Trump’s Pre-Inauguration Rhetoric: A Neo-Colonial Blueprint Through Critical Theory by K M Vishnu Namboodiri, Agney GK

“…His rhetoric exemplifies the colonization of the lifeworld, the operation of ideological state apparatuses, and the spectacle of power, all of which work together to reproduce and legitimize neo-colonial exploitation. …”
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Miroir, miroir joli… : l’eau dans le jardin paysage by Ilona Woronow

“…In his presence, the limpidity and the shimmering of the water take part in the spectacle of his solitary promenade. The sole ambiguity that the water casts on the scene is its reflection. …”
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Native and Nonnative Crocodilians of Florida by Michiko A. Squires, Seth C. Farris, Brian M. Jeffery, Frank J. Mazzotti

“…These federally protected species are easily confused with nonnative crocodilians found in south Florida, such as the spectacled caiman and the Nile crocodile. Some key features used to distinguish these animals are the shape of the head, the shape of the snout, and the pattern of nuchal scutes (bony plates in between head and shoulders). …”
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Native and Nonnative Crocodilians of Florida by Michiko A. Squires, Seth C. Farris, Brian M. Jeffery, Frank J. Mazzotti

“…These federally protected species are easily confused with nonnative crocodilians found in south Florida, such as the spectacled caiman and the Nile crocodile. Some key features used to distinguish these animals are the shape of the head, the shape of the snout, and the pattern of nuchal scutes (bony plates in between head and shoulders). …”
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Increased Corneal Toricity after Long-Term Orthokeratology Lens Wear by Zhi Chen, Jiaqi Zhou, Feng Xue, Xingtao Zhou, Xiaomei Qu

“…In the historical control group, there is no significant change in the corneal curvature over two years in children wearing spectacle lenses (both meridians, P>0.05). Change of corneal toricity was more significant in the ortho-k group than in the spectacle control group (P=0.001). …”
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Pluralistic ambiance and urban socialisation by Virginie Milliot

“…We study the spontaneous gatherings prompted day after day by the spectacle of the street, the dynamics of communication and concern stirred up by public life. …”
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Public commemoration in service of nation, state and dynastic identity-building by Marković Anita

“…When considering the socio-political situation at the time of the centenary of the First Serbian Uprising in 1804 in the country, largely metered by the dynastic change of 1903, the organization of the commemoration of this anniversary as an official state ceremony - the highlight of this being the coronation of Petar Karađorđević - necessitated, in the form of an ephemeral spectacle, the symbolic revival, reinterpretation and reconstruction of the past, in order to emphasize the legitimacy of the power of the new ruler and dynasty and to encourage promotion of this in a broad range of media.…”
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Technology and the Cinematographic Writing of Trauma in Kipling’s Motoring Short Stories by Élodie Raimbault

“…Thematically, stylistically and structurally, the association of motoring and the cinematograph led Kipling to combine two technologies that offer a fascinating mobile spectacle. Through this association, he delineates a new sort of spatiality.…”
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La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire by Michela Niccolai

“…Among the adaptations of La Tentation de saint Antoine de Flaubert, the one made by Henri Rivière deserves special attention. « Féerie à grand spectacle en 2 actes et 40 tableaux », La Tentation for the shadow theatre (1887) is a composite show that blended the visual component with the music (original and arranged by Albert Tinchant and Georges Fragerolle) inside a fixed device where the evocative appearance of the paintings carried the viewer into a mystical universe. …”
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Communication and ‘revolt’ by Bert Olivier

“…Kristeva points the way to a creative enlivening of individuals’ lives, as well as of society at large, through her passionate elaboration on the potential for ‘revolution’ in language and communication, and also her development of the notion of ‘revolt’ as a legacy of Western culture – a legacy which is under threat in the present ‘culture of the spectacle’. …”
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Mettre en scène les codes du genre : artifice et théâtralité dans la comédie musicale hollywoodienne classique by Anne Martina

“…Far from smoothing over the disruptions entailed by the genre’s dual mode of representation, the mise en scene and the actors’ performance constantly highlight the tension between integrative and non-integrative elements by overtly theatricalizing spectacle-oriented sequences. Neither demystifying nor remystifying the genre’s illusion-making process, such theatrical games pave the way to a double reading. …”
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Manhatta de Charles Sheeler et Paul Strand : du panorama au kaléidoscope by Antonia RIGAUD

“…This paper explores the ambivalent modernism the film builds upon, and shows how the three screenings direct us to three major thematics in the coming together of the modernist paradigm : spectacle, abstraction and political lyricism. The film invests these thematics and quotes from previous or contemporary visual works, creating a network of visual citations that open a dialogue within these three modernist paradigms. …”
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“Sorry, no landscapes”. La volatilisation du paysage dans les atmosphères de Blow up (1966) de Michelangelo Antonioni by Olivier Gaudin

“…Antonioni pursues a quest that is as expressive as it is subtle, concerning the means of constructing a visual critique, through the medium of cinema, of some of the tensions inherent in the “society of the spectacle” of the 1960s - and which remain in part our own.…”
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Osądy Kiry w mandze „Death Note” a problem kultury okrucieństwa by Jarosław Dobrzycki

“…With Geoffrey Gorer’s notion of ‘the pornography of death,’ Louis-Vincent Thomas’s ‘cannibalism of the eye,’ as well as the issues related to the culture of cruelty as understood by Marek Krajewski, I will examine and prove that the main character’s actions have become a part of the media spectacle of death, and are eventually reduced to mass entertainment. …”
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 ‘Twisting herself into all shapes’: blackface minstrelsy and comic performance in Harriet Wilson’s Our Nig by Elizabeth Boyle

“…Initially utilising the crude humour of minstrelsy, Wilson deliberately capitalised on her readers’ laughter in order to defamiliarise the ‘spectacle’ of blackness in both popular performance culture and indentured servitude. …”
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The Visual Effects of Intraocular Colored Filters by Billy R. Hammond

“…Human ingenuity has addressed such problems using strategies such as spectacle lenses or surgical correction. There are other visual problems, however, that have been present throughout our evolutionary history and are not as easily solved by simply correcting refractive error. …”
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The cathedral of modern civilisation. The Teatro Real of Madrid and the definition of the respectable new elite, 1850-1895 by David San Narciso

“… Opera was a spectacle reserved for the aristocratic elite during the Ancien Régime. …”
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ENTERTAINMENT VIOLENCE IN THE LEISURE OF STUDENT YOUTHS by M. I. Zhabskiy, К. A. Tarasov

“…Accruing some sort of magic under their influence, the spectacle of violence deforms the spectator identity among a certain part of students which is fraught with dysfunctional social consequences. …”
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Le « Héros homicide et nocturne » en pleines « Lumières » : de Cartouche ou les voleurs (1721) aux « Vies privées » (1721-1803) by Anne-Marie Mercier-Faivre

“…The movement, revealed in the plays La Devineresse (1679) by Thomas Corneille and Cartouche et les voleurs (1721) by Legrand, shows a curiosity that goes beyond the spectacle of criminal executions. If Corneille’s play is used by the authorities to attack superstition in the “poisons affair”, the decision to forbid Legrand’s play (presenting the criminal Cartouche in a very attractive light at the moment of his trial) shows that the government is taking note of the new fascination with criminals. …”
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“I am a freak of nature”: Tourette’s and the Grotesque in Jonathan Lethem’s Motherless Brooklyn by Pascale Antolin

“…The novel turns into a freakshow, not in the sense of the sordid spectacle of the past, but as a construction questioning both the social and the literary order. …”
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