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Giovanni Navarria

The technological revolution that began with the Arpanet in the late Sixties has changed the world we live in. The Internet and social media have improved our lives considerably, but the changes came in with a high-price tag attached: our freedom. We now live in a world in which technology has exponentially expanded the power of the State to keep tabs on its citizens (within and across borders). If we continue on this path, democracy as we know it is doomed. Yet the future is not as grey as it might look at first sight. The ubiquity of social media and smartphones and the increasing relevance of the Internet in everyday life have also drastically changed the impact-power of citizens in technologically advanced societies. Understanding these changes is to understand which shape democracy will take in the future.

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Brian Wemp

The Grands Magasins Dufayel, a huge department store built on the northern fringe of late nineteenth-century Paris, had an important cultural influence on the city's working class. In a neighborhood with few public spaces, it provided a consumer version of the public square. It encouraged workers to approach shopping as a social activity, just as the bourgeoisie did at the famous department stores in central Paris. Like the bourgeois stores, it helped transform consumption from a personal transaction between customer and merchant into an unmediated relationship between consumer and goods. Through advertising the store portrayed itself as a space where the working-class visitor could participate in new and exciting forms of entertainment and technology. Its unique instore cinema and exhibits of inventions like X-ray machines and the gramophone created a new kind of urban space that celebrated the close relationship between technology and consumer culture.

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Niklas Olsen, Irene Herrmann, Håvard Brede Aven, and Mohinder Singh

and the richness of the analyses presented in this one, such a work would be very welcome. The Merits of Mistranslation Eric Schatzberg, Technology: Critical History of a Concept (Chicago: University of Chicago Press, 2018), 344 pp

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Eternity and Print

How Medieval Ideas of Time Influenced the Development of Mechanical Reproduction of Texts and Images

Bennett Gilbert

initial deployment of replicative technologies ca. 1375–ca. 1450 onward. And yet this dynamo of change, print, and especially typography—a new industrial complex—is portrayed as having arisen rather abruptly and then rapidly spreading, with little

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Shobita Parthasarathy

( Sarewitz 1996 ). The private sector then capitalizes on the results of this scientific curiosity to develop socially beneficial technologies, which are made available in the marketplace. Key to this is the modern patent system: the government incentivizes

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David Owen

digital surveillance and biometrics in technologies of algorithmic governance that individualize border controls: “As megacities become ghost towns, and once-bustling airports grind to a halt, the virus has generated a puzzling new enigma of a globalized

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Barbara Prainsack

are not those that have the best technologies or most obedient citizens. It is those that have solidaristic institutions. Conclusion Pandemics do not automatically increase or decrease solidarity; the relationship between the two is complex in

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Manufacturing Labor Discipline

Apprenticeship, Asymmetrical Knowledge, and Large-Scale Production in Britain and France, 1750–1820

Leonard N. Rosenband

Josiah Wedgwood, the Montgolfier family, and Samuel Bentham were leading producers during the early industrial era. A pottery manufacturer, a family of papermakers, and the Inspector-General of Britain’s Naval Works, they all occupied the highest perch in their fields. This article considers the efforts by these eminent figures to control the exercise and reproduction of skill in their shops. It examines their attempts to build internal labor markets and blend carefully trained, home-grown hands with novel systems of work discipline and fresh technologies. In doing so, this article assesses the success and limits of the entrepreneurial trio’s designs in the coming of mechanized production.

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Of Traiteurs and Tsars

Potel et Chabot and the Franco-Russian Alliance

Willa Z. Silverman

Between 1893 and 1901, the Parisian traiteur Potel et Chabot catered a series of gala meals celebrating the recent Franco-Russian alliance, which was heralded in France as ending its diplomatic isolation following the Franco-Prussian War. The firm was well adapted to the particularities of the unlikely alliance between Tsarist Russia and republican France. On the one hand, it represented a tradition of French luxury production, including haute cuisine, that the Third Republic was eager to promote. On the other, echoing the Republic’s championing of scientific and technological progress, it relied on innovative transportation and food conservation technologies, which it deployed spectacularly during a 1900 banquet for over twenty-two thousand French mayors, a modern “mega-event.” Culinary discourse therefore signaled, and palliated concerns about, the improbable nature of the alliance at the same time as it revealed important changes taking place in the catering profession.

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Brett Bowles

The politics of French and German cinema between the onset of the Great Depression and the end of World War II is far from a new topic of study. However, scholars have typically focused on one country or the other, rather than comparing the two, and prioritized high-profile directors (for example, Jean Renoir, Jean-Paul Le Chanois, Leni Riefenstahl, and Veit Harlan) whose work benefited from direct party sponsorship and served a clearly propagandistic function. Reflecting the evolution of cultural history and film studies over the past decade, this collection of essays seeks to enrich the traditional approach in three ways. The first is by expanding the definition of politics beyond official party or state discourse to include power-related issues such as representation of gender and gender roles; access to material resources including funding and technology; relationships between film creators and industry or government officials; and competition between commercial and ideological priorities in film production, censorship, and distribution.