Download Free Spectacular Politics Book in PDF and EPUB Free Download. You can read online Spectacular Politics and write the review.

Drawing on newspapers, archival sources, and memoirs, Spectacular Politics shows how, as President of the Second Republic and then as Emperor Napoleon III, Louis-Napoleon Bonaparte used public speech and spectacle to dazzle and seduce the French population, helping to pioneer the modern techniques of image politics and the manipulation of a mass electorate. Elected President of the Second Republic in 1848, the year of the inception of universal male suffrage, this nephew of Napoleon I overthrew that Republic in 1851 to establish himself as Emperor Napoleon III, a title he kept for almost twenty years. During this period, Louis-Napoleon used events as diverse as the annual national holiday on the birthday of Napoleon I, the glitzy inaugurations of Paris's new streets, the universal expositions, and the many military reviews of the time to stage elaborate public celebrations. Author Matthew Truesdell shows how these events were more than just festive amusements, but were in fact some of Louis-Napoleon's key tools in the projection before a mass audience of powerful images that allowed him to present himself as the incarnation of the national will and the ideal leader for the age. His ability to package his ideas in short, appealing verbal slogans made him one of the most successful political orators in French history. He had a knack for coming up with the felicitous phrase, the emotionally engaging slogan that summed up his policy in simple terms and was infinitely repeated in newspapers, speeches, songs, and poems, in the "soundbite" style that dominates politics today. But this study also goes beyond the story of Louis-Napoleon's attempts to manipulate public opinion to examine how his political opponents--especially the republicans--used similar techniques in their ultimately successful effort to supplant his regime. Spectacular Politics makes a significant contribution to the larger history of the discovery of image and spectacle as tools of political manipulation. It will be of interest to scholars of modern French history, modern Europe, and the history of politics.
Exploring the interface between the cultural politics of the Black Power and the Black Arts movements and the production of postwar African American popular culture, Amy Ongiri shows how the reliance of Black politics on an oppositional image of African Americans was the formative moment in the construction of "authentic blackness" as a cultural identity. While other books have adopted either a literary approach to the language, poetry, and arts of these movements or a historical analysis of them, Ongiri's captures the cultural and political interconnections of the postwar period by using an interdisciplinary methodology drawn from cinema studies and music theory. She traces the emergence of this Black aesthetic from its origin in the Black Power movement's emphasis on the creation of visual icons and the Black Arts movement's celebration of urban vernacular culture.
In the first reconstruction of the London street pageants staged from 1659 to 1662, she describes how Charles II used theatrical events to reimpose the concept of a Stuart monarchy - and how his opponents responded with rival entertainments advocating a different idea of the monarchy and the future. She then examines the London theatrical season of 1695-96, when one third of the new plays performed were written by women. Here Backscheider shows how transgressive, revisionary literature can awaken censoring and collaborative forces even as it opens debate.
Elected President of the Second Republic in 1848, the year of the inception of universal male suffrage, this nephew of Napoleon I overthrew that Republic in 1851 to establish himself as Emperor Napoleon III, a title he kept for almost twenty years.
Viewing hip-hop as the postmodern successor to African American culture's Jazz modernism, this book examines hip-hop music's role in the history of the African-American experience.
Seattle's project of 'downtown revitalization' is often touted as a civic endeavour that serves the community as a whole. Gibson questions that assumption. He examines the trade-off between the gain produced by redevelopment and the loss of public space.
In cultural history, the 1950s in Venezuela are commonly celebrated as a golden age of modernity, realized by a booming oil economy, dazzling modernist architecture, and nationwide modernization projects. But this is only half the story. In this path-breaking study, Lisa Blackmore reframes the concept of modernity as a complex cultural formation in which modern aesthetics became deeply entangled with authoritarian politics. Drawing on extensive archival research and presenting a wealth of previously unpublished visual materials, Blackmore revisits the decade-long dictatorship to unearth the spectacles of progress that offset repression and censorship. Analyses of a wide range of case studies—from housing projects to agricultural colonies, urban monuments to official exhibitions, and carnival processions to consumerculture—reveal the manifold apparatuses that mythologized visionary leadership, advocated technocratic development, and presented military rule as the only route to progress. Offering a sharp corrective to depoliticized accounts of the period, Spectacular Modernity instead exposes how Venezuelans were promised a radically transformed landscape in exchange for their democratic freedoms.
With the collapse of communism, post-communist societies scrambled to find meaning to their new independence. Central Asia was no exception. Events, relationships, gestures, spatial units and objects produced, conveyed and interpreted meaning. The new power container of the five independent states of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan would significantly influence this process of signification. Post-Soviet Central Asia is an intriguing field to examine this transformation: a region which did not see an organised independence movement develop prior to Soviet implosion at the centre, it provokes questions about how symbolisation begins in the absence of a national will to do so. The transformation overnight of Soviet republic into sovereign state provokes questions about how the process of communism-turned-nationalism could become symbolised, and what specific role symbols came to play in these early years of independence. Characterized by authoritarianism since 1991, the region’s ruling elites have enjoyed disproportionate access to knowledge and to deciding what, how and when that knowledge should be applied. The first of its kind on Central Asia, this book not only widens our understandings of developments in this geopolitically important region but also contributes to broader studies of representation, ritual, power and identity. This book was published as a special issue of Europe-Asia Studies.
"Develops a geographic approach to the politics of spectacle and its unspectacular Others through examining recent spectacular capital city development projects in seven authoritarian, resource-rich states of Central Asia, the Arabian Peninsula, and East Asia"--
In Spectacular Accumulation, Morgan Pitelka investigates the significance of material culture and sociability in late sixteenth-century Japan, focusing in particular on the career and afterlife of Tokugawa Ieyasu (1543–1616), the founder of the Tokugawa shogunate. The story of Ieyasu illustrates the close ties between people, things, and politics and offers us insight into the role of material culture in the shift from medieval to early modern Japan and in shaping our knowledge of history. This innovative and eloquent history of a transitional age in Japan reframes the relationship between culture and politics. Like the collection of meibutsu, or "famous objects," exchanging hostages, collecting heads, and commanding massive armies were part of a strategy Pitelka calls "spectacular accumulation," which profoundly affected the creation and character of Japan's early modern polity. Pitelka uses the notion of spectacular accumulation to contextualize the acquisition of "art" within a larger complex of practices aimed at establishing governmental authority, demonstrating military dominance, reifying hierarchy, and advertising wealth. He avoids the artificial distinction between cultural history and political history, arguing that the famed cultural efflorescence of these years was not subsidiary to the landscape of political conflict, but constitutive of it. Employing a wide range of thoroughly researched visual and material evidence, including letters, diaries, historical chronicles, and art, Pitelka links the increasing violence of civil and international war to the increasing importance of samurai social rituals and cultural practices. Moving from the Ashikaga palaces of Kyoto to the tea utensil collections of Ieyasu, from the exchange of military hostages to the gift-giving rituals of Oda Nobunaga and Toyotomi Hideyoshi, Spectacular Accumulation traces Japanese military rulers' power plays over famous artworks as well as objectified human bodies.