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★美國當代最負盛名的藝術文化評論家納托．湯普森，對當代文化危機提出最銳利的反思 ★《洛杉磯時報》、《時代雜誌》、《出版人週刊》、《柯克斯書評》一致讚譽川普當選那一夜，全球迷漫著似乎就要天下大亂的氛圍，但事實上，大選結果公佈，你回頭過頭繼續去過你的日常生活。房價、物價在疫後不停飆漲，通膨來到新至高點，心知肚明買不起也租不起的未來即將來到，但為何大眾還是無法從擁房夢中清醒？一則建案完銷廣告就讓你置身危機？手機與社群平台侵入你的私人生活，記錄著你的一舉一動以及走過的足跡，但你怕的卻不是它監控了你，而是沒有更新到最新、最齊全的功能？ 這世界出了問題，你心知肚明。但為何在特定議題上，似乎所有人都無法抽身，並理性選擇？作者納托．湯普森，以清晰的歷史脈絡，鋒利且批判的筆觸，在本書中漫談現今文化令人擔憂的種種現象。從好萊塢到華府，麥迪遜大道與摩蘇爾戰場；甚至是滲入日常生活的消費文化――如房地產、個人電腦、手機；以及大眾文化――社群媒體、流行娛樂音樂、通俗藝術與高尚藝術等。 誰握有權力，就能透過環境與產業模式能塑造文化。文化能形塑思考模式，而思考模式能誘導行為與決定。納托．湯普森洞悉此道，因此提出，藉由部署文化現象來攻略人心，已經成為無所不在的武器，足以深刻影響所有人的全面日常，導致群體行為總是缺乏客觀。 本書試圖透過文化研究來回答，人們為何在這樣的文化現象操作下，容易缺乏理性，導致幾近呈現出被操控的樣態。從權力如何塑造與影響文化來解讀權力，你會從中發現一些不得不省思的危機。

One of the country's leading activist curators explores how corporations and governments have used art and culture to mystify and manipulate us.The production of culture was once the domain of artists

One of the country's leading activist curators explores how corporations and governments have used art and culture to mystify and manipulate us.The production of culture was once the domain of artists

Brazil is a conundrum; even as its culture enjoys an ever higher profile in the West, an undeclared, vicious and often ignored drug war is being fought on the streets of its cities' favelas (shanty to

What happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regul

The concept of 'Soft Power' is used to discuss how culture can assert dominance within international relations, but what if entertainment could be used as a weapon itself? Despite recent upheavals lik

The concept of 'Soft Power' is used to discuss how culture can assert dominance within international relations, but what if entertainment could be used as a weapon itself? Despite recent upheavals lik

With deeply personal and uplifting essays in the vein of Black Girls Rock!, You Are Your Best Thing, and I Really Needed This Today, this is “a necessary testimony on the magic and beauty of our capacity to live and love fully and out loud” (Kerry Washington).When Tracey M. Lewis-Giggetts wrote an essay on Black joy for The Washington Post, she had no idea just how deeply it would resonate. But the outpouring of positive responses affirmed her own lived experience: that Black joy is not just a weapon of resistance, it is a tool for resilience.With this book, Tracey aims to gift her community with a collection of lyrical essays about the way joy has evolved, even in the midst of trauma, in her own life. Detailing these instances of joy in the context of Black culture allows us to recognize the power of Black joy as a resource to draw upon, and to challenge the one-note narratives of Black life as solely comprised of trauma and hardship.“Lewis-Giggetts etches a stunning personal map that

The Japanese sword has long been appreciated both as a weapon and as an object of art. Only in Japanese culture has the sword been developed to such a level of technological excellence and spiritual i

Through close analysis and careful weighing of evidence the authors of this volume tackle a wide range of questions in Anglo-Saxon history and culture and often arrive at opinions different from those generally accepted. Contributions are made on subjects as diverse as the Anglo-Saxon settlement, early Northumbrian history, the 'weapon' vocabulary of Beowulf, world history in the Anglo-Saxon Chronicle, a woman's stock of clothes in the mid-tenth century and vernacular preaching before Ælfric. Historical studies are represented by an examination of the position of the ætheling in matters of royal succession, by a refutation of the doctrine of muddle in the records of earliest Northumbria and by an identification of the sources of the Chronicle's knowledge of world history, showing in particular that the compilation of the Chronicle and the composition of the Old English Orosius are not likely to have been closely connected, as has often been thought. The usual comprehensive bibliography

In December 1921, France broadcast its first public radio program from a transmitter on the Eiffel Tower. In the decade that followed, radio evolved into a mass media capable of reaching millions. Crowds flocked to loudspeakers on city streets to listen to propaganda, children clustered around classroom radios, and families tuned in from their living rooms. Radio and the Politics of Sound in Interwar France, 1921–1939 examines the impact of this auditory culture on French society and politics, revealing how broadcasting became a new platform for political engagement, transforming the act of listening into an important, if highly contested, practice of citizenship. Rejecting models of broadcasting as the weapon of totalitarian regimes or a tool for forging democracy from above, the book offers a more nuanced picture of the politics of radio by uncovering competing interpretations of listening and diverse uses of broadcast sound that flourished between the world wars.

In December 1921, France broadcast its first public radio program from a transmitter on the Eiffel Tower. In the decade that followed, radio evolved into a mass media capable of reaching millions. Crowds flocked to loudspeakers on city streets to listen to propaganda, children clustered around classroom radios, and families tuned in from their living rooms. Radio and the Politics of Sound in Interwar France, 1921–1939 examines the impact of this auditory culture on French society and politics, revealing how broadcasting became a new platform for political engagement, transforming the act of listening into an important, if highly contested, practice of citizenship. Rejecting models of broadcasting as the weapon of totalitarian regimes or a tool for forging democracy from above, the book offers a more nuanced picture of the politics of radio by uncovering competing interpretations of listening and diverse uses of broadcast sound that flourished between the world wars.