This book investigates the role and impact of the spectator, covering many different performance types including theatre, sport, television, gambling and ritual.

In the seventeenth century, emerging practices such as print, collecting and performance influenced early modern discussions of stillness and motion.

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.

Contributed articles presented at a national seminar on "Women in/and Media" on women in mass media conducted at Osmania University, Hyderabad.

Theories of sight and spectatorship captivated many writers and philosophers of the eighteenth century and, in turn, helped to define both sexual politics and gender identity. Eliza Haywood was thoroughly engaged in the social, philosophical, and political issues of her time, and she wrote prolifically about them, producing over seventy-five works of literature - plays, novels, and pamphlets - during her lifetime. Examining a number of works from this prodigious canon, Juliette Merritt focuses on Haywood's consideration of the myriad issues surrounding sight and seeing and argues that Haywood explored strategies to undermine the conventional male spectator/female spectacle structure of looking. Combining close readings of Haywood's work with twentieth-century debates among feminist and psychoanalytic theorists concerning the visual dynamics of identity and gender formation, Merritt explores insights into how the gaze operates socially, epistemologically, and ontologically in Haywood's writing, ultimately concluding that Haywood's own strategy as an author involved appropriating the spectator position as a means of exercising female power. Beyond Spectacle will cement Haywood's deservedly prominent place in the canon of eighteenth-century fiction and position her as a writer whose work speaks not only to female agency, but to eighteenth-century writers, gender relations, and power politics as well.

Talk show host Matthew Miller has made his fame by shining a spotlight on the most unlikely and bizarre secrets of society, exposing them on live television in front of millions of gawking viewers. However, the man behind The Mattie M Show remains a mystery--both to his enormous audience and to those who work alongside him every day. But when the high school students responsible for a mass shooting are found to be devoted fans, Mattie is thrust into the glare of public scrutiny, seen as the wry, detached herald of a culture going downhill and going way too far. Soon, the secrets of Mattie's past as a brilliant young politician in a crime-ridden New York City begin to push their way to the surface. In her most daring and multidimensional novel yet, Jennifer duBois vividly portrays the heyday of gay liberation in the seventies and the grip of the AIDS crisis in the eighties, alongside a backstage view of nineties television in an age of moral panic. DuBois explores an enigmatic man's downfall through the perspectives of two spectators--Cel, Mattie's skeptical publicist, and Semi, the disillusioned lover from his past. With wit, heart, and crackling intelligence, The Spectators examines the human capacity for reinvention--and forces us to ask ourselves what we choose to look at, and why.

"Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice - an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze's ongoing explorations of what she terms the 'epistemology of practice as research.'IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called "criticism." The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the "itinerate spectator." Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible "flaneuse.""obility.