A movement in literature has evolved out of the aftermath of 9/11 to confront the spectacle of terrorism perpetuated by the corporate news media and find a way to respond to terrorism in a more ethical manner. In this dissertation, I examine the influence of the media on literary production in the post-9/11 environment and how writers push back against the foreclosure of the media spectacle of terrorism. I examine a particular practice, infotainment, which crosses over from television news into literature that focuses on terrorism, and I lay out the theoretical framework for understanding literary responses to this practice. Since 9/11, the corporate media has been fixated with terrorism, and the vast amount of literature produced since the tragedy that focuses on terrorism demonstrates terrorism?s influence on literary production. I expose a theoretical basis for how literature intervenes in the spectacle of terrorism, offering a challenge to media foreclosure through an ethical engagement. Then, I examine texts in both the American and global contexts to determine how they intervene in the foreclosure and form more ethical responses. Writers like Don DeLillo and Moshin Hamid confront the unified definition of terrorism the corporate media presents by opening the subject to unanswered questions and in-depth examinations from all angles that enable responses rather than close off diverse perspectives. Literary writers strive to respond to the singular nature of each event, while positing an understanding of the plight of victims and perpetrators alike. The texts I examine each engage the foreclosure of the media spectacle of terrorism, creating a critical discourse by opening gaps, imposing ethical hesitation, reinstituting singularity, and responding to terrorism in an ethical manner. Don DeLillo posits an exemplary challenge to writers issued by terrorism in an often quoted line from Mao II: ?What terrorists gain, novelists lose. The degree to which they influence mass consciousness is the extent of our decline as shapers of sensibility and thought.? DeLillo, along with other contemporary writers, takes up this challenge in order to ethically respond to the spectacle of terrorism.

Reproduction de : Thèse de doctorat : Histoire contemporaine : Lyon 2 : 2007. / Titre provenant de l'écran-titre. Bibliogr.

Although experiential prescribing maxims are quoted in some optometric textbooks their content varies significantly and no direct research evidence was available to support their use. Accordingly in chapters 2 and 3, the uses of several potential prescribing rules were investigated in the UK optometric profession. Our results indicated that the subjective refraction result exerted a strong hold on the prescribing outcome with 40-85% of optometrists prescribing the subjective result in a variety of scenarios. The finding that after 40 years qualified, experienced optometrists were three times more likely to suggest a partial prescription was an important discovery that provides significant support for the prescribing rules suggested by various authors. It would also appear from the results of the retrospective evaluation of the 'if it ain't broke, don't fix it' clinical maxim in Chapter 4 that spectacle dissatisfaction rates could be reduced by between 22 to 42% depending on how strictly the maxim is interpreted by the practitioner. Certainly an 'if it ain't broke, don't fix it much' maxim was suggested as being particularly appropriate. Chapter 5 included a reanalysis of previously published data that found no change in falls rate after cataract surgery to investigate any influence of refractive correction change and /or visual acuity change on falls rate. Unfortunately these data were not sufficiently powered to provide significant results. In chapter 6, a spectacle adaptation questionnaire (SAQ) was developed and validated using Rasch analysis. Initial studies found no differences in SAQ with gender or age.

Texte remanié de: Th.--Lettres--Paris 3, 1991. Titre de soutenance : L'aulisme ou le regard paradoxal : l'image de l'Angleterre dans les divertissements littéraires de la cour en France au XVIIe siècle. / Bibliogr. p. 409-433. ndex.

Paris, sous le Second Empire, est capitale du spectacle. Cette vision est à la fois un mythe et l’image d’un lieu réel de relations sociales travaillées par des codes relevant du théâtral. C’est dans ce contexte qu’Edmond et Jules de Goncourt évoluent. Le spectacle et le spectaculaire, qui les fascinent sous toutes leurs formes, sont deux notions qui permettent de rendre compte de leur œuvre et de leur statut d’hommes de lettres. Ces termes témoignent de leurs sources d’inspiration et de leur style, imprégnés du drame et de la peinture, mais aussi de leur posture d’artistes, parmi les écrivains, les artistes, la bohème, le milieu de la presse de leur époque. Dans leurs œuvres, les deux frères s’adonnent à une représentation de leur temps, qui dévoile un jeu du paraître. Leur quête stylistique, qualifiée d’écriture artiste, dans son affranchissement des codes et sa volonté de transgresser les frontières des genres, affirme leur posture d’élection, révélatrice de leurs velléités aristocratiques et de leurs goûts artistiques. Leur position est celle de deux modernes poursuivant la réflexion engagée par Balzac et Baudelaire, mais deux modernes contrariés. Leur œil-artiste, enrichi par les peintres et dramaturges avec qui ils entrent en discussion ou qui leur servent de modèles, opère avec sagacité. Ils offrent une création spectaculaire et spéculaire. Ce miroir tendu à la société, inspiré par les techniques picturales, les genres et registres comme la pantomime, la parodie, la comédie et la satire, renvoie en des vues diffractées l’image de leurs contemporains et celle de leur existence exemplaire, qu’ils mettent en scène artistiquement. / Paris, under the Second Empire, was the world capital of spectacle. This image, as much as it is a myth, also depicts the reality of social relationships that were akin to the rules of drama.This is the milieu Edmond & Jules de Goncourt live in. The spectacle and spectacular of all kinds fascinate them and account for their work, and also their place as writers in society. These two words tell us about their inspiration and style, which are infused by drama and painting, as well as their artistic position among literary sociability, artists, bohemians, and the press of the middle of the nineteenth Century. In their books, the Goncourt brothers give a representation of this time by revealing the codes of make-believe. Their stylistic aspiration, deemed “écriture artiste”, which goes across the rules and borders of literary genres, claims their position of superiority to show their aristocratic aspirations and their artistic tastes. Their position is that of modern men, thinking about modernity as Balzac and Baudelaire did earlier, but in some ways, their position also seems to be an anti-modern one. Their artistic observation, or oeil-artiste, enriched by painters and playwrights, who they converse with or whom they emulate, is shrewd. Their production is both spectacular and specular. This mirror, which they are presenting society with, is inspired by painting techniques, literary genres and tones, like dramatic pantomime, parody, comedy and satire. It shows kaleodoscopic views of their contemporaries and of their own life, scripted and staged like a work of art.

La réflexion de Rousseau concernant le spectacle (théâtral, musical, pictural) s'élabore au cours de nombreux textes théoriques qui interrogent le statut du spectateur et sa relation à ce qui est vu et entendu. Cette relation est source de nombreuses interrogations pour l'écrivain qui réfléchit à ce que l'on pourrait appeler une « économie de la distance », afin d'ajuster au mieux son regard face à l'objet mis en scène et de régler l'émotion induite par le dispositif « spectaculaire ». Cette réflexion sur le spectacle permet également de s'intéresser à la pensée de l'origine chez Rousseau car il semble que ce soit à partir de sa conception de la nature que la notion de spectacle et les émotions qu'elle suscite, s'élaborent. La qualité de l'émotion est particulièrement travaillée par Rousseau qui distingue le spectacle visuel du spectacle auditif. À la fascination de l'image créée par le dispositif théâtral s'oppose le sentiment musical, source d'une communication idéale entre le musicien et l'auditeur, et créateur d'un spectacle mental. L'importance du spectacle musical est telle que l'écriture de Rousseau ne se conçoit pas sans une constante référence à ses caractéristiques, l'écrivain devenant alors un auditeur de musique subjugué par les sentiments qu'il éprouve. Cette réflexion sur les spectacles trouve une chambre d'écho dans les œuvres narratives de Rousseau qui mettent en application les caractéristiques dégagées par la théorie. Influencé par l'esthétique du tableau théâtral telle qu'elle a été conceptualisée par Diderot à propos du drame bourgeois, Rousseau tempère sa suspicion à l'égard de l'image théâtrale, qui trouve, selon lui, sa meilleure voie d'expression dans La Nouvelle Héloïse. Ce roman, de fait, dépasse à certains endroits la linéarité de l'écriture pour proposer des tableaux, transformant ainsi le lecteur en spectateur d'un drame bourgeois, mais pas seulement : en effet, la mise en image de la narration puise également à des sources picturales (avec notamment la réflexion sur les Sujets d'estampes) et offre une réflexion sur le regard que la plupart des personnages prennent en charge. Mais c'est surtout en s'inspirant de ses propres conceptions musicales que Rousseau est conduit à trouver de nouvelles formes d'écriture qui renouvellent la relation au lecteur. Enfin, les œuvres autobiographiques proposent une mise en scène musicale de soi. Le compositeur devient alors un des modèles de l'écrivain parce qu'il donne à lire le « je » comme une partition instrumentale. En même temps, la structure du spectacle visuel est réinterrogée par Rousseau dont l'écriture épouse le modèle musical. C'est en dernier lieu le copiste qui, dans les œuvres autobiographiques, propose un modèle d'écriture, celui de la « chambre obscure » où le spectacle de soi se transforme en signe musical. / Rousseau's reflections on the spectacle (whether theatrical, musical or pictorial) are elaborated through a number of theoretical texts that question the status of the spectator and his relationship with what is seen and heard. This relationship is a source of numerous questions for the writer who reflects on what could be termed an 'economy of distance' , so as to better adjust the way he looks on the object mis en scène and to regulate the emotions provoked by the structure of the spectacle. This approach to the spectacle also allows us to explore Rousseau's approach to origins as it seems that it is from his conception of nature that the notion of the spectacle and the emotions it provokes are developed. Emotional quality is particularly explored by Rousseau who distinguishes the visual spectacle from the auditory one: to the fascination of the image created by the theatrical setting is opposed the musical sentiment, seen both as a source of ideal communication between the musician and the listener, as well as the creator of a mental spectacle. Such is the importance of the musical spectacle that the writing of Rousseau is not conceived without a constant reference to its characteristics. The writer thus becomes a listener of music subjugated by the sentiments he feels. These reflections on spectacles find an echo in the narrative works of Rousseau that apply those characteristics identified by his theory. Influenced by the aesthetics of the theatrical tableau conceptualised by Diderot and reflecting on the bourgeois drama, Rousseau tempers his suspicion concerning different types of theatrical images that according to him find their best expression in the way of looking. The Nouvelle Héloïse goes at times beyond the linearity of writing to propose certain tableaux that borrow from the estampe and the bourgeois drama. The reader is thus transformed into a spectator of a bourgeois drama, but not exclusively so: indeed, the representation in images of the narrative draws equally on pictorial sources (with in particular the considerations on the Sujets d'estampes) and offers a reflection on the looks assumed by the majority of characters. But, above all, it is by seeking inspiration in his own musical concepts that Rousseau is led to finding new forms of writing that renew the relationship to the reader. Indeed, the autobiographical works propose a musical mise en scène of the self. The composer becomes therefore one of the writer's models because he enables the 'I' to be read as a musical partition. At the same time, the structure of the visual spectacle is re-questioned by Rousseau whose writing marries the musical model. In the last instance it is the copyist who, in the autobiographical works, offers a writing model that of the chamber obscure, where the spectacle of the self is transformed into musical signs.

Although experiential prescribing maxims are quoted in some optometric textbooks their content varies significantly and no direct research evidence was available to support their use. Accordingly in chapters 2 and 3, the uses of several potential prescribing rules were investigated in the UK optometric profession. Our results indicated that the subjective refraction result exerted a strong hold on the prescribing outcome with 40-85% of optometrists prescribing the subjective result in a variety of scenarios. The finding that after 40 years qualified, experienced optometrists were three times more likely to suggest a partial prescription was an important discovery that provides significant support for the prescribing rules suggested by various authors. It would also appear from the results of the retrospective evaluation of the ¿if it ain¿t broke, don¿t fix it¿ clinical maxim in Chapter 4 that spectacle dissatisfaction rates could be reduced by between 22 to 42% depending on how strictly the maxim is interpreted by the practitioner. Certainly an ¿if it ain¿t broke, don¿t fix it much¿ maxim was suggested as being particularly appropriate. Chapter 5 included a reanalysis of previously published data that found no change in falls rate after cataract surgery to investigate any influence of refractive correction change and /or visual acuity change on falls rate. Unfortunately these data were not sufficiently powered to provide significant results. In chapter 6, a spectacle adaptation questionnaire (SAQ) was developed and validated using Rasch analysis. Initial studies found no differences in SAQ with gender or age. / College of Optometrists

This thesis aims to analyse the similarities and differences in Guy Debords' and Michel Foucaults' approaches to the relationship of vision and power. Its purpose is to show the power of visual discourse and define whether it is possible for society to resist or escape from this power. The thesis is methodologically based on the distincion of political and philosophical thoughts of both authors: according to Debord, society emerges from the power of the spectacle through the non-capitalist class order of society, alternatively, Foucault sees power relations as a set of practices that permeate the entire society and each one of us. These are practices which we are formed by and which we also form ouselves. Therefore, it is impossible for him to overcome or completely eliminate interconnection of power and vision from society. Based on this distinction, the thesis attempts to verify the assumption that Debord's inspiration by Marxism does not allow him to reflect the relationship of vision and power in its whole range in the context of non-capitalist order. Unlike Foucault's concept of surveillance, Debord's theory of spectacle is utopian.

In this thesis I examine the philosophical views of John Searle, Guy Debord, and Jean Baudrillard. These thinkers have radically different methodologies and theoretical alignments, but they are not entirely dissimilar. John Searle argues that there are two types of facts—those independent of human observation and those whose meaning depends on agreement. Guy Debord posits that modern society has replaced authentic social life with mere representation. The “spectacle” has replaced real interactions with others so that meaning itself is no longer authentic; it is treated as a commodity or currency. Jean Baudrillard argues that society has replaced reality with signs and symbols. Thus, human experience consists only of simulations, not reality itself. Each of these figures maintains that meaning is socially constructed. After examining the key assumptions of their respective theories, I demonstrate that their accounts are compatible and argue that their accounts are most cohesive when considered together.

Throughout 2015, the Islamic State (ISIS) was a major news story for its destruction of Ancient Near Eastern collections and heritage sites, which created a spectacle across media. The focus of ISIS’s infamous video uploaded in February of 2015 was the colossal statue of a Lamassu, which was an ancient Assyrian guard deity. By focusing on the Lamassu, this thesis aims to address the Western concept of a “cradle of civilization” and ISIS’s motivation for destroying the sculpture. I utilize Kwame Appiah’s philosophy of cosmopolitanism in order to flesh out the language in which ISIS is communicating, namely through its destruction. What becomes apparent is a complex relationship with Near Eastern antiquities, which is best understood by analyzing the motivations of local looters. To conclude, I use ISIS’s destruction in order to offer thoughts on the concept of destruction with an aim to open dialogue regarding differing cultural value systems.