Media history is his subject, and, as this memoir makes so delightfully clear, it has also been Erik Barnouw's life. Barnouw's story, told with wit and charm in Media Marathon, is the story of American culture adjusting to the twentieth century, of new media repeatedly displacing the old in a century-long competitive upheaval.
Public spectacle—from the morning rituals of the Roman noble to triumphs and the shows of the Arena—formed a crucial component of the language of power in ancient Rome. The historian Livy (c. 60 B.C.E.-17 C.E.), who provides our fullest description of Rome's early history, presents his account of the growth of the Roman state itself as something to be seen—a visual monument and public spectacle. Through analysis of several episodes in Livy's History, Andrew Feldherr demonstrates the ways in which Livy uses specific visual imagery to make the reader not only an observer of certain key events in Roman history but also a participant in those events. This innovative study incorporates recent literary and cultural theory with detailed historical analysis to put an ancient text into dialogue with contemporary discussions of visual culture. In Spectacle and Society in Livy's History, Feldherr shows how Livy uses the literary representation of spectacles from the Roman past to construct a new sense of civic identity among his readers. He offers a new way of understanding how Livy's technique addressed the political and cultural needs of Roman citizens in Livy's day. In addition to renewing our understanding of Livy through modern scholarship, Feldherr provides a new assessment of the historian's aims and methods by asking what it means for the historian to make readers spectators of history.
Spectacle is a YA murder mystery from debut author Jodie Lynn Zdrok in which a young reporter must use her supernatural visions to help track down a killer targeting the young women of Paris. Paris, 1887. Sixteen-year-old Nathalie Baudin writes the daily morgue column for Le Petit Journal. Her job is to summarize each day’s new arrivals, a task she finds both fascinating and routine. That is, until the day she has a vision of the newest body, a young woman, being murdered—from the perspective of the murderer himself. When the body of another woman is retrieved from the Seine days later, Paris begins to buzz with rumors that this victim may not be the last. Nathalie's search for answers sends her down a long, twisty road involving her mentally ill aunt, a brilliant but deluded scientist, and eventually into the Parisian Catacombs. As the killer continues to haunt the streets of Paris, it becomes clear that Nathalie's strange new ability may make her the only one who can discover the killer’s identity--and she'll have to do it before she becomes a target herself. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
THE SPECTACLE OF OURSELVES: A CHRONOLOGY OF KEY EVENTS IN WORLD HISTORY FROM BIG BANG TO 2012 tells the human story over the entire span of time up to today. Events from every continent receive brief but interesting explanation throughout.
Leading international scholars and younger researchers address issues such as museum display, collecting, the creation of visual spectacles, institutional histories, curatorial strategies, cultural exclusion and definitions of heritage. An authoritative analysis on the way that art and the visual are displayed and presented Explores a variety of cultural contexts and historical periods A benchmark collection addressing specific displays and notable objects alongside the politics of spectacle and questions of audience
Chloroform, telegraphy, steamships and rifles were distinctly modern features of the Crimean War. Covered by a large corps of reporters, illustrators and cameramen, it also became the first media war in history. For the benefit of the ubiquitous artists and correspondents, both the military and the domestic events were carefully staged, giving the Crimean War an aesthetically alluring, even spectacular character. With their exclusive focus on written sources, historians have consistently overlooked this visual dimension of the Crimean War. Photo-historian Ulrich Keller challenges the traditional literary bias by drawing on a wealth of pictorial materials from scientific diagrams to photographs, press illustration and academic painting. The result is a new and different historical account which emphasizes the careful aesthetic scripting of the war for popular mass consumption at home. Included in this media history of the Crimean War are elements of its still unwritten social history. In the Victorian era, the proliferation of lithography, press illustration, photography and other mass media, gave various social groups a chance to circulate competing views of the war where, previously, monarchs had possessed a near monopoly on the pictorial representation of history. The broad range of visual sources included in the book thus documents not only the war between the British and the Russians in the Crimea but also the battle of representations which raged in the deeply divided society at home.