Crowds - Softcover

Softcover

ISBN 10: 0804754802 ISBN 13: 9780804754804

Verlag: Stanford University Press, 2006

Inhaltsangabe

Crowds explores the key role assumed by human multitudes in modern life by means of a graphically innovative, multi-author volume in which essays, word histories, and personal testimonies are woven together into a multiperspectival and multilayered group portrait. The portrait in question includes analyses of market crowds, crowds in modern art and literature, modern assemblies as compared to their premodern and ancient counterparts, modern sports crowds, human multitudes and mass media such as photography and cinema, crowds as political actors, and the emergence of crowd-centered discourses in social sciences such as psychology, anthropology, and sociology. Contributors include Stefan Jonsson, Allen Guttmann, Susanna Elm, John Plotz, Christine Poggi, William Egginton, Haun Saussy, Joan Ramon Resina, and Charles Tilly, with testimonies by authors such as Greil Marcus, Richard Rorty, Michel Serres, Alain Schnapp, Michael Hardt, T. J. Clark, and Susan Buck-Morss. The book represents the main output of one of the Stanford Humanities Lab's prototype "Big Humanities" projects and is supported by an extensive website (http://crowds.stanford.edu) which includes virtual galleries, video capture of the November 2005 Crowds seminar, and a database of early social science readings on modern crowds.

Über diesen Titel

Über die Autorinnen und Autoren

Jeffrey T. Schnapp is Director of the Stanford Humanities Laboratory. He is the author, most recently, of Building Fascism, Communism, Democracy: Gaetano Ciocca—Builder, Inventor, Farmer, Writer, Engineer (Stanford University Press, 2003). Matthew Tiews is the Associate Director of the Stanford Humanities Center.

Jeffrey T. Schnapp is Director of the Stanford Humanities Laboratory. He is the author, most recently, of Building Fascism, Communism, Democracy: Gaetano Ciocca—Builder, Inventor, Farmer, Writer, Engineer (Stanford University Press, 2003). Matthew Tiews is the Associate Director of the Stanford Humanities Center.

Von der hinteren Coverseite

Crowds explores the key role assumed by human multitudes in modern life by means of a graphically innovative, multi-author volume in which essays, word histories, and personal testimonies are woven together into a multiperspectival and multilayered group portrait. The portrait in question includes analyses of market crowds, crowds in modern art and literature, modern assemblies as compared to their premodern and ancient counterparts, modern sports crowds, human multitudes and mass media such as photography and cinema, crowds as political actors, and the emergence of crowd-centered discourses in social sciences such as psychology, anthropology, and sociology. Contributors include Stefan Jonsson, Allen Guttmann, Susanna Elm, John Plotz, Christine Poggi, William Egginton, Haun Saussy, Joan Ramon Resina, and Charles Tilly, with testimonies by authors such as Greil Marcus, Richard Rorty, Michel Serres, Alain Schnapp, Michael Hardt, T. J. Clark, and Susan Buck-Morss. The book represents the main output of one of the Stanford Humanities Lab’s prototype “Big Humanities” projects and is supported by an extensive website (http://crowds.stanford.edu) which includes virtual galleries, video capture of the November 2005 Crowds seminar, and a database of early social science readings on modern crowds.

Aus dem Klappentext

Crowds explores the key role assumed by human multitudes in modern life by means of a graphically innovative, multi-author volume in which essays, word histories, and personal testimonies are woven together into a multiperspectival and multilayered group portrait. The portrait in question includes analyses of market crowds, crowds in modern art and literature, modern assemblies as compared to their premodern and ancient counterparts, modern sports crowds, human multitudes and mass media such as photography and cinema, crowds as political actors, and the emergence of crowd-centered discourses in social sciences such as psychology, anthropology, and sociology. Contributors include Stefan Jonsson, Allen Guttmann, Susanna Elm, John Plotz, Christine Poggi, William Egginton, Haun Saussy, Joan Ramon Resina, and Charles Tilly, with testimonies by authors such as Greil Marcus, Richard Rorty, Michel Serres, Alain Schnapp, Michael Hardt, T. J. Clark, and Susan Buck-Morss. The book represents the main output of one of the Stanford Humanities Lab s prototype Big Humanities projects and is supported by an extensive website (http://crowds.stanford.edu) which includes virtual galleries, video capture of the November 2005 Crowds seminar, and a database of early social science readings on modern crowds.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

Crowds

By Jeffrey T. Schnapp, Matthew Tiews

Stanford University Press

Copyright © 2006 Board of Trustees of the Leland Stanford Junior University
All rights reserved.

ISBN: 978-0-8047-5480-4

Contents

Introduction: A Book of Crowds Jeffrey T. Schnapp and Matthew Tiews.......
ix
Abstracts..................................................................
xvii
1 Mob Porn Jeffrey T. Schnapp.............................................
1
2 The Invention of the Masses: The Crowd in French Culture from the 
Revolution to the Commune Stefan Jonsson..................................
47
3 Crowd Politics: The Myth of the 'Populus Romanus' Joy Connolly..........
77
4 Intimacy and Anonymity, or How the Audience Became a Crowd William 
Egginton...................................................................
97
5 Sports Crowds Allen Guttmann............................................
111
6 Captive Crowds: Pilgrims and Martyrs Susanna Elm........................
133
7 Movies and Masses Anton Kaes............................................
149
8 Mass, Pack, and Mob: Art in the Age of the Crowd Christine Poggi........
159
9 The Return of the Blob, or How Sociology Decided to Stop Worrying and 
Love the Crowd John Plotz.................................................
203
10 From Crowd Psychology to Racial Hygiene: The Medicalization of Reaction 
and the New Spain Joan Ramon Resina.......................................
225
11 Crowds, Number, and Mass in China Haun Saussy..........................
249
12 Market Crowds Urs Stäheli..............................................
271
13 WUNC Charles Tilly.....................................................
289
14 Far Above the Madding Crowd: The Spatial Rhetoric of Mass 
Representation Andrew V. Uroskie..........................................
307
15 Far from the Crowd: Individuation, Solitude, and 'Society' in the 
Western Imagination Jobst Welge...........................................
335
16 Agoraphobia: An Alphabet Jessica Burstein..............................
359
Afterword N. Katherine Hayles.............................................
377
Notes......................................................................
379
Index......................................................................
427

CHAPTER 1

Mob Porn

Jeffrey T. Schnapp

The sea has a voice, which is very changeableand almost always audible. It is a voicewhich sounds like a thousand voices, andmuch has been attributed to it: patience,pain, and anger. But what is most impressiveabout it is its persistence. The sea neversleeps; by day and by night it makes itselfheard, throughout the years and decadesand centuries. In its impetus and its rage itbrings to mind the one entity which sharesthese attributes in the same degree: that is,the crowd.

—ELIAS CANETTI, Crowds and Power (1981)

THE Rivista Illustrata del Popolo d'Italia was the lavish mass distribution monthlyto which readers of Italian fascism's official daily could turn for photographs andarticles on current events much like Americans could turn to Life magazine, Russiansto Ogonek, and the Chinese to China Reconstructs. Starting in the mid-1920s,the Rivista underwent a graphic makeover; among the changes introduced was theinclusion of large-format foldouts—panoramic photographs, typically two to sixtimes wider than the standard page size. Foldouts were not uncommon in periodmagazines and, as with 1960s foldouts of Playboy bunnies, they were understoodas graphic highlights detachable for purposes of display in the home or workplace.What first drew my attention to the Rivista's foldouts, however, was the object ofdesire draped across the picture plane: teeming, seemingly infinite multitudes rallyingaround a visible or invisible leader, tightly packed into architectural settingsrepresentative of the great historical cities of the Italian peninsula. The politicalrally as source of vicarious photo- or pornographic thrill: such was the graphicprinciple that would inform the next fifteen years of the Rivista Illustrata's practice—years during which wave upon wave of innovative artists and graphic designerslaid out its pages, among them Bruno Munari, Mario Sironi, Fortunato Depero,Giò Ponti, and Xanti Schawinsky. The graphic environment shifted with eachsuccessive wave, but not the foldouts. Mass rally after mass rally unfolded in everynumber, right up to the collapse of the fascist regime.

The obvious explanation for this persistence was the foldout's propaganda value.The Rivista was more than an Italian Life magazine. It was a semiofficial partyorgan, a material conduit between the legions of citizens wedged into squaresand Italian public opinion, whose aim was to promote the image of fascist Italyas a perpetually mobilized modern nation under the ruleof a perpetually mobile modern leader. Yet the notion ofpropaganda raises more questions than it answers ("propaganda"being the label assigned to forms of mass persuasionto which one is averse). It tells one next to nothing aboutthe nature of the images placed in circulation or about thecontours of the sociopolitical imaginary that they hoped totap into and shape. Nor does it address the larger questionof where and how photographic panoramas of the massesfit into the broader stream of crowd images that arises inEuropean culture in the wake of the American and Frenchrevolutions, a topic first broached by interwar culture criticssuch as Siegfried Kracauer and Walter Benjamin, andby postwar art historians such as Wolfgang Kemp, but stillacutely in need of the sort of in-depth analysis provided bythe present volume and by its companion exhibition andcatalog, Revolutionary Tides. Last but not least, the invocationof a propagandistic function doesn't help one to understandhow and why panoramic representations of politicalmultitudes became intertwined with experimentaltypography and the art of photomontage and, with slightalthough significant variations, circulated not only in interwarItaly, Germany, the United States, Brazil, Mexico, andthe Soviet Union, but also in the postwar period from theChinese Cultural Revolution to the protest movements ofthe 1960s through the 1990s.

So the topic of this essay (as well as of RevolutionaryTides) is that literal specter of the Enlightenment known asthe revolutionary crowd, hovering between reason and hallucination,between the emancipatory dreams of 1789 andthe terror of 1792. It addresses the question of how revolutionarycrowds were translated into graphic elements in amedia landscape transformed by the spread of inexpensiveindustrial photolithography, the electronic transmission ofphotographic images to press agencies, the rise of live mediasuch as radio, and the emergence of visual-verbal hybridssuch as photojournalism and newsreels. The processof translation is not reducible to a single story line. Viewedfrom the standpoint of artistic technique, it is the tale of anevolving repertory of...

Details zur Ausgabe

• Verlag: Stanford University Press
• Erscheinungsdatum: 2006
• Sprache: Englisch
• ISBN 10: 0804754802
• ISBN 13: 9780804754804
• Einband: Taschenbuch
• Auflage: 1
• Anzahl der Seiten: 464
• Herausgeber: Schnapp Jeffrey T., Tiews Matthew
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: Nicht verfügbar