... recognition on the part of what the author calls “properly historical subjects” of both the experience and the effects of passing from being spectators to being the objects of someone else’s surveillance is basic to understanding the iconoclastic forms of belonging that have developed as the Pelourinho and...

... the spectator. For Bergson, freedom is an expression of the whole person, a certain tonality of decision, and a powerful and intimate sympathy. It emerges from the total past and expresses a necessity higher than that of determinism, the determination of the I by the I. ...

... ideas about art. Duchamp deployed deconstructive humor and irony to engage the spectator in his work, which is evident in Tongue in Cheek on several levels, while also revealing the workings of the art market. Specifically, this chapter theorizes Duchamp’s deconstruction of identity, bringing together...

... shaping the ways of seeing and visual rights available to actors and spectators. Invoking contemporary popular media examples and the region’s political history, the introduction argues that Israeli blindness and Palestinian invisibility are both byproducts of political denial and conditions for...

.... This chapter considers the corpus of shared cultural references conjured up at two of these events—a pageant and a musical performance—and discusses the ways that corpus was resignified in the course of improvisational interactions among performers and spectators. Finally, it looks at how the...

... female spectators in relation to Woodman’s work. ...

...-controlled television in the 1980s were driven by pedagogical impulses of national development, transnational television was also pedagogical in that it taught viewers and spectators how to become consumers. Television thus played a central role in the integration of India into the global capitalist economy...

... ecclesiastical hierarchy, he processed through an array of triumphal arches before the assembled crowds of spectators. Over a week, the city feted the viceroy, one highlight being an allegorical masquerade including a float of the splendid mountain of silver. Bartolomé Arzáns de Orsúa y Vela’s description of the...

... argues that Tuskegee sought to exert greater control over the filming and circulation of these moving pictures. Despite these efforts, the uplift model repeatedly came into conflict with the ways in which spectators consumed—and wanted to consume—these images. ...

... spectator 1919 Promotes Christian unity at Church of God in Christ (cogic) Convention 1920 Promotes Christian unity across races at fourteenth Azusa Anniversary 1921 Promotes Christian unity across races and at cogic Convention 1922 William Seymour...