To send content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about sending content to .
To send content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about sending to your Kindle.
Note you can select to send to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
“To become a celebrity is to become a brand name,” Philip Roth told Alain Finkielkraut in 1981. “There is Ivory soap, Rice Krispies, and Philip Roth.” This was neither the first nor the last time that Roth would address his public image. In both fiction and nonfiction – from his novels to his memoirs to his “Open Letter to Wikipedia” in 2012, Roth wrote about himself, contending with and processing public representations of “Philip Roth.”
En mars 2020, le premier ministre Legault a fait appel aux influenceur.euses et aux célébrités québécoises dans le cadre de la campagne #Propage l'info, pas le virus afin de sensibiliser les jeunes au respect des consignes sanitaires liées à la COVID-19. Cet article offre un éclairage inédit sur les différentes manières dont ces personnes renommées ont répondu à l'appel ainsi que sur les formes de leurs réponses à l'aide d'une analyse de contenu de leur vidéo partagée sur les réseaux sociaux. Le codage des vidéos s'est fait à partir d'une grille d'analyse qualitative de contenu, inspirée de celle de Fields (1988). Il ressort des analyses que différents moyens ont permis d'accentuer le sentiment de proximité entre la célébrité et son public, dans le but d'augmenter l'adhésion au message. L'utilisation du pronom « On », l'emploi de formules narratives et l'intimité qui se dégage des vidéos informatives vont en ce sens.
Angelina Jolie's high-profile visit to NATO in 2018 signals a move to brand the alliance's strategic narrative within the language of celebrity through engagement with popular culture. The partnership represents a significant change in the alliance's approach to global security. It also builds on a shift in NATO's self-narrative through the advocacy of gender justice related to the Women, Peace and Security (WPS) agenda. Rather than fading into the background, NATO appears to be pursuing the limelight for the purpose of ‘awareness raising’ as a tool to implement the WPS agenda. Drawing upon feminist scholarship on the WPS agenda, NATO, and research on celebrity humanitarianism and politics, we provide a critical study of this change in NATO's strategic narrative, through the analysis of visual and textual material related to Jolie's visit to NATO. Our focus is on the significance of this partnership and its contribution to legitimising the alliance's self-defined ‘military leadership’ in the area of conflict-related sexual violence. While Jolie's visit to NATO opened the alliance to public scrutiny it also symbolised a form of militarism, surrounded by orchestrated visual representations. As such, it only marginally disrupted the militarist logic present in NATO's wider WPS engagement.
This chapter, the first of three case studies, illustrates how marketised global justice operates in the non-governmental organisation (NGO) sector. The viral video campaign Kony 2012 by the NGO Invisible Children is analysed. The extensive reliance on marketing – making Joseph Kony *famous* – is shown to distribute attention and capital to a narrow set of issues while simultaneously impoverishing the meaning of global justice. Specifically, the chapter highlights three features of marketised global justice: the close alliance between the anti-impunity movement and military intervention; the global justice sector’s alliance with racial capitalism; and the more general de-politicisation of global justice that is linked to viewing donors as consumers. The backlash against Kony 2012 is also studied. It is revealed that the backlash was lodged in marketing terms. This is contrasted with resistance – as a response that is conscious of histories of exploitation.
From the late 1870s Ibsen’s international fame started growing. His plays triggered debates and controversies, and the press followed him closely. His work generated immense public interest, as did his person and personal life, and by 1890 he was firmly established as a European literary celebrity. Nineteenth-century celebrities were – like modern celebrities – first and foremost media personalities. Their fame was promoted and maintained by newspapers, periodicals and magazines and, importantly, by new visual techniques like lithography and photography. This chapter describes how an iconic Ibsen was constructed in cartes de visite and cabinet cards produced in European photo studios during the latter part of the nineteenth century. As Ibsen’s fame grew, his portrait photos, originally meant for promotional use, entered the public sphere and began a life of their own. Eventually, they became collectors’ items to be kept in elaborate albums. After sketching the construction of the icon, the chapter traces its circulation in popular visual culture around 1900. Within the emerging consumer culture, portraits of Ibsen – like those of other celebrities – were printed on postcards and trade cards and used to promote a range of luxury commodities.
Presents Margaret Atwood as a Canadian and international literary superstar, introducing students and general readers to the many different and evolving facets of Atwood’s work across all genres, up to and including The Testaments. This revised edition is both a revisiting of Atwood’s earlier work and a charting of new directions since 2000, with emphasis on her increasing engagement with popular genres, especially dystopias and graphic novels, and her influential online presence. The focus is on Atwood’s topicality, with The Handmaid’s Tale and its recent television adaptations now center stage. Atwood engages with a new generation in response to profound changes in reading practices and changing conditions in publishing and marketing. Atwood’s often controversial feminism and her urgent environmental concerns with survival are treated in the brief overview of her work and Atwoodian criticism since 2000, including discussion of the Atwood archives at the University of Toronto.
We remember Ira Aldridge today as the first black Shakespearean to achieve international professional renown. Indeed, he’s the first American actor to do so. Throughout his life Aldridge was lauded with awards. Born to free blacks in New York at the turn of the nineteenth century, naturalized as a British citizen in 1863, and buried in Łódź, Poland in 1867, Aldridge’s cosmopolitan life was marked by triumphs as well as persistent racist responses to his performances. His cosmopolitan career spanned three continents and countless theatres. This essay surveys seven of Ira Aldridge’s strategies for succeeding on the nineteenth-century stage: educate; emulate; circulate; nominate; innovate; disseminate; elaborate. Such strategies can still inspire us, students, performers, scholars, artists, teachers, and innovators alike.
The current climate is frequently characterised as marked by residual postfeminist formations and proliferating new feminisms. The latter are frequently associated with celebrity exemplification and embodiment: think for instance of the socially magnanimous commodity feminism typified by figures such as Emma Watson. Complicating the picture further, we argue, is the emergence of a high-profile plutocratic feminism associated with figures ranging from Sheryl Sandberg to Beyonc to Ivanka Trump. The new (faux) feminisms of privilege disassociate themselves from notions of social justice except in the most cursory and rhetorical fashion, cleaving to neoliberal individualism and global capitalism. This intensely market-based form of feminism joins together female affective composure as a hallmark with safe performances of empowerment and displays of family capital; in so doing it works to soothe cultural tensions in regards to race, class, technology, and social power. In this chapter we offer an investigation of the nature and functions of this new style of feminism and assess its value to current hegemonies of class and capital.
The fifth chapter examines how Ireland’s status as the bridgehead between Georgian Britain and Mughal India is also reflected in London performance venues dominated by women. I frame this transnational connection from the jaded viewpoint of Bengal ex-captain Thomas Williamson, who lambasts Abu Taleb Khan as an effeminate poser for bragging about his romantic intimacy with English noblewomen. Indeed, the Indo-Persian’s travelogue, Persian poems on London, the Diwan-i-Talib, and his essay “Vindication of the Liberties of the Asiatic Women” (printed in 1801 in European periodicals) was forged in two overlapping spaces of female sociability: the salon of the Duchess of Devonshire Georgiana Spencer, a politically outspoken socialite, and the London playhouses where star actresses ravished the Indian spectator with their professional artistry. Both spaces recall the skilled courtesans he would have known in Lucknow, mainly their perceived ability to debauch men. His subtle critique of elite British theatergoers who indulge in such impropriety aligns the feminized imperial capital with Persianate court rituals, panicking racist chauvinists like Williamson.
The epilogue ponders how the media reorientations that vexed Central and South Asian travelers to pre-1857 Britain sedimented over time, exposing an impotency latent in the discursive power formation now known as orientalism. The classic case study is James Morier’s Hajji Baba novels, which I interpret as satires against the English dandies and damsels who adopted Persian dress and demeanor to display social exclusivity rather than against Iranians like Abul Hassan Khan: the Persian ambassador whom Morier hosted in England in 1809–1810 and 1819. The ambassador’s queering in the English news circuit prompted Morier, a social climber anxious to claim masculine gentility, to project Londoners’ transculturation in Qajar fashions onto an Iran wallowing in Regency effeminacy – the Anglo-Persian dandy whose uncertain sexual orientation recoils on the British empire’s homosocial gentlemen.
Responding to issues raised by other essays in the collection, the Afterword considers Jonson’s place on the contemporary global stage and imagines him working in the world of social media. Speculating about how he might have conducted himself on Facebook and Twitter, Sanders suggests that Jonson the self-publicist would have seized on these modes of modern celebrity with creative relish. The Afterword goes on to consider Jonson in the modern theatre and questions of canon. Finally, it addresses some of the challenges and opportunities for Jonson's future afterlives.
Jonson, as critics have long emphasised, frequently expressed disdain for popular taste and popular audiences. Yet he also chose to make a spectacle of himself before large crowds, most notably on his 1618 walk to Edinburgh. This essay explores Jonson’s conscious management of his reputation, even in its apparently negative aspects, during this unusual journey and through various publications from the Epigrams to the prologues, epilogues, inductions, choruses, and commentaries of the plays. Drawing on the conceptual framework of celebrity theory, it challenges traditional considerations of and assumptions about Jonson’s unpopularity. The essay argues that his displays of irascibility should be taken not at face value but as a conscious strategy through which he curated his image. Pursuing fame, but aware of the peril of being famous for the wrong reasons, Jonson creates the idea of the bad reader or spectator in order to manage his celebrity and forestall becoming a mere public commodity. His seeming hostility towards his audiences was not a self-cancelling rejection of them but, paradoxically, a way of managing and extending his celebrity.
In “Still Famous after All These Years: Ernest Hemingway in the Twenty-First Century,” Loren Glass offers a humorous overview of the way that Hemingway’s name has been franchised and flogged over the past two decades to sell an innumerable amount of products. He notes lawsuits that caused restaurants to change their name from Hemingway’s to Hemmingway’s to capitalize upon the writer’s appeal and catalogues the various tourist stops, from Ketchum Idaho to Key West Florida and Havana Cuba, that cash in on Hemingway’s fame. For Glass, commercial exploitation is no different than the scholarly commodification of the writer that has accelerated with the opening of various archives and museums over the past twenty years, as well as the Hemingway Letters Project, which ensures his pluripresence in American popular culture. Glass also notes how suicide and the struggles of fame have become a consistent narrative, leading to celebrity becoming a metatextual phenomenon in which people become famous for dramatizing their struggles with fame.
The subject of endless biographies, fictional depictions, and critical debate, Ernest Hemingway continues to command attention in popular culture and in literary studies. He remains both a definitive stylist of twentieth-century literature and a case study in what happens to an artist consumed by the spectacle of celebrity. The New Hemingway Studies examines how two decades of new-millennium scholarship confirm his continued relevance to an era that, on the surface, appears so distinct from his—one defined by digital realms, ecological anxiety, and globalization. It explores the various sources (print, archival, digital, and other) through which critics access Hemingway. Highlighting the latest critical trends, the contributors to this volume demonstrate how Hemingway's remarkably durable stories, novels, and essays have served as a lens for understanding preeminent concerns in our own time, including paranoia, trauma, iconicity, and racial, sexual, and national identities.
The introduction considers Duras as an important literary persona in a critical period where rapidly changing media helped to enhance and alter the already elevated status of the French public intellectual. I argue that despite the apparent rise in media attention accorded the author after the publication of The Lover in 1984, Duras had in fact been extremely attentive to the media throughout her career. I outline how her oeuvre can be characterized as a porous interface between literature and mass media, reflecting the changing media landscape in the twentieth century. After an overview of the distinguishing characteristics and the cultural significance of the fait divers, I trace the rubric’s critical role as an inspiration in ninteenth- and twentieth-century French fiction. My interdisciplinary methodology allows us to see the compatibility between high literature and mass media and to imagine the future of serious thought in the public sphere.
As the twentieth century came to a close, America exhibited an insatiable appetite for all things Irish. Thomas Cahill’s How the Irish Saved Civilization (1994) and Frank McCourt’s Angela’s Ashes (1996) ascended the New York Times’ bestseller list. On Broadway, the decade of the 1990s was initiated by two extraordinary Irish plays: Brian Friel’s Dancing at Lughnasa, which moved to New York in 1991 and won a Tony for Best Play, and Frank McGuinness’s Someone Who’ll Watch Over Me (1992). In film, Neil Jordan’s The Crying Game (1992) and Jim Sheridan’s In the Name of the Father (1993) garnered distinguished nominations and awards. But, arguably, the biggest blockbuster of the decade was Riverdance and, along with one of its lead dancers Michael Flatley, the brightest star of the decade was Seamus Heaney, particularly after the October 1995 announcement of his receipt of the Nobel Prize. This essay explores connotations of the terms ‘blockbuster’ and ‘star’ in this context, while also probing the relationships between them and the fans who create them.
The preface uses contemporary cartoons to introduce the four principal characteristics of the Beatles and their relationship to 1960s Britain, which is explored in the book. It argues that the Beatles should be understood as iconic, divisive, atypical and prefigurative. The band’s iconic status rested on more than their popularity, talent, wealth and fame. It existed because they functioned as ready-made symbols of modernity and controversy. The divisive effect of the Beatles is illustrated by opposition to their threat towards established institutions and identities. The Beatles’ atypicality, signified by their distinctive appearance, later identified them as elitist and eccentric. Once viewed as Everymen, they were associated with some of the most marginal and least popular elements of late sixties society. The prefigurative nature of the Beatles is demonstrated by the familiarity to us of the events depicted in the cartoons and the unfamiliarity of their underlying assumptions about class, gender, ethnicity and popular culture. Much of what seemed absurd to the cartoonists seems unexceptionable now. To understand the Beatles in their time, we need to examine why they often seemed so funny peculiar in 1960s Britain. To understand their legacy, we should consider why we struggle to laugh at these cartoons today.
This chapter explores the media image of the royal family and the monarchy’s crises of legitimacy by focusing on the Shah’s third wife, Queen Farah Pahlavi, who played out many of the internal contradictions embodied by the modern woman of the Pahlavi state’s modernized patriarchy. Her public representations, both in the national and foreign media, crafted her image as a mediator between traditionalism and modernity, Iranianess and globalization. Different sets of representations presented Farah Pahlavi as a young capable woman who managed both family and public voluntary obligations, while personifying a modern "middle-class" Iranian woman and mother, alongside her promotion as an international celebrity. Appraising the propagation of the former Iranian queen, the Shah and the royal Pahlavi family by crosschecking both the local and international press, sheds additional light on the fading image of the Iranian monarchy, and on the complex nature of cultural contact and exchange between Iran and the West.