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In the late-nineteenth and early twentieth centuries, America and Japan were in the process of establishing their positions as powers in a world dominated by Western Europe. The two nations with unconnected histories and cultures found themselves in momentary sympathy as they embarked on their first forays into military imperialism, expanded their trade, and constructed civic institutions intended to compete with those of Europe. It was during this period that mass entertainments developed and began circulating across national borders and, drawing on tourist practices, helped create a "universal" visual culture which coexisted with local particularities. This dissertation undertakes a study of Japanese and American shared visual culture and modern entertainments with the goal of nuancing current scholarship on East/West exchanges and expanding the definition of modernity. Three modern phenomena, panoramas, World's Fairs, and film, form the core of my three main chapters and describe a process of appropriation, assimilation, and collaboration through their movements from Europe, across America to Japan, and ending with a return to America. Many scholars have observed that Americans viewed Japan as a confusing cultural other with a baffling skill at appearing modern. This dissertation begins with the premise that Japan was modern and re-examines American and Japanese cultural exchanges from this position with the aim of shifting the paradigms of modernity and modern visuality.
The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.
A theoretically rich and vividly written ethnography of folklore revival and performance in Eastern Europe that provocatively embraces larger questions of social theory, authenticity, and philosophy.
In the late-nineteenth and early twentieth centuries, America and Japan were in the process of establishing their positions as powers in a world dominated by Western Europe. The two nations with unconnected histories and cultures found themselves in momentary sympathy as they embarked on their first forays into military imperialism, expanded their trade, and constructed civic institutions intended to compete with those of Europe. It was during this period that mass entertainments developed and began circulating across national borders and, drawing on tourist practices, helped create a "universal" visual culture which coexisted with local particularities. This dissertation undertakes a study of Japanese and American shared visual culture and modern entertainments with the goal of nuancing current scholarship on East/West exchanges and expanding the definition of modernity. Three modern phenomena, panoramas, World's Fairs, and film, form the core of my three main chapters and describe a process of appropriation, assimilation, and collaboration through their movements from Europe, across America to Japan, and ending with a return to America. Many scholars have observed that Americans viewed Japan as a confusing cultural other with a baffling skill at appearing modern. This dissertation begins with the premise that Japan was modern and re-examines American and Japanese cultural exchanges from this position with the aim of shifting the paradigms of modernity and modern visuality.
From 13th century Franciscan monks to Beyoncé in Black is King, Making a Spectacle charts the fascinating ascension of eyeglasses—from an unsightly but useful tool to fashion's must-have accessory. The power of glasses to convey a range of vivid messages about their wearers have made them into a billion-dollar business that appeals to cool kids and rock stars, and those who want to be like them, but the fashionable history of eyeglasses is fraught with anxiety and drama. At the beginning of the 20th century, the assessment in Vogue and Harper's Bazaar was that spectacles were "invariably disfiguring." Invisibility was the best option, and glasses were only to be put on once the lights at the opera went dark. While variations of that glasses-shaming sentiment appeared at regular intervals over the next 100 years or so, eyeglasses continued to evolve into an endless array of shapes, colors, purposes, and personalities. Once sunglasses took off in the 1930s, the magazine editorial made glasses a conspicuous part of the fashion narrative. Eyeglasses went to the ski slopes, the stables, the beach, the Havana hotel. Plastic innovations made a candy-colored rainbow of cat-eyes and "starlet" styles possible. Suddenly, everyone had the opportunity to look like Jackie O on vacation in Capri. Making a Spectacle traces contemporary high fashion frames back to their origins: the military aviator, the glam cat eye, the nerdly Oxford, the high-tech shield, the fanciful butterfly, the lowly rimless, and other styles all make an appearance. Featuring interviews with influential designers, makers, and purveyors of glasses including Adam Selman, Kerin Rose Gold, and l.a. Eyeworks, Making a Spectacle also takes a look at today's most cutting edge eyewear, showing the reader the latest and most innovative ways to see and be seen.
This book examines how different stages of adult life affect participation in lifestyle sports and in the construction of identity. Drawing on multi-disciplinary perspectives, it explores how gender, sexuality, ethnicity, and location, in conjunction with age and stage in career, affect lifestyle sport practices and meanings. Tracing engagement with lifestyle sport across the lifecourse, from young adult to older age, the book examines the concepts of authenticity and identity in subcultural and alternative sports, exploring how individuals develop lifestyle sport identities, maintain authentic identities, and how they manage those identities as older adults. It presents a range of fascinating, cutting-edge case studies from around the world, covering sports as diverse as climbing, surfing, mountain biking, skateboarding and roller derby, and considers key contemporary issues such as professionalisation, sports labor, and digital technology. It also highlights political tensions and shifts that shape the identities of lifestyle sport communities. This is essential reading for anybody with a serious interest in alternative or lifestyle sports, the relationships between sport and wider society, or the development of subcultures and cultural identity.
This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative art. The final essays discuss the link of authenticity to sincerity and truth in poetry, explain how performance, as an authentic feature of poetry, embodies a collective effort, and culminate in a discussion of the dark side of performance - its constant susceptibility to inauthenticity. Together the essays suggest how issues of performance and authenticity enter into consideration of a wide range of the arts.
Dutch colonial presentations at the world exhibitions in the period 1880-1931 served to legitimize the Dutch imperialist project and highlight the problem of Dutch identity and the Netherlands' place in the world. At these exhibitions, the Netherlands showed off its colonies by erecting models of schools, sugar-factories, bridges, and railways exhibits, which were meant to give proof of the good works of modern colonial administration and enterprise. Not only were there displays of ethnographic objects, life-size temples and villages inhabited by authentic Javanese and Sumatrans were brought to Europe specifically for these expositions. Their presence took the viewer into an "Other" world that provided an "immediacy" for visitors to the exhibition. While these colonial spectacles helped legitimize Dutch imperialism project, they also provided lenses for understanding the colonial world as it was constructed according to the prevailing evolutionist worldview at the time.