Following the pathways of imperial commerce, blackface minstrel
troupes began to cross the globe in the mid-nineteenth century,
popularizing American racial ideologies as they traveled from
Britain ...to its colonies in the Pacific, Asia, and Oceania, finally
landing in South Africa during the 1860s and 1870s. The first
popular culture export of the United States, minstrel shows
frequently portrayed black characters as noncitizens who were unfit
for democratic participation and contributed to the construction of
a global color line. Chinua Thelwell brings blackface minstrelsy
and performance culture into the discussion of apartheid's
nineteenth-century origins and afterlife, employing a broad archive
of South African newspapers and magazines, memoirs, minstrel songs
and sketches, diaries, and interview transcripts. Exporting Jim
Crow highlights blackface minstrelsy's cultural and social
impact as it became a dominant form of entertainment, moving from
its initial appearances on music hall stages to its troubling
twentieth-century resurgence on movie screens and at public events.
This carefully researched and highly original study demonstrates
that the performance of race in South Africa was inherently
political, contributing to racism and shoring up white racial
identity.
In this era, celebrities are shaped and disseminated by the media. Media generates celebrities. When someone become the most popular person in the news then he/she would instantly become a celebrity. ...One of the figures that always make an interesting spectacle is Jokowi. As a presidential candidate of PDI Perjuangan, Jokowi have all aspects to be an interesting spectacle because of his construction of self-image that is different from the self-image of other president in Indonesia. As a media darling, Jokowi makes a Jokowi Spectacle. It becomes much more interesting when Jokowi Spectacle is compared with its successor, Obama Spectacle.
Whereas modern criticism has emphasized the unity and sense of permanence in The Canterbury Tales, John Ganim alerts us to a dialectically opposing dimension that Chaucer's poetics shares with the ...popular culture of the late Middle Ages: his celebration of the ephemeral and his sense of performance. Ganim uses the concept of theatricality to illuminate Chaucer's manipulations of the forms of popular culture and high literary discourse. He calls upon recent work in semiotics and social history to question Mikhail Bakhtin's notion of the "carnivalesque" and the "dialogic," at the same time suggesting Bakhtin's usefulness in understanding Chaucer.
This book includes chapters on how Chaucer adopts the voice of such popular literary forms as chronicles and pious collections, on his equivalence between his own image making and dramatic performance, and on Chaucer's and Boccaccio's handling of the related issues of popular understanding and the creation of illusions. The book concludes by describing how Chaucer conflates "noise" and popular expression, simultaneously appropriating and distancing himself from his richest cultural context.
Originally published in 1990.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Chile’s public conservation estate has expanded by unprecedented margins in recent years, following the creation of several mega projects. One such project is the Route of Parks of Chilean Patagonia, ...a public–private partnership to protect nearly 30 million acres of land across 18 national parks at the bottom of the South American continent. The partnership, over two decades in the making, was proposed by the U.S-based philanthropic foundation Tompkins Conservation but rejected by previous presidential administrations before finally being accepted in 2017. This article traces the role of two complementary forces behind the project – big philanthropy and big conservation – showing how both shaped the state’s eventual decision to take historic action for environmental protection. I argue that resource spectacle is key to understanding the ‘how’ and ‘why now’ of this mega project. Whereas traditional resource spectacles are conjured to court buy-in from private actors for extractive projects, a conservation resource spectacle is conjured in this case to court buy-in from the state for a large-scale national parks project. Big philanthropy emphasizes the spectacular investability of national parks by selling them as “a cold, hard asset,” akin to Chile’s other natural resources. It does this by rendering the value of protected nature legible and consumable through the same resource-making techniques that define extractivism. Yet, these resource-making techniques when applied to environmental protection not only establish perverse incentives for action, they also help fuel the convergence of conservation and extraction.
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
•Inclusive female anti-poaching (IFAP) is increasingly gaining attention.•IFAP environmental spectacles in southern Africa showcase heroic female rangers.•The spectacles contain ambiguities regarding ...gender, race and green militarization.•Spectacularisation attracts funding, but neglects significant context.•IFAP spectacles are based on invisible (i.e. symbolic and systemic) violence.
Staged ‘spectacles’ are increasingly becoming important in communicating potential solutions for environmental challenges such as poaching. In this paper, we explore the spectacle of ‘inclusive female anti-poaching’ (IFAP) through an analysis of the Akashinga and Black Mamba projects in Zimbabwe and South Africa respectively. Both IFAP initiatives emphasize the inclusion of local women in anti-poaching. Such projects gain increasing public attention but have thus far hardly been studied academically. Based on ethnographic fieldwork and critical discourse analysis, we unpack the IFAP spectacle’s three core pillars: first, their claim to break gender stereotypes and the intersection with race; second, the portrayal of female rangers as heroines in relation to their socio-economic status and their political-economic and historical contexts; and third, the projects’ responses to increasing green militarization and their often ambiguous relation with ‘demilitarization’. We argue that the staged IFAP spectacle is for a large part based on invisible or objective (i.e. symbolic and systemic) violence and its claims to break gender barriers and support demilitarization are ambiguous and not fully convincing. It seems as if an important driver of these claims is to render IFAP more attractive for funding.
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
When American artist John August Swanson died in September 2021, he left an extensive body of artwork focusing on social justice issues, religious themes, and everyday activities. The Theo Arts ...Gallery, Boston University School of Theology, notes, “His art reflects the strong heritage of storytelling he inherited from his Mexican mother and Swedish father. John August Swanson’s narrative is direct and easily understood. He addresses human values, cultural roots, and a quest for self-discovery through visual images.” His artwork is housed in collections at the Smithsonian’s National Museum of American History, National American Art Museum, and National Air and Space Museum; the Art Institute of Chicago; Tate Gallery (UK); the Vatican Museums’ Collection of Modern Religious Art; and Emory University’s Candler School of Theology.Swanson painted with oils, watercolors, and acrylics; created lithographs and etchings; and made colorful, detailed serigraphs—an artists’ term for silkscreen painting. According to Emory University’s Pitts Theology Library, “These serigraphs necessitate an advanced level of technical acumen and typically feature 30 to 60 separate colors, each of which requires a separate stencil drawn by the artist. Swanson’s elaborate serigraph process results in pieces that have unique textures and colors that are characteristic of his mastery of this medium.”Swanson’s The Carousel, this month’s cover image, is a vibrant serigraph depicting the popular amusement ride—sometimes also called a merry-go-round—and illustrating a certain association and interaction between humans and animals. It is a dizzying, complex spectacle imbued with 29 distinct colors and intricate patterns that may be missed without scrutiny.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, ODKLJ, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
This study aims to assess the temporal trends in the prevalence of spectacle use and spectacle coverage for refractive errors in population-based studies conducted during 2011-2012 and 2017 among ...those aged ≥ 40-years in the state of Telangana, India. An intervention in the form of 10 vision centres and a secondary centre was established in one district (Khammam) after the 2011-2012 study and another district (Warangal) was left to secular trends.
In both the studies, multi-stage cluster random sampling methodology was used to select the participants. In addition to a clinical examination, a questionnaire was used for collecting information on current and previous use of spectacles, type of spectacles and details of the spectacle providers. The same questionnaire was used in both the studies.
In total, 2,485 participants were examined in the 2011-2012 study and 2,711 participants were examined in the 2017 study in Khammam. Similarly, 2,438 and 2,646 participants were examined in Warangal in the two studies, respectively. In Khammam, the age and gender-adjusted prevalence of current spectacle use increased from 30.0 per cent (95% CI 28.2-31.9) to 34.8 per cent (95% CI 33.0-36.6) in the 2011-2012 and 2017 studies, respectively (p < 0.01). However, in the Warangal district, the age and gender-adjusted prevalence of current spectacle use declined from 32.8 per cent (95% CI 31.0-34.7) to 27.6 per cent (95% CI 25.9-29.3) during the 2011-2012 and 2017 studies, respectively (p < 0.01). In Khammam, the spectacle coverage increased from 26.9 per cent to 35.6 per cent, but it declined from 43.8 per cent to 35.7 per cent in Warangal between the studies in 2011-2012 and 2017.
An increase in spectacle use and coverage was observed in Khammam where the secondary centre and vision centres were established, compared to Warangal where there was no such intervention. The results suggest a positive impact of the intervention in the Khammam district and suggest replication of the model to address the burden of uncorrected refractive errors.
PDF
