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Artículos de revistas sobre el tema "Philosophie du spectacle"

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Autor: Grafiati

Publicado: 22 de junio de 2023

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1

Côté, Jean-François. "Le spectacle du monde". Sociologie et sociétés 37, n.º 1 (24 de febrero de 2006): 231–60. http://dx.doi.org/10.7202/012285ar.

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Résumé La définition du cosmopolitisme au sein de la philosophie politique moderne situait son développement dans une perspective à la fois théologique et utopique ; par rapport à cela, le développement des villes-métropoles contemporaines a établi des liens directs avec une nouvelle conception du cosmopolitisme. Cette conception est désormais directement liée au phénomène métropolitain dans ce que celui-ci réfléchit les conditions d’existence précises et possibles du cosmopolitisme. L’ordre politique universel qui apparaît ainsi dans les villes-métropoles est cependant traversé de contradictions importantes, qui révèlent les fractures spatio-temporelles présentes dans cette définition du cosmopolitisme contemporain. Ce sont ces tensions, affrontements et contradictions qui doivent toutefois guider l’idée que l’on se fait du cosmopolitisme, puisque c’est là que se donne à voir réellement le spectacle du monde, soit un ensemble de phénomènes qui se manifestent en condensé dans l’expérience des villes. L’article prend la mesure de ces transformations contemporaines du cosmopolitisme à travers la perception des villes-métropoles.

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2

Ayouti, Lauréat Prix APFUCC, Thomas. "Qu’est-ce que voir de la danse ? Modalités d’une réception critique". Voix Plurielles 15, n.º 2 (9 de diciembre de 2018): 49–63. http://dx.doi.org/10.26522/vp.v15i2.2073.

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Cet article a pour objectif d’explorer les diverses modalités qui viennent organiser la réception des œuvres chorégraphiques. Aussi si la question est massive – qu’est-ce que voir de la danse – l’enjeu est ici de poser des jalons en s’appliquant à la fois à développer une analyse théorique qui s’appuie sur la philosophie de Bergson tout en conservant un souci du réel. Le point de vue adopté est celui du spectateur et du critique. Trois moments de la réception sont développés : avant le spectacle, autour des concepts d’horizon d’attente et de coordonnées du regard ; pendant le spectacle, en interrogeant le passage de l’image à la représentation ; après le spectacle, en traitant des caractéristiques de la signification de l’œuvre chorégraphique.

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3

Werrett, Simon. "Watching the Fireworks: Early Modern Observation of Natural and Artificial Spectacles". Science in Context 24, n.º 2 (28 de abril de 2011): 167–82. http://dx.doi.org/10.1017/s0269889711000056.

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ArgumentEarly modern Europeans routinely compared nature to a theater or spectacle, so it makes sense to examine the practices of observing real spectacles and performances in order to better comprehend acts of witnessing nature. Using examples from the history of fireworks, this essay explores acts of observing natural and artificial spectacles between the sixteenth and late eighteenth centuries and suggests these acts of observation were mutually constitutive and entailed ongoing and diverse exchanges. The essay follows the changing ways in which audiences were imagined or expected to react to fireworks and shows how these also shaped experiences of natural phenomena. Both natural and artificial spectacles were intended to teach morals about the state and nature, yet audiences rarely seemed to take away what they were expected to learn. The essay examines how performers thus sought to discipline audience observation, before exploring, in conclusion, how spectacle provided a vocabulary for discerning and articulating new natural phenomena, and sites for the pursuit of novel experiments.

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4

Finn, Douglas. "Unwrapping the Spectacle". Augustinian Studies 52, n.º 1 (2021): 43–70. http://dx.doi.org/10.5840/augstudies20213564.

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In this article, I explore how Augustine uses sermonic rhetoric to bring about the transfiguration of Babylon, the city of humankind, into Jerusalem, the city of God. Focusing on Enarratio in Psalmum 147, I show how Augustine situates his audience between two spectacles, the Roman theater and games and the eschatological vision of God. Augustine seeks to turn his hearers’ eyes and hearts from the one spectacle to the other, from the love of this world to love of the next. In the process, Augustine wages battle on two fronts: he criticizes pagan Roman culture, on the one hand, and Donatist Christian separatism and perfectionism, on the other. Through his preaching, Augustine stages yet another spectacle, the history of God’s mercy and love, whereby God affirmed the world’s goodness by using it as the means of healing and transfiguration. Indeed, Augustine does not simply depict the spectacle of salvation; he seeks to make his hearers into that spectacle by exhorting them to practice mercy, thereby inscribing them into the history of God’s love and helping gradually transfigure them into the heavenly Jerusalem.

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5

Marcolini, Patrick. "Le style de la négation". Études françaises 54, n.º 1 (16 de enero de 2018): 59–76. http://dx.doi.org/10.7202/1042866ar.

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Le nom de Guy Debord reste aujourd’hui associé au souvenir de Mai 68, à la fois comme événement et comme aventure collective. Mai vit en effet l’Internationale situationniste (IS), dont Debord avait été l’un des principaux animateurs, atteindre au sommet de son influence et de son action historiques. Depuis plusieurs années déjà, l’IS, ayant proclamé la mort de l’art et de la littérature, avait en effet déplacé son action du terrain de la culture à celui de la politique, promouvant la lutte contre la société du spectacle et la révolution de la vie quotidienne. Or le nom de Debord évoque aussi une trajectoire inverse, celle d’un homme qui, après avoir été l’une des principales figures de la sédition politique, se retire dans la littérature à partir de la fin des années 1970, et se transforme peu à peu en un mémorialiste au style si fascinant qu’il finira par être considéré comme l’un des écrivains majeurs de la seconde moitié du xxe siècle. Afin d’éclairer les raisons de cet étonnant contraste, dans lequel on a voulu voir un revirement, cet article portera la réflexion en amont et en aval de l’événement 68. En amont, pour observer comment la conviction d’une péremption historique des formes littéraires a pu amener l’IS à refuser de faire oeuvre et de s’inscrire dans le monde des lettres, formulant au contraire le projet d’une énonciation anonyme et collective mêlée à la praxis sociale ; en aval, pour voir comment Debord, ayant précisément abandonné la philosophie de l’histoire sous-jacente à ces conceptions, en est venu à voir dans le retour au littéraire non pas une régression, mais un dernier recours face à ce qu’il appelait « le malheur des temps ».

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6

Hooke, Alexander E. "Spectacles of Morality, Spectacles of Truth". International Studies in Philosophy 30, n.º 2 (1998): 19–35. http://dx.doi.org/10.5840/intstudphil199830268.

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7

Burton, A. "London and Paris through Indian spectacles. Making a spectacle of Empire: Indian travellers in fin-de-siecle London". History Workshop Journal 42, n.º 1 (1996): 127–46. http://dx.doi.org/10.1093/hwj/1996.42.127.

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8

Bonnett, A. "Situationism, Geography, and Poststructuralism". Environment and Planning D: Society and Space 7, n.º 2 (junio de 1989): 131–46. http://dx.doi.org/10.1068/d070131.

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After an introduction to situationism and the theory of the spectacle, the movement's intellectual roots in postwar French Marxism are summarised. The situationist theory of social subversion and a contemporary example of the practice are then introduced. Situationism's critique of human geography and the development of similar perspectives within geography and other disciplines are assessed. It is suggested that situationism immobilises political judgment and that this tendency is paralleled within the poststructuralist philosophies of Derrida, Lyotard, and Baudrillard.

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9

Allan, William. "Roman Spectacle". Classical Review 49, n.º 1 (abril de 1999): 98–99. http://dx.doi.org/10.1093/cr/49.1.98.

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10

Savoy, Christine y Mathias Reynard. "Quand le débat spectacle s'immisce dans le débat civil". Cahiers du Centre de Linguistique et des Sciences du Langage, n.º 32 (1 de junio de 2012): 115–28. http://dx.doi.org/10.26034/la.cdclsl.2012.883.

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"Le 3 mars 2009, l’émission Infrarouge de la Télévision Suisse Romande se penche sur une thématique sensible : « Faut-il interdire les minarets en Suisse ? » Pour répondre à cette épineuse question, l’émission invite deux personnalités emblématiques d’un certain état d’esprit qui vont se positionner en confrontant leur avis finalement incompatible du fait de leurs aspirations politiques, sociales et religieuses. En effet, d’une part, Tariq Ramadan, intellectuel et philosophe suisse d’origine égyptienne, est un des défenseurs de l’ouverture de l’Occident à l’Islam. D’autre part, Oskar Freysinger, très actif au sein de l’UDC, conseiller national valaisan, prône une Suisse conservatrice, peu encline à adopter une politique d’ouverture aux autres mentalités et aux autres religions. C’est la journaliste Esther Mamarbachi qui a la lourde tâche de concilier ces deux personnalités en essayant de faire apparaîtr l’information au sein même de leurs jeux linguistiques et de leurs attaques personnelles."

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11

Crowell, Steven Galt. "Sport as Spectacle and as Play". International Studies in Philosophy 30, n.º 3 (1998): 109–22. http://dx.doi.org/10.5840/intstudphil199830360.

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12

Oppert, Rémy. "Expositions et Spectacles : Diderot Bagarre, adaptation théâtrale de Régis de Martrin-Donos et Muriel Brot, scénographie de Gérard Espinosa. Spectacle donné en 2013". Recherches sur Diderot et sur l'Encyclopédie, n.º 49 (10 de noviembre de 2014): 341–42. http://dx.doi.org/10.4000/rde.5206.

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13

Ash, Rhiannon. "SPECTATORS BOTH AND SPECTACLE". Classical Review 50, n.º 2 (octubre de 2000): 453–55. http://dx.doi.org/10.1093/cr/50.2.453.

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14

Sheehan, Martin. "The Ironic Spectacle of Resolution inDer Hofmeister". Studia Neophilologica 83, n.º 1 (junio de 2011): 81–93. http://dx.doi.org/10.1080/00393274.2011.570028.

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15

Bak, Meredith A. "Grand Illusions: Large-Scale Optical Toys and Contemporary Scientific Spectacle". Teorie vědy / Theory of Science 35, n.º 1 (7 de noviembre de 2013): 249–67. http://dx.doi.org/10.46938/tv.2013.190.

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Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a range of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion (such as a subway train or a motor) and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today.

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16

Kyrou, Ariel. "Émeutes : chronique d'une politique-spectacle". Multitudes 27, n.º 4 (2006): 183. http://dx.doi.org/10.3917/mult.027.0183.

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17

Klement, Kevin C. "Russell’s Logicism Through Kantian Spectacles". Russell: The Journal of Bertrand Russell Studies 34, n.º 1 (junio de 2014): 79–84. http://dx.doi.org/10.1353/rss.2014.0010.

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18

Sperber, Murray y John Sayle Watterson. "College Football: History, Spectacle, Controversy". Journal of American History 88, n.º 4 (marzo de 2002): 1584. http://dx.doi.org/10.2307/2700716.

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19

Frankowski. "Spectacle Terror Lynching, Public Sovereignty, and Antiblack Genocide". Journal of Speculative Philosophy 33, n.º 2 (2019): 268. http://dx.doi.org/10.5325/jspecphil.33.2.0268.

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20

Weinstock, Horst. "Roger Bacon's Polyglot Alphabets". Florilegium 11, n.º 1 (enero de 1992): 160–78. http://dx.doi.org/10.3138/flor.11.012.

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Encyclopaedias usually label Roger Bacon as "theologian, philosopher, and scientist." Literary scholars and critics will certainly associate Roger Bacon with Robert Greene's Friar Bacon and Friar Bungay. The romantic comedy illustrates Bacon's close connections with experimental science and with magic art. Oculists even credit Greene's Franciscan friar with the epoch-making invention of spectacles. As for acoustics and experimental phonetics, the doctor mirabilis in Friar Bacon and Friar Bungay tried hard but eventually failed to construct a speaking machine. To his great disappointment, his Brazen Head collapsed while repeating the magic spell "Time is out."

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21

Vérin, Hèlène. "Spectacle ou expérimentation : La préfabrication de vaisseaux en 1679". Revue de synthèse 108, n.º 2 (abril de 1987): 199–223. http://dx.doi.org/10.1007/bf03189055.

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22

Kraus, Sidney, Dennis Giles y Murray Edelman. "Constructing the Political Spectacle". Political Psychology 10, n.º 3 (septiembre de 1989): 517. http://dx.doi.org/10.2307/3791366.

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23

Kauffman, Nicholas. "SLAUGHTER AND SPECTACLE IN QUINTUS SMYRNAEUS’POSTHOMERICA". Classical Quarterly 68, n.º 2 (diciembre de 2018): 634–48. http://dx.doi.org/10.1017/s0009838819000041.

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Scholarship on Quintus Smyrnaeus has long moved past the point where he is considered nothing more than an ‘artificial imitator of a bygone age’. Rather, scholars generally recognize the dynamism of Quintus’ relation to Homer, as can be seen in the subtitles of two volumes on Quintus published in the past few years:Engaging Homer in Late AntiquityandTransforming Homer in Second Sophistic Epic. Even in passages that are clearly modelled on passages in Homer, Quintus is no longer seen as slavishly imitating but as creatively rereading and re-imagining his works. Calum Maciver, perhaps Quintus’ most vocal champion, sums this approach up nicely, arguing that ‘Quintus imitates, manipulates, comments on, differs from, in sum reads, Homer’, and describing the epic as ‘a demanding text with intricate possibilities for interpretation’. And Maciver is hardly alone in this; various studies in recent years have shown that Quintus’ use of Homer reflects his own values and preoccupations, and those of his society.

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24

Placencia, María Elena y Catalina Fuentes Rodríguez. "In between spectacle and political correctness". Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 23, n.º 1 (1 de marzo de 2013): 117–45. http://dx.doi.org/10.1075/prag.23.1.06pla.

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Vamos con todo is a mixed-genre entertainment programme transmitted in Ecuador on a national television channel. The segment of the programme that we examine in this paper focuses on gossip and events surrounding local/national celebrities. Talk as entertainment is central to this segment which is structured around a series of ‘news’ stories announced by the presenters and mostly conveyed through (pre-recorded) interviews. Extracts of these interviews are ingeniously presented to create a sense of confrontation between the celebrities concerned. Each news story is then followed-up by informal ‘discussions’ among the show’s 5-6 presenters who take on the role of panellists. While Vamos con todo incorporates various genres, the running thread throughout the programme is the creation of scandal and the instigation of confrontation. What is of particular interest, however, is that no sooner the scandalous stories are presented, the programme presenters attempt to defuse the scandal and controversy that they contributed to creating. The programme thus results in what viewers familiar with the genre of confrontational talk shows in Spain, for example, may regard as an emasculated equivalent. In this paper we explore linguistic and other mechanisms through which confrontation and scandal are first created and then defused in Vamos con todo. We consider the situational, cultural and socio-political context of the programme as possibly playing a part in this disjointedness. The study draws on the literature on television discourse, talk shows and (im)politeness in the media.

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25

Sheth, Falguni A. "Framing Rape: Patriarchy, Wartime, and the Spectacle of Genocidal Rape". Philosophy Today 59, n.º 2 (2015): 337–43. http://dx.doi.org/10.5840/philtoday20153168.

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26

Martens, Stephanie. "Tom Boland: "The Spectacle of Critique: from Philosophy to Cacophony"". Foucault Studies 1, n.º 27 (30 de diciembre de 2019): 167–71. http://dx.doi.org/10.22439/fs.v27i27.5897.

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27

Stoner, Ian. "Barbarous Spectacle and General Massacre: A Defence of Gory Fictions". Journal of Applied Philosophy 37, n.º 4 (29 de noviembre de 2019): 511–27. http://dx.doi.org/10.1111/japp.12405.

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28

Wagner (editor, first and second book), Marie-France, Claire Le Brun-Gouanvic (editor, first and second book) y Nathalie Dauvois (review author). "Les arts du spectacle dans la ville (1404-1721); Les arts du spectacle au théâtre (1550-1700)". Renaissance and Reformation 37, n.º 2 (1 de enero de 2001): 92–95. http://dx.doi.org/10.33137/rr.v37i2.8700.

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29

Hartsock, Nancy C. M. "Experience, Embodiment, and Epistemologies". Hypatia 21, n.º 2 (2006): 178–83. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01100.x.

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Gail Mason's Spectacle of Violence undertakes an important project in confronting a number of serious questions about definitions of violence and power, and about the nature of experience, subjectivity, and mind/body dualisms. Hartsock's comments on the book focus on issues of experience, embodiment, and standpoint theories.

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30

walden, elizabeth. "Language, spectacle and body in Anthony Drazen'sHurlyburly". Angelaki 9, n.º 3 (diciembre de 2004): 91–100. http://dx.doi.org/10.1080/0969725042000307655.

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31

Nguyen, Khanh. "The Slow versus the Spectacular:". Crossings: A Journal of English Studies 11 (1 de marzo de 2020): 67–81. http://dx.doi.org/10.59817/cjes.v11i.70.

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“Polynia” and “Covehithe” are two short stories from China Miéville’s 2015collection Three Moments of an Explosion. Present in both is an “ecosystem” ofspectacular violence that the author builds through, first, the graphic descriptionof violence, second, the encapsulation of eye-witnessed violence in visual objectsthat resemble what the Marxist philosopher Guy Debord terms “spectacles” and,third, the manipulation of textual spectatorship. To construct a chilling and eerieatmosphere for his narratives, Miéville can be said to have drawn heavily on HPLovecraft’s weird tales. Nonetheless, behind the spectacles of violence representedin “Polynia” and “Covehithe” is not the cosmic horror typical of Lovecraft buta different kind of horror, heavily anchored in our reality, possessing new andincreasing urgency: the horror of global warming and environmental degradation,or, as in the words of Rob Nixon, of “slow violence.” Consequently, there happensin “Polynia” and “Covehithe” what is similar to an act of translation, of the slowinto the spectacular. I argue that this translation provides a potential answer toNixon’s pressing question about how to surmount the representational challengescreated by slow violence in order to render it more urgent and engaging. Thisargument is furthermore related to broader discussions about the relationshipbetween literature and the media, fiction’s engagement with the environmentalcrisis, as well as the differences between Old Weird and New Weird.

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32

Shiffman, Mark. "Spectacles of Truth in Classical Greek Philosophy". Ancient Philosophy 26, n.º 1 (2006): 201–5. http://dx.doi.org/10.5840/ancientphil200626154.

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COUVARES, FRANCIS G. "IMPERIAL LIBERALISM? RELIGION, EDUCATION, AND THE COLD WAR". Modern Intellectual History 7, n.º 1 (26 de febrero de 2010): 185–95. http://dx.doi.org/10.1017/s147924430999031x.

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A few years ago I found myself at the Ogden, Utah rodeo with thirty schoolteachers from all over the world. They were participants in a Fulbright-supported American studies institute, and the trip to Utah was part of a weeklong foray into a part of America quite different from Amherst, MA, where the bulk of lectures and discussions had taken place in the previous three weeks. Our visit happened to coincide with “Armed Services Day,” and the spectacle my students encountered proved even more impressive than the riding and roping they had expected. The principle feature of that spectacle had to do with the organizers’ almost total confounding of religion and patriotism. At the high point of the event, over the roar of military band music and military helicopters passing overhead, the booming voice of the announcer declared that “God's helicopters” were protecting America and the rest of the world from tyranny. The books under review here endeavor to explain the spectacle in Ogden on that summer day—along with the train of events that, over sixty years ago, launched a crusade against “godless communism” and, a few decades later, made “the Christian right” a major force in American politics.

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34

Fishbein, Leslie y Susan A. Glenn. "Female Spectacle: The Theatrical Roots of Modern Feminism". Journal of American History 88, n.º 3 (diciembre de 2001): 1110. http://dx.doi.org/10.2307/2700482.

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35

Snyder, Robert W. y Martin Rubin. "Showstoppers: Busby Berkeley and the Tradition of Spectacle." Journal of American History 81, n.º 2 (septiembre de 1994): 773. http://dx.doi.org/10.2307/2081355.

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36

Olivier, Bert. "Communication and ‘revolt’". Communicare: Journal for Communication Studies in Africa 25, n.º 2 (20 de octubre de 2022): 1–12. http://dx.doi.org/10.36615/jcsa.v25i1.1736.

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‘Revolt’ is usually associated with ‘rebellion’, or ‘revolution’ in a political sense, and at an intuitivelevel there is certainly a connection or similarity among these three concepts. The psychoanalyticaltheorist and philosopher, Julia Kristeva, has however developed a notion of ‘revolt’ (and, relatedto it, of ‘revolution’) that goes far beyond the common understanding of the term. Moreover, in herunderstanding of the concept, ‘revolt’ may indeed be a ‘communicational’ prerequisite for contemporary‘globalised’ society to break out of an invidious (and potentially violent) standoff between a dominantworld culture, subject to the logic of the market, on the one hand, and a fundamentalist ideologicalreaction to it, on the other. Kristeva points the way to a creative enlivening of individuals’ lives, aswell as of society at large, through her passionate elaboration on the potential for ‘revolution’ inlanguage and communication, and also her development of the notion of ‘revolt’ as a legacy ofWestern culture – a legacy which is under threat in the present ‘culture of the spectacle’.

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37

Lambert, Andrew. "From Aesthetics to Ethics: The Place of Delight in Confucian Ethics". Journal of Chinese Philosophy 47, n.º 3-4 (3 de marzo de 2020): 154–73. http://dx.doi.org/10.1163/15406253-0470304004.

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An exploration of the role of pleasure or delight (le 樂) in classical Confucian ethics. Building on Michael Nylan’s account of the role of pleasure in public spectacle and social order, I explore how the meaning of delight (le 樂) derives from the features and effects of music (yue 樂). Drawing on Dewey’s aesthetics and accounts of music in Confucian texts, I explore a conception of Confucian ethics, in which delight—like states generated through everyday social interaction are foundational.

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38

Sherman, Daniel J. y Irit Rogoff. "Museum Culture: Histories, Discourses, Spectacles". Journal of Aesthetics and Art Criticism 54, n.º 4 (1996): 412. http://dx.doi.org/10.2307/431937.

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39

Ion, Alexandra. "Beyond determinism. A case for complex explanations and human scale in framing archaeological causal explanations". Archaeological Dialogues 26, n.º 01 (junio de 2019): 10–12. http://dx.doi.org/10.1017/s1380203819000084.

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In a recent intervention, Romanian philosopher and essayist Andrei Pleşu (2018) writes on the topic of destiny, We are not caught blindly in a network of ‘fatal’ causes and effects, rather we are integrated in an ‘epic’ structure, on a pathway which includes an ‘intrigue’, a host of significant events, sometimes stimulating, while at other times destabilising, in a ‘story’ whose makeup can only be revealed at the end of the ‘spectacle’. Archaeology is a discipline in the privileged position of engaging with things when they have seen their end lives and conclusions, at the end of the ‘spectacle’. The downside is that sometimes too much time has passed, and traces have got lost, while at other times we forget that any story had a development, alongside moments when things could have turned out quite differently. Thus, upon trying to interpret change in the past, we sometimes end up with what Arponen and colleagues tackle in their article, namely deterministic explanations. Their article raises some points directly related to the implications of a particular kind of data set – palaeo-environmental studies – for framing historical explanations. This range of studies has become more important in recent years, as part of a wider resurgence of scientific technologies applied to interpreting the past. This trend has been accompanied by important implications, revealing the problem of integrating data sets of different kinds, from natural sciences to social sciences towards explaining historical processes. As the authors highlight, most often the explanation proceeds by identifying patterns in different data sets, climate record and archaeology, which are then correlated, and if they match they are interpreted in a causal key. But is life that simple?

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40

LUZECKY, ROBERT. "ROMAN INGARDEN’S CONCEPT OF THE FILMIC WORK OF ART: STRATA, SOUND, SPECTACLE". HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, n.º 2 (2020): 683–702. http://dx.doi.org/10.21638/2226-5260-2020-9-2-683-702.

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In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: (1) I clarify Ingarden’s claim that the work of art is a stratified formation in which the various aspects present objectivities; (2) I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline case in respect to other types of works of art—paintings and literary works. Here, I identify a problem with Ingarden’s claims about the function of sound in the concretized filmic work’s presentation of its fictive world. Ingarden identifies the presented universe of the filmic work of art as a habitus of reality, but Ingarden seems oddly conflicted with respect to his notion of habitus. I argue that this stems from Ingarden’s conceptualization of the filmic work of art as primarily composed of the stratum of represented “visible aspects” in both the cases of the silent film and the sound-synchronized film, and his restriction of the role of phonetic content in the latter. I suggest that were we to reconceptualise the role of aurally presented phonetic content in the concretized sound-synchronized film, we could better understand how film has the seeming magical capacity to transfix us.

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41

Dadlez, E. M. "Spectacularly Bad: Hume and Aristotle on Tragic Spectacle". Journal of Aesthetics and Art Criticism 63, n.º 4 (septiembre de 2005): 351–58. http://dx.doi.org/10.1111/j.0021-8529.2005.00217.x.

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Mazor, Amir y Keren Abbou Hershkovits. "Spectacles in the Muslim World". Early Science and Medicine 18, n.º 3 (2013): 291–305. http://dx.doi.org/10.1163/15733823-0011a0003.

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Obscurity surrounds not only the date and name of the inventor of eyeglasses, but also the date and place where eyeglasses (or information pertaining to them) reached the Muslim world. It is assumed that eyeglasses were transmitted to the Muslim world through commerce with Italian traders, which is probable, while other options also present themselves. This paper shows, at any rate, that the date traditionally given for the first acquaintance of the Muslim world with eyeglasses is wrong. In this article, we present evidence that eyeglasses were available in Syria since the fourteenth century and discuss the implications of this discovery.

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Browne, Janet y Sharon Messenger. "Victorian spectacle: Julia Pastrana, the bearded and hairy female". Endeavour 27, n.º 4 (diciembre de 2003): 155–59. http://dx.doi.org/10.1016/j.endeavour.2003.10.006.

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44

Crosland, Maurice. "The Image of Science as a Threat: Burke versus Priestley and the ‘Philosophic Revolution’". British Journal for the History of Science 20, n.º 3 (julio de 1987): 277–307. http://dx.doi.org/10.1017/s0007087400023967.

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So much of the history of science has been written from the point of view of the scientist or the proto-scientist that it may be salutary for the modern reader occasionally to consider how science and its early practitioners were viewed from the outside. We must not be too surprised if a pioneering activity performed by controversial agents was misunderstood or misrepresented and if what emerges is, therefore, sometimes less of a portrait than a caricature. We are concerned here much less with what natural philosophers actually did than what they were thought to have done, or what they were thought to stand for. The image is sometimes more influential than the reality. Considering that the period to be studied is one of major political and social unrest and that the principal spokesman, Edmund Burke (1729–1797), had made his reputation mainly in the arena of parliamentary politics, we can anticipate rather more polemic than dispassionate argument. In the formation of public opinion a colourful exaggeration or even an occasional sneer are often more effective than the objective exposition of a case. The spectacles through which Burke looked at his world sometimes magnified and often distorted, but they produced a view of knowledge and society shared by many of his contemporaries and of considerable subsequent influence.

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LAWELL, Declan. "Spectacula contemplationis(1244-46)". Recherches de Théologie et Philosophie Médiévales 76, n.º 2 (31 de diciembre de 2009): 249–85. http://dx.doi.org/10.2143/rtpm.76.2.2045807.

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Wennström, Johan. "On the Spectacles of Market Society". Telos 2022, n.º 200 (2022): 210–13. http://dx.doi.org/10.3817/0922200210.

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Garrett, Clarke. "Visions of the Apocalypse: Spectacles of Destruction in American Cinema". Utopian Studies 16, n.º 1 (2005): 146–48. http://dx.doi.org/10.2307/20718727.

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Garrett, Clarke. "Visions of the Apocalypse: Spectacles of Destruction in American Cinema". Utopian Studies 16, n.º 1 (2005): 146–48. http://dx.doi.org/10.5325/utopianstudies.16.1.0146.

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Villacèque, Noémie. "De la bigarrure en politique (PlatonRépublique8.557C4–61e7)". Journal of Hellenic Studies 130 (noviembre de 2010): 137–52. http://dx.doi.org/10.1017/s0075426910000728.

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AbstractThis paper deals with Plato's use ofpoikilosand cognates to describe democracy. It does not argue that Plato'sRepubliccontains empirical analyses of some contemporary event, but supposes that an historical reading of the book is possible and legitimate. Post Peloponnesian War Athenian society experienced profound socio-economic changes. Echoing the aristocratic élite's circumspect anxiety when faced with thenouveaux riches, Plato clearly regards obsessive greediness as one of the root causes of the corruption of any political system. Referring to democracy, the philosopher invents thehimation poikilonor ‘embroidered coat of many colours' metaphor. By materializing the multifaceted concept ofpoikilia, this metaphor gives a single and palpable form to the principaltopoiof anti-democratic rhetoric: thehimation poikilonevokes the motley constitution of the Athenian regime, the tyrant's ostentatious opulence, aped by thedemos turannos, the inconstancy of thedemos, the deceitful character of democracy and, last but not least, its penchant for spectacles.

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Reeves, Eileen. "Renaissance Vision from Spectacles to Telescopes". Early Science and Medicine 14, n.º 4 (2009): 561–63. http://dx.doi.org/10.1163/157338209x434713.

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