The Spectator

In 1998 the European Union (EU) launched a Common European Security and Defence Policy (CSDP). Since then, the CSDP has been the focus of a growing body of political and scholarly evaluations. While most commentators have acknowledged shortfalls in European military capabilities, many remain cautiously optimistic about the CSDP’s future. This article uses economic alliance theory to explain why EU member states have failed, so far, to create a potent common defence policy and to evaluate the policy’s future prospects. It demonstrates, through theoretical, case study-based and statistical analysis, that CSDP is more prone to collective action problems than relevant institutional alternatives, and concludes that the best option for Europeans is to refocus attention fully on cooperation within a NATO framework.
Keywords: CSDP, Economic Alliance Theory, NATO, collective action problems, burdensharing, crisis management

Au cinéma, quand celui qui est filmé dirige son regard au-delà du cadre visible par le spectateur, il implique la présence de quelque chose qui pourrait lui être accessible. En revanche, lorsqu'il regarde l'objectif de la caméra, il envoie son regard autre part, hors du monde où il se trouve. Le regard-caméra, comme un regard lancé hors de l'écran, transforme les impressions de distances entre le spectateur et les images. Cet article se propose de mesurer différents effets du regard-caméra sur le spectateur : le regard qui lui rappelle sa place face à l'écran, celui qui au contraire l'invite dans l'histoire, ou encore le regard qui se sait aveugle, celui qui dit l'impossibilité d'une rencontre.

ABSTRACT Narendra Modi’s spectacular victory over Congress in the 2014 Indian general elections was made possible by many factors. However, the main and overarching cause of Modi’s victory was the process which, starting in 2009 with the backing of the Indian corporate sector, built up the image of Modi as a kind of fearless and unblemished hero who, having raised his home state, Gujarat, to an extraordinary level of economic development, was now in a position to replicate the same feat at the all-India level. ‘Modi’s legend’ first conquered the middle class’ imagination and, then, was spread among the masses and, transversally, among first-time voters by that same middle class, with the help of RSS volunteers. Thus, a juggernaut was created and deployed with devastating effects, not only against Congress but, as shown by the cases of Uttar Pradesh and Bihar, against some of India’s strongest regional parties.

That Addison and Steele’s “Spectator” was the most important literary model for “Il Caffè” (1764-1766) is a well-known fact. Recent studies have analysed the sophisticated pedagogic strategy adopted by the English journal, which catered for the tastes of a rising middle class. Some of these patterns were taken over by the “Il Caffè” group, who tried to adapt them to an Italian public still dominated by traditional values and alien to views of the common good based on the spread of knowledge. Verri’s journal was thus instrumental in accelerating a process of integration of Italian culture into Europe which could be considered an accomplished fact by 1770, after the international success of Dei delitti e delle pene and of “Il Caffè”. The choice of models is reflected in linguistic usage and in the literary forms adopted for the expression of new ideas. The examples examined here show the compelling force of this strategy of attack against well defined targets such as pedantry and prejudice.

The forms taken by the war in Chechnya are, due to their political implications, cause for deep-seated concern that extends well beyond the limited geographic area1 of the small Caucasian republic. The actions perpetrated by Chechen guerrillas between May and ...

English title: Good day, my reader! Among narrators, letter writers, printers and other contributors in early Swedish weekly press 1730–1773.
Abstract: The thesis deals with the early press of 'moral weeklies' in Sweden during the period 1730 to 1773, focussing on media technological conditions and the uses of the epistolary form. This genre, which initially followed the pattern of the English Spectator, emerged in the 1730s with nine journals produced in Stockholm. These were the first periodicals in Sweden that aimed to entertain as well as instruct. The study begins with the aim of finding explanations for their sudden emergence, by looking into the cultural and technological conditions of the period; such as printing, distribution, censorship practices, and potential audiences (chapters 3–6). The fall of autocracy and the rise of an early parlamentarianism provided the background. Stockholm attracted printers and book dealers, and a new generation of literati made careers in the state administration. Among these were several of the journals’ editors, as well as potential readers. In the next part (chapters 7–8), the extensive and varied use of the epistolary form in these weeklies is analysed, as serving different purposes. A closer examination and interpretation is made of the epistolary material in Sedolärande Mercurius [Didactic Mercury](1730-1731), edited by Carl and Edvard Carlsson, and Then Swänska Argus [The Swedish Argus] (1732-1734), edited by Olof Dalin. In Sedolärande Mercurius a number of letters explore the theme of problems with foreign trade; and in Then Swänska Argus satires in epistolary form paint a picture of ideas from abroad posing a threat to social life, and especially to married life.
The last part (chapters 9–10) follows these trends further in time, by looking into the uses of the epistolary form in a couple of journals in the latter half of the 18th century: Bref Om Blandade Ämnen [Letters about a variety of subjects] (1754), edited by Carl Christoffer Gjörwell; and Brefwäxling [Letter Exchange] (1772–1773) by Catharina Ahlgren. Brefwäxling in particular differs substantially from the journals in the 1730s, a fact that is discussed in terms of a transition from oral culture to a more literary one, new trends in epistolary rhetoric, and the gender of the narrator. The methods used in the study are archival research and textual analysis.
Keywords: Sedolärande Mercurius, Then Swänska Argus, Bref Om Blandade Ämnen, Brefwäxling, early periodicals, Spectator-genre, moral weeklies, epistolary form, letters to the editor, letter writing practices, eighteenth century literature, Carl Carlsson [Carleson], Edvard Carlsson [Carleson], Olof Dalin [von Dalin], Carl Christoffer Gjörwell, Catharina Ahlgren, coffee houses in Stockholm, handwritten newspapers, Eva Insenstierna

This essay proceeds from the suggestion that Joseph Addison alludes to Michel de Montaigne's "Des Cannibales" in Spectator 50, when Mr. Spectator relates the visit to London of "four Indian kings." Addison adapts Montaigne's playful allegory of barbarism and civilization in service of his own project of constructing a discursive model of civic society, ultimately consigning Montaigne himself to the category of the barbaric in order to re-establish the distinction, which the "lively old Gascon" has mischievously undermined with the jest about breeches that concludes his essay. Montaigne implies that if civilization is reducible to its signs, then the civilized, decorous body that breeches signify is civilized precisely because the breeches displace— replace as well as conceal—it, and what breeches conceal may equally be the body of a barbarian. Indeed, the naked body must, according to the categorical limits established here, be barbaric. Breeches therefore are not just the sign of civilized decorum, they are its very substance. Addison's solution is to restabilize, by rhetorical means, the constitutive oppositions that Montaigne's breeches jest undoes. The figural logic that underpins the clothing tropes is metonymic in the first instance; breeches are associated with civilization and with masculinity. In Lockean linguistics the relationship between words and ideas/things is always metonymic contiguity. The relation between civilized man and barbarian, on the other hand, is comparative and hence metaphoric. In spite of his strenuously avowed mistrust of language that takes on the autonomous qualities of ideas or things, Addison is willing to locate what Locke calls "natural correspondence and connection" in relationships that are primarily and essentially metaphoric; constitutive oppositions that establish necessary difference rather than resemblance, but are nonetheless metaphoric in the first instance.

Focusing on Addison and Steele’s Spectator papers, this essay studies the nature and significance of aesthetic experience outside the world of art.  It proposes that the quintessentially modern aesthetic perspective—detached, disinterested, non-purposive—finds its fullest early expression not in any treatise on art but in the everyday habits and inclinations of “Mr. Spectator,” the famous eidolon of Addison and Steele’s periodical.  It demonstrates that in its earliest phases, aesthetics did not designate a realm separate (or “autonomous”) from ordinary experience so much as a mode of perception capable of enriching and enhancing that experience.  Finally, this essay considers the ways in which Addison and Steele’s aesthetic model was at odds with their own enhancive aims: that is, even as aesthetic attention intensified ordinary experience, the logic of spectatorship also seemed to push the world away, making one a spectator rather than a participant in life.

Once a region that rarely featured in debates about global security, the Sahel has become increasingly topical as it confronts the international community with intertwined challenges related to climate variability, poverty, food insecurity, population displacement, transnational crime, contested statehood and jihadist insurgencies. This Special Issue discerns the contours of political orders in the making. After situating the Sahel region in time and space, we focus on the trajectory of regional security dynamics over the past decade, which are marked by two military coups in Mali (2012 and 2020). In addressing state fragility and societal resilience in the context of increasing external intervention and growing international rivalry, we seek to consider broader and deeper transformations that can be neither ignored nor patched up through the framework of the ‘war on terror’ projected onto ‘ungoverned spaces’. Focusing especially on the mobilisation of material and immaterial resour...

In July 2015, after intense negotiations with its creditors, Greece received a bailout in exchange for fiscal restraint. The coalition government at that time, led by the left-wing SYRIZA party, elected on the basis of an anti-austerity platform, eventually accepted the prevalent austerity frames of the creditors. Through the aid of Q-method, an analysis of Greek opinion leaders’ views of the negotiation highlights that this outcome can be explained in two different ways. The first posits that the ideological overtones that ruling SYRIZA injected in its negotiation strategy exhibited a lack of socialisation and undermined Greece’s already weak bargaining position. The second focuses on the institutional status quo bias in the Eurogroup in Germany’s favour, which discourages any change in the Eurozone. These two views may have partly been influenced by questions of political accountability.

Resumen: el presente estudio muestra cómo ciertas características de los denominados espectadores-pensadores, el gran modelo periodístico de la ilustración, han perdurado e influido en las publicaciones misceláneas de finales del siglo XViii, así como en diversos papeles públicos de la Guerra de la independencia. en esta última etapa al amparo de la libertad de imprenta el género conoce su segunda edad
de oro y se convierte en un cuarto poder de notoria influencia en la vida política, y se pasa de la crítica de las costumbres con afán regeneracionista a la puesta en marcha de un verdadero proyecto de transformación social.

Abstract: This paper shows the influence of certain characteristics of
the spectators, the most important journalistic format of enlightenment, in the miscellaneous publications appearing at the end of the eighteenth-century, and also in the various public papers of the Spanish War of independence. in this last period, thanks to freedom of the press, journalism experiences a second golden age and becomes a sort of fourth power with influence over political life; it is at this time that criticism of customs evolves to a real project of social transformation.

The article presents an artwork of Slovenian author and director of interdisciplinary performance, Janez Janša (previously known as Emil Hrvatin). The Wailing Wall(2011) is a performative installation consisting of three cabinets: Cabinets of Memory (Physical, Individual and Collective), and a wall built of huge ice bricks. A visitor enters either of the cabinets to recall her memory of something that brought her to tears. After receiving a gold, silver, or bronze certificate, the visitor walks to the ice wall where she can place a personal notice into a rift in the wall. The performative installation The Wailing Wall is an example of identical/auto-sensual performing bodily relations, where a spectator becomes one with a performer, i.e., a spectActor.

Between March and April 2006, al-Qaida spoke up a number of times, with audio-visual announcements from its leaders (Bin Laden, Zarqawi and Zawahiri) and, probably, with the bomb attacks in the Sinai. 1 This profusion of messages, explicit and close together in time ...

Με κύριο θεωρητικό εργαλείο την έννοια της θεατρικότητας, διερευνώνται οι τρόποι με τους οποίους η μνήμη διαμορφώνει ταυτότητες ανθρώπων και χώρων. Με τη συγκρότηση και εφαρμογή ενός θεατρικού μοντέλου ανάλυσης και ερμηνείας των χωρικών μνημονικών πρακτικών που εκτυλίσσονται στους ανδριάντες των Μ. Αλεξάνδρου, Φιλίππου Β' και Αριστοτέλη στη Θεσσαλονίκη, διαπιστώνεται ότι τα μνημεία δεν αποτελούν απλώς σκηνές όπου μπροστά τους εκτυλίσσεται η ανθρώπινη δράση, αλλά μετέχουν στην επιτέλεση της συλλογικής μνήμης ως δρώντα υποκείμενα, αποκαλύπτοντας τον εύπλαστο χαρακτήρα της μνήμης, αλλά και τη δυναμική του δημόσιου χώρου. Ο δημόσιος χώρος μετέχει στο κοινωνικό δράμα ως ηθοποιός ή θεατής, ένας κοινωνικός συμπαίκτης που πάσχει και συμπάσχει. /Using the concept of theatricality as the main theoretical tool, the ways in which memory creates identities of people and space are explored. A theatrical model is established and implemented to analyze and interpret the spatial mnemonic practices unfolded at the statues of Alexander the Great, Philip II and Aristotle in Thessaloniki. The conclusion is that public monuments are not just stages where human action takes place, but they participate in the performance of the collective memory as active agents, revealing the malleable nature of memory and the dynamics of public space. Public space participates in the social drama as an actor or a spectator, a social partner who suffers and sympathizes.

In An Essay Concerning Human Understanding, Locke is of two minds when it comes to human emotion. On the one hand, our passions represent an innate sensing faculty, given to us by “the infinite Wise Author of our being,” for interpreting the intrinsic good and evil in things. On the other hand, feelings like love and hate, joy and sorrow are the end product of rational cognition, whereby we determine the meaning of an initial, provoking “uneasiness.” This article argues that Locke’s paradox provides important insight for reading the passions in eighteenth-century discourse. It presents close readings of essays on the passions from The Spectator to demonstrate a fundamental difference between Addison and Steele that can be traced to An Essay’s self-contradiction. Close attention to Steele’s essays on grief reveal a significant move away from The Spectator’s dominant role of training readers to rectify their passions, encouraging them, instead, to bear witness to the “pleasing Perplexities” of affective intensity. Addison and Steele’s divergent positions, via Locke, reflect a cautiously negotiated, and conflicted, conversation taking place in the eighteenth century regarding the nature, function, and value of the passions.

This essay explores the development of a distinctive concept of bourgeois dignity in the eighteenth century, investigating first the key elements of the so‐called “bourgeois virtues” which provided content to this new ethos of dignity. Next, it probes the economic, political, and social conditions that facilitated the emergence and diffusion of bourgeois dignity, before briefly considering bourgeois dignity as a contested concept. Finally, it discusses how this new understanding of dignity was refined and then diffused throughout society by one of the most influential literary endeavors of the eighteenth century, Joseph Addison and Richard Steele’s The Spectator (1711‐1714).

An introductory speculation, Ways of Being: The Spectator and the Spectacle is a consideration of the epistemological, ontological and metaphysical downfalls of film theory’s understandings of the spectator and the spectacle; with particular emphasis directed towards the neurobiological implications of the spectator’s body.

The thesis will argue that these shortcomings are representative of wider ranging issues of complacency engulfing the film industry and film exhibition as a whole. Furthermore, the fundamental disruptions of the digital upgrade of cinema, and the expanding means through which film content can be experienced, will be explored in relation to the pressing need for film theory to reassess itself.

Drawing on a plethora of empirical and non-empirical research, this dissertation is a highly progressive expression of how film experience has always been about transcendence and, as a result of its digital re-birth and diversifications, it is now becoming even more so.

... Its "community" nature makes the Atlantic Alliance work even at a time when its rationale ... Furthermore, the Alliance is incrementally contributing to Afghanistan's stabilisation, just north of the Gulf ... countries included in the GCC, as well as individual countries such as Yemen, Iraq ...

The article delivers the author’s reflections on relations among the text (speech and secondary), the performing body, performers and spectators in postdramatic theatre and performance, based on Erica Fischer-Lichte’s model of a doubled performing body (phenomenal and semiotic). The author elaborates a typology of performing bodily relations: a) divisional / semi-sensual, b) substitutional / fully sensual, and c) identical / auto-sensual bodily relations upon three different criteria: a) who is the main producer of sensations, b) how many senses are involved, and c) what is the nature of the spatial relationship between the performers and the spectators. Three examples are given as an illustration of the above typology: Dani Ploeger’s Biotope, Via Negativa’s Would Would Not and Janez Janša’s The Wailing Wall.

... Its "community" nature makes the Atlantic Alliance work even at a time when its rationale ... Furthermore, the Alliance is incrementally contributing to Afghanistan's stabilisation, just north of the Gulf ... countries included in the GCC, as well as individual countries such as Yemen, Iraq ...

Melting ice is an important source and artistic tool for construction of meaning in certain instances of performing art. Author analyses the next five performances: Francis Alÿs's poetic intervention into the urban space of Mexico City, Paradox of Praxis I, displayed frozen casts of Marc Quinn's self-portraits Self I-IV, Heather Cassils's performance Teresias, Allan Kaprow's happening Fluids and Janez Janša's performing installation The Wailing Wall. They all feature a close spatial and sensual relationship between ice and the performing body, be that either the performer or the spectator, or both. The paper accentuates the relationship between the human body and ice in the above-mentioned artistic phenomena upon criteria of perception (touch), the body (hand), ice (as a material carrier of symbolic transformation), human agency (labour), time (duration) and the performer–spectator relationship (the spectator’s participation in art) using the above-mentioned works as illustrations. The first two performances illustrate the divisional/semi-sensual relationship between artwork and the spectator. The next two examples are illustrations of substitutional/fully sensual relation between art and spectator. Finally, the last one is an illustration of identical/auto-sensual type of relation between art and spectator. Author claims that the physical relationship between ice and the human body and thus the production of the sensations and sensuality of coldness can be an important precondition for construction of the so-called spectActor.

Joseph Addison's 1713 play, Cato: A Tragedy, dramatizes the final days of Cato the Younger's resistance to Julius Caesar before his eventual suicide at Utica in 46 BC. Although Addison initially seems to present Cato as a model for emulation, we argue that Addison is ultimately critical of both Cato and the Stoicism he embodies. Via the play's romantic subplot and via his work as an essayist, Addison offers a revision of the Catonic model, reworking it into a gentler model that elevates qualities such as love, friendship, and sympathy and that is more appropriate to the type of peaceful civil and commercial society he wishes to promote.