's theories we question our desire and why we desire it. We question the übermensch that the the fashion industry produces with the hope that it will increase the society’s awareness.    The questioning of desire has resulted in two designs, a dress of torn pages from the book Mein Kampf and the creation of chicken wire shaped like a naked woman. We feel trapped by the fashion industry and feel uneasy about how the human body is portrayed in advertisements for fashion. We believe that the advertising for clothing is more about the lack of the human body when the images are retouched into an artifact.    We see our study as a basis for a continued research for an option and in the future hopefully our desire will be moved from the übermensch into something more human.
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Chehilita, Émilie. "La critique de la « société du Spectacle » à l’essai sur les scènes théâtrales de Berlin, Londres et Paris dans les années 2000 : spectacle dans le spectacle, la société spectaculaire et marchande au prisme du spectacle vivant." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100076.

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Cette thèse envisage la critique de la « société du Spectacle » (concept forgé dans l’essai éponyme de Guy Debord) telle qu’elle procède dans des œuvres du théâtre expérimental et sur les scènes de la performance au cours des années 2000 à Berlin, Londres et Paris. Les pièces étudiées recyclent des références empruntées aux médias de masse, souvent assimilés à des machines à aliéner le public. Le corpus regroupe aussi bien des auteurs et des metteurs en scène que des collectifs : Martin Crimp, David Ayala, Joël Jouanneau, Falk Richter, René Pollesch, Tom Kühnel, Katie Mitchell, le Collectif MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad et Superamas. L’approche pluridisciplinaire traite à la fois des composants dramaturgiques et des considérants sociologiques de la représentation. D’une part, ce travail étudie la structuration des réseaux dans lesquels les artistes se rencontrent ou coopèrent. D’autre part, nous examinons tant l’organisation des différents éléments scéniques, parmi lesquels les caméras et les écrans tiennent une place importante, que la corporéité des interprètes ainsi que les modes de réception des spectateurs, entre autres par la mise en place d’une enquête. En trans-contextualisant leurs sources, les artistes instaurent des écarts et creusent de la distance à travers divers procédés : l’incorporation littérale, la citation, la parodie et le pastiche, mais aussi l’ironie et le ton cool fun. La dimension critique de ces œuvres ne s’exerce pas de manière frontale et n’est souvent pas même revendiquée. Loin de la rejeter en bloc, les auteurs et interprètes affectionnent certains objets de la culture des médias de masse. Pour mettre en branle leur fonction critique, ils se situent au cœur même de la « société du Spectacle » et de l’esprit du temps. Ainsi cette critique s’est déplacée de l’extérieur à l’intérieur du champ. Leur démarche mêlant le sérieux au ludique dénote une volonté de ne pas se désolidariser des spectateurs face auxquels ils veulent s’inscrire sur un pied d’égalité pour rendre le dialogue et parfois l’interaction possibles
This thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible
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Scholz, Caio Cezar Pontim. "A crítica de Rousseau à sociedade: a vida pública como espetáculo." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3074.

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Fundação Araucária de Apoio ao Desenvolvimento Científico e Tecnológico do Estado do Paraná (FA)
The study of Rousseau´s philosophical thought, in a contemporary context, allows an interpretation of his work under two distinct aspects. The first one of them tells about the comprehension of its conceptual display, that substantiate its notorious critic potential, which the target is found in the fields of the ethics and the politics, references to the exercise of the public life, understood as form of spectacle, belonging to the modern social organization. The second one provokes the sensation of its critics and conceptual display, somehow, continue actual and can contribute to the comprehension of the spectacle of the public life, demonstrated in the contemporary society. In front of that scenario, when investigating those two possibilities of interpretation, will be shown that some elements of Rousseau´s work are kept in the contemporaneity, others seem to gain a sort of present time according to that contemporary social context and, lastly, some difficulties seem to be overcome due to specificities belonging only to the contemporary society. To accomplish such assumption, the first two chapters will be dedicated to the detailed study of the work of Rousseau, that will serve as the foundation to, in the third, delimit a contemporary social scenario and investigate it to the light of Rousseau.
O estudo do pensamento filosófico de Rousseau, em um contexto contemporâneo, permite a interpretação da sua obra sob dois aspectos distintos. O primeiro deles diz respeito à compreensão do seu aparato conceitual, que fundamenta seu notório potencial crítico, cujo alvo se encontra nos campos da ética e da política, referências para o exercício da vida pública, compreendida como forma de espetáculo, pertencente à ordem social moderna. O segundo provoca a sensação de que suas críticas e aparato conceitual, de alguma forma, permanecem atuais e podem contribuir para a compreensão do espetáculo da vida pública, manifestada na sociedade contemporânea. Diante desse cenário, ao investigar essas duas possibilidades de interpretação, mostrar-se-á que alguns elementos da obra de Rousseau se conservam na contemporaneidade, outros aparentam ganhar uma espécie de atualidade de acordo com esse novo contexto social contemporâneo e, por fim, algumas dificuldades parecem ser superadas em virtude de especificidades pertencentes apenas à sociedade contemporânea. Para realizar tal pretensão, os dois primeiros capítulos serão dedicados ao estudo minucioso da obra de Rousseau, que servirá de fundamento para, no terceiro, delimitar um cenário social contemporâneo e investigá-lo à luz de Rousseau.
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Malta, Renata Barreto [UNESP]. "O espetáculo midiático: da era da informação à sociedade dos sonhos pelos caminhos do Fantástico." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/89399.

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A presente dissertação tem como objetivo demonstrar a transição da Sociedade da Informação à Sociedade dos Sonhos, denominada assim por Jessen (1999), que já começa a deixar suas marcas. Para tanto, utilizamos como corpus o objeto de estudo o programa Fantástico, da Rede Globo. Pareceu-nos pertinente acompanhar a trajetória desse programa televisivo para entendermos como o espetáculo da mídia televisiva se faz presente. Através da observação e análise do corpus percebemos as características mais relevantes desse espetáculo, e, consideramos a demanda pela interatividade e a busca pela visibilidade de sua importância no processo comunicacional midiático. Observamos, ainda, que, como qualquer outra empresa, as emissoras televisivas e seus produtos midiáticos também buscar adequar-se à realidade que desponta. Estamos diante de um cenário voltado à emoção das histórias e deixando paulatinamente a lógica da Sociedade da Informação, cujas raízes estão voltadas `a própria informação. Para tanto, a mídia busca seduzir o público através de narrativas construídas em que o como prepondera em detrimento de o quê se informa
The present dissertation aims to demonstrate the transition between the Information Society to the Dream Society, denominated by Jensen (1999), which has already started to print its marks. Therefore, we used a corpus and object of study the TV program Fantastico, from Rede Globo. It seemed pertinent to follow the journey of this TV program to understand the shape of the spectacle produced by the media. By observation and analysis of the corpus, we noticed the most relevant characteristics of this spectacle, and, we consider the demand for interactivity and the need for visibility fairly important in the communicational process of the media. We observed that, as any other company, the television channels and their products also make efforts to be adapted to the reality that comes. We are facing to a scenery which focuses in the emotion of the stories and leaving the logic of the Information Society, which roots are focusing to the informatin. Therefore, the media seeks to seduce the audience through built narrative where how preponderate in relation to what is informed
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Schultz, Heath. "But neither wood nor fire find any peace or satisfaction In any warmth, great or small, or in any resemblance between them, until the moment when the fire becomes one with the wood and imparts its own nature to it. Or: how two fragments meet and a film is made." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2628.

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Malta, Renata Barreto. "O espetáculo midiático : da era da informação à sociedade dos sonhos pelos caminhos do Fantástico /." Bauru : [s.n.], 2009. http://hdl.handle.net/11449/89399.

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Orientador: Adenil Alfeu Domingos
Banca: Rosangela Marçolla
Banca: Ana Silvia Lopes Davi Médola
Resumo: A presente dissertação tem como objetivo demonstrar a transição da Sociedade da Informação à "Sociedade dos Sonhos", denominada assim por Jessen (1999), que já começa a deixar suas marcas. Para tanto, utilizamos como corpus o objeto de estudo o programa Fantástico, da Rede Globo. Pareceu-nos pertinente acompanhar a trajetória desse programa televisivo para entendermos como o espetáculo da mídia televisiva se faz presente. Através da observação e análise do corpus percebemos as características mais relevantes desse espetáculo, e, consideramos a demanda pela interatividade e a busca pela visibilidade de sua importância no processo comunicacional midiático. Observamos, ainda, que, como qualquer outra empresa, as emissoras televisivas e seus produtos midiáticos também buscar adequar-se à realidade que desponta. Estamos diante de um cenário voltado à emoção das histórias e deixando paulatinamente a lógica da Sociedade da Informação, cujas raízes estão voltadas 'a própria informação. Para tanto, a mídia busca seduzir o público através de narrativas construídas em que o "como" prepondera em detrimento de "o quê" se informa
Abstract: The present dissertation aims to demonstrate the transition between the Information Society to the "Dream Society", denominated by Jensen (1999), which has already started to print its marks. Therefore, we used a corpus and object of study the TV program "Fantastico", from "Rede Globo". It seemed pertinent to follow the journey of this TV program to understand the shape of the spectacle produced by the media. By observation and analysis of the corpus, we noticed the most relevant characteristics of this spectacle, and, we consider the demand for interactivity and the need for visibility fairly important in the communicational process of the media. We observed that, as any other company, the television channels and their products also make efforts to be adapted to the reality that comes. We are facing to a scenery which focuses in the emotion of the stories and leaving the logic of the Information Society, which roots are focusing to the informatin. Therefore, the media seeks to seduce the audience through built narrative where "how" preponderate in relation to "what" is informed
Mestre
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Peng, Lei. "Rock en Chine : contestation et consommation depuis les années 1980." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30040/document.

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Si « Rock » dans le monde occidental est marqué par ses traits subversifs et politiques à certaines périodes historiques spécifiques pour être ensuite entièrement récupérée par la raison marchande, son histoire a été prolongée avec son appropriation environ trente ans après en République Populaire de Chine. Ainsi, le Yaogun, dénomination commune du Rock en Chine est depuis son émergence imbriqué dans la constitution d'une « nouvelle Chine socialiste » calquée sur le modèle de « l'État-nation » : « une démarche mimétique par rapport au système occidental, un système, couplé d’idéologies, qui s’est avéré avec la première guerre mondiale non seulement politico-économique mais de plus scientifique et technologique » selon les expressions du Gregory Lee. En même temps, cette construction de « l’État-nation chinois socialiste » est depuis le début véhiculée par les mécanismes de la « mondialisation » économique, culturelle et idéologique selon une logique capitaliste. Cette thèse présente le Rock comme un acteur social qui représente et traduit la société chinoise prise dans la transition radicale et structurelle, d’une société considérée comme « ex-socialiste » vers une société de consommation et spectacle depuis les années 1980. Par ses propres transformations, ses tentatives contestataires et ses récupérations par la consommation, le Yaogun se réapproprie des schèmes, des images et des notions hérités à la fois du Mythe du Rock daté d'un demi siècle, et de « l'Occident » dont il réinterprète le sens originel. Pour ce faire, il sollicite inévitablement des éléments « propres » à la Chine - gestuel ou symbolique – qui pourrait amener à la revendication (ou non) d'une spécificité culturelle propre. Avec cette analyse, nous avons tenté d’une part de démontrer la complexité et les contradictions voilées derrière l'apparence homogène de la production de cette société du spectacle et de consommation qu’est la Chine actuelle, et d’autre part de démystifier la circulation hégémonique sur le plan des connaissances scientifiques du monde actuel. Ce travail est le fruit d’une réflexion alimentée par deux parcours parallèles et complémentaires en Études sur la Chine contemporaine et « Cultural Studies », s’inspirant des différentes approches théoriques transdiciplinaire dans les domaines des sciences sociales et humaines. Il traite la question des relations entre la musique populaire, le Rock, le pouvoir politique et économique ainsi que la vie quotidienne dans le monde chinois contemporain. Enfin ce questionnement dit « local » a par la suite suscité une réflexion critique sur la réalité dominant le monde actuel : « la mondialisation marchande »
Born at the same time as the “30 years of China’s Reform and Opening" political discourse, Rock music in China (Yaogun) at its outset is often understood as an ideological weapon with a somewhat “revolutionary” touch to it against the Communist orthodox principles. This is mainly due to some values known as part of the Rock Myth, such as individual freedom, social equality and democracy.However, since the 1980s, there has been a significant transformation in the People's Republic of China (PRC): the shift to a free-market economy and the opening of the country to outside influence have led to the resurgence of a relevant social and cultural diversity. In the meantime, the new ideologies, technologies and mode of economy unavoidably brought about the commodification of the so-called “Chinese Culture” as part of the modern Chinese “Nation-State” construction, both at the level of the authority’s cultural policy and of the collective social imaginary, including the commodification of the so-called “Chinese Rock” or Yaogun. After one decade of development in the 1990s, generally speaking, China’s Rock or “underground” turned out to stay away from politics. It became hip, professionally organized, commercial and partly moving “overground” (not about revolution, but about everyday life). Similarly to other forms of art and cultural production in contemporary China, Rock also engaged in a complex and creative relationship with the PRC’s revolutionary heritage. From the late 1980s onwards, Yaogun has developed from being a rebelling voice in opposition to the ideology of the Chinese authorities to representing a subject of commodification by different agencies in sharing the same signs of the PRC’s revolutionary heritage. This dissertation attempts to shed some light on the complexities and contradictions involved in the tremendous social and cultural transformations of post-socialist China through the rock music scene. It brings into play the sociology of Rock music, Cultural Studies, together with the production and spreading of the culture and ideology of contemporary Chinese society
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Berthelot, Martin R. "Spectacle and Resistance in the Modern and Postmodern Eras." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24272.

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The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252
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Cannon, Patrick Owen. "Communication for Planetary Transformation and the Drag of Public Conversations: The Case of Landmark Education Corporation." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002150.

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Books on the topic "The society of the spectace"

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Society of the spectacle. London: Rebel, 1987.

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Ken, Knabb, ed. Society of the spectacle. London: Rebel Press, 2000.

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The society of the spectacle. New York: Zone Books, 1995.

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The society of the spectacle. New York: Zone Books, 1994.

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Spectacle and society in Livy's history. Berkeley: University of California Press, 1998.

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Britt, Christopher, and Eduardo Subirats. Intellectuals in the Society of Spectacle. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73106-9.

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Comments on the society of the spectacle. London: Verso, 1998.

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Seeing stars: Spectacle, society, and celebrity culture. Thousand Oaks, Calif: Sage Publications, 2009.

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Comments on the society of the spectacle. London: Verso, 1990.

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Comments on the society of the spectacle. Sheffield: Pirate Press, 1991.

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Book chapters on the topic "The society of the spectace"

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Lahiji, Nadir. "Pornography and the society of spectacle." In Architecture in the Age of Pornography, 25–32. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003195092-5.

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Wilson, Elizabeth. "These New Components of the Spectacle: Fashion and Postmodernism." In Postmodernism and Society, 209–36. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-20843-2_8.

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Breul, Jonathan D. "Protecting America’s Biggest Sporting Spectacle." In Cyber Society, Big Data, and Evaluation, 117–28. New Brunswick: Transaction Publishers, [2017] | Series:: Routledge, 2017. http://dx.doi.org/10.4324/9780203793909-7.

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Grande, Sandy. "Refusing the Settler Society of the Spectacle." In Handbook of Indigenous Education, 1–17. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-1839-8_42-1.

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Grande, Sandy. "Refusing the Settler Society of the Spectacle." In Handbook of Indigenous Education, 1013–29. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-10-3899-0_42.

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Adams, Winthrop Lindsay. "Sport, Spectacle, and Society in Ancient Macedonia." In A Companion to Sport and Spectacle in Greek and Roman Antiquity, 332–45. Oxford: John Wiley & Sons, Inc, 2013. http://dx.doi.org/10.1002/9781118609965.ch22.

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Christesen, Paul. "Sport and Society in Sparta." In A Companion to Sport and Spectacle in Greek and Roman Antiquity, 146–58. Oxford: John Wiley & Sons, Inc, 2013. http://dx.doi.org/10.1002/9781118609965.ch9.

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Subirats, Eduardo. "Besieged Existence." In Intellectuals in the Society of Spectacle, 1–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73106-9_1.

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Subirats, Eduardo. "Intellectuals & Exiles." In Intellectuals in the Society of Spectacle, 113–38. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73106-9_3.

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Britt, Christopher. "Humanism in an Age of Anti-humanism." In Intellectuals in the Society of Spectacle, 51–111. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73106-9_2.

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Conference papers on the topic "The society of the spectace"

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Wu, Yuzhou, and Yuelei Wang. "Design Style of Product in Spectacle Context." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.100.

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Li, Chunyan, and Li Yang. "Brief Analysis of the Impact of lthe Society of Spectacler on the Ideological Safety of Chinese Universities." In 2018 2nd International Conference on Management, Education and Social Science (ICMESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icmess-18.2018.61.

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Ellis, Clifton C., and David J. Isern. "Public Space: Activation v. De-Activation." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.33.

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Historically, the great cities of the world have built public spaces that have often been used as venues for spectacle, and displays of power and status. These public venues are part of the identity of these cities and have an importance and influence far beyond their physical dimensions or geometric shapes. They are all platforms that accommodate, both physically and metaphorically, the various expressions of a society. This paper will address historical events and their transcendency within the context of the city and their historical importance and effect in a larger global context. In addition, it will apply theoretical concepts about city space and the public sphere through an application of post-structuralist theory, critical theory, and social capital theory.1
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Chih-Ming Kuo, Yu-Chi Chen, and Chih-Wen Kuo. "Analysis of effects of induced currents on the metallic spectacles on the SAR values and temperature rise inside the human head." In 2007 IEEE Antennas and Propagation Society International Symposium. IEEE, 2007. http://dx.doi.org/10.1109/aps.2007.4396494.

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Chih-Ming Kuo, Chih-Wen Kuo, and T. Kitazawa. "Effects of conducting spectacles on the SAR values inside the human head in a wireless communication environment." In 2008 IEEE Antennas and Propagation Society International Symposium and USNC/URSI National Radio Science Meeting. IEEE, 2008. http://dx.doi.org/10.1109/aps.2008.4619681.

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Katre, Poonman. "Lessons from adaptaation of local knowledge an traditional practices for urban public spaces as an effective tool for urban devleopment in hot cities." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/izoo6469.

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Historically, Hot cities around India have always relied on urban public spaces for its sociocultural as well as economic activities. They showed a greater capacity to adopt and sustain over time. The reason seems to be lying under its tendency to evolve and accommodate temporality and sustain with its constancy. These urban public spaces were strongly bonded with religions and customs rooted in nature and inbuilt into societal norms, there by emphasizing greater ecological consciousness and protection. But in the last century, globalization brought aesthetic & grand spectacle as deciding criteria for planning and designing of the urban public spaces. The result is, energy consuming, deserted, inaccessible and underutilized public spaces over a longer period as opposed to its short-lived fame. Urbanization has given rise to the new narrative for these urban public spaces which evolved in to hybrid versions conceptualized from global practices. This pose a threat in terms of loss of civic life and decreasing social cultural flows in the city. Cities with the highest temperature seems to be getting the worst of it, essentially due to two main reasons. First are the adopted global models being not responsive to the local context, failing to stay active over longer periods of time and second due to failure to reconceptualize our traditional practices and local knowledge associated with development of cities in to ongoing practices. Previous study of historic Indian public spaces in hot cities, highlights their nature as being symbolic, functionalist, political, performative, and cultural and hence proving to be contextually sensitive. These urban public spaces were designed to be a platform extension of their everyday outdoor life. This everyday outdoor life in hot cities have taken a shape in to various manifestation of forms. And emphasized more on organic development of public spaces. Now, the current system in India that is responsible for generating our urban public spaces are regulated and mandated by state and local guidelines such as, URDPFI guidelines etc. which only mentions about open spaces to be left per area per person or in terms of percentage or buildable area. Little to no consideration has been given to how that open space should be treated. The solution can be found in adaptation and reconceptualizing of these local knowledge and traditional practices suitable to today's spatial context. But a greater consideration needs to be given to the modern-day applicability and checking its suitability. With that consideration, the paper will try to analysis selective samples of urban public spaces before the industrialization in the hot cities depending upon the generic public places i.e., Access and linkage, Purpose and activities, comfort and image, sociability, (Project for public spaces), adaptability, Thermal comfort, User responsiveness. The results then will be tested to check its adaptability in present day context with the help of case study.
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"Society." In EMBS International Conference on Biomedical Robotics and Biomechatronics (BioRob 2010). IEEE, 2010. http://dx.doi.org/10.1109/biorob.2010.5626121.

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"IEEE Antennas and Propagation Society International Society." In IEEE Antennas and Propagation Society International Symposium. IEEE, 2002. http://dx.doi.org/10.1109/aps.2002.1016911.

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Kinoshita, Eizo. "Decision Making Society and Decision Forming Society." In The International Symposium on the Analytic Hierarchy Process. Creative Decisions Foundation, 1999. http://dx.doi.org/10.13033/isahp.y1999.028.

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Dukes, Stephen D. "Society president." In 2012 IEEE Second International Conference on Consumer Electronics - Berlin (ICCE-Berlin). IEEE, 2012. http://dx.doi.org/10.1109/icce-berlin.2012.6336517.

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Reports on the topic "The society of the spectace"

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McOuat, J. Resources for society. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/193528.

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Marcum, Deanna. American Antiquarian Society. New York: Ithaka S+R, August 2015. http://dx.doi.org/10.18665/sr.22666.

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Terzyan, Aram. Managing Society: “Sovereign democracy” and Civil Society in Putin’s Russia. Eurasia Institutes, April 2021. http://dx.doi.org/10.47669/ceers-1-2021.

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Minsky, Marvin. Society of Mind Project. Fort Belvoir, VA: Defense Technical Information Center, August 1988. http://dx.doi.org/10.21236/ada200313.

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Cooke, Christina. The Second-Hand Society. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1132.

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Zingales, Luigi. Does Finance Benefit Society? Cambridge, MA: National Bureau of Economic Research, January 2015. http://dx.doi.org/10.3386/w20894.

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Council, COPE. Guidelines for Managing the Relationships Between Society-owned Journals, their Society, and Publishers. Committee on Publication Ethics, October 2018. http://dx.doi.org/10.24318/cope.2018.1.2.

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Tenopir, Carol, Peter Boyce, and Donald King. American Astronomical Society Survey Data. University of Tennessee, Knoxville Libraries, 2002. http://dx.doi.org/10.7290/n0zg4vl.

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Macangira, Assane. Nurturing Civil Society in Mozambique. Oxfam Novib; JOINT - Liga das ONGs em Moçambique, November 2016. http://dx.doi.org/10.21201/2016.620151.

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Kartheus, Wiebke. Art Museums in US Society. The Stacks, 2019. http://dx.doi.org/10.32784/libaac-418.

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