製造路易十四，北京商務，2007：這本有索引，所以雖然印刷很差，還是有用的。
提問，為何圖少一張，原書圖62變成圖61？答：原書圖61丟了！
台灣版：出版社：麥田，2005，尚未過目
這不是一本有關路易十四的傳記，也不是一本評價路易十四成功的政治性分析，而是一本剖析路易十四在世時，其公眾形象如何被塑造的歷史社會學與傳播史著作。簡單的說，就是分析十七世路易十四時代的「造神運動」，及推銷和包裝路意十四。──蕭新煌
「我們可以明顯看出，國王的威嚴是由假髮、高跟鞋和斗篷等等所組成的……而我們所崇拜的諸神，其實是理髮師與鞋匠製作出來的。」 社會學家高夫曼曾經指出，就某方面而言，我們都是人造的，位高權重的國家領袖當然更是如此。凡爾賽宮舞臺中央，路易十四壯麗恢宏的演出即為一耀眼成功的人造典範。 本書乃著力於路易十四公眾形象的製作、傳播，與接受過程的歷史。
作者旁徵博採當時再現路易的媒體──油畫、版畫、雕刻、文學、紀念章、戲劇、芭蕾、歌劇等──全面論述十七世紀的形象製造者如何推銷路易，如何以意識形態、宣傳廣告、操控民意來包裝君王，清晰呈現權力與藝術的互動關係。 網際網路及傳媒發達的今日，政治人物的頻繁造勢充塞於人們的生活之中，透過作者比較文化的精闢觀點，讀者定能對政治人物的媒體包裝機制有更深刻的解讀與省察。
作者簡介
彼得、柏克（Peter Burke）英國歷史學家。1937年生，牛津大學聖約翰學院學士、聖安東尼學院碩士。曾任薩塞克斯大學智識史高級講師，現任劍橋大學文化史高級講師及伊曼紐學院特別研究員。柏克的研究專長在於歷史思想領域、1450年至1750年的歐洲文化史，以及歷史學與社會科學的互動。著作包括：《1450年至1750年間義大利文藝復興的文化與社會》、《近代歐洲的通俗文化》、《社會學與歷史學》、《法國史學革命》、《製作路易十四》、《歷史學與社會理論》、《會談的藝術》、《大眾傳播媒體的社會史：從古騰堡到網際網路》等書。
From the Back Cover
In this engrossing book, an internationally respected historian gives an account of contemporary representations of Louis XIV-in paintings, and engravings, medals and sculptures, plays, and ballets, and operas-to show how the making of a royal image illuminates the relationship between art and power.
產品詳細資訊
- Paperback: 256 頁
- 出版商：Yale University Press； Reprint 版本 (1994年3月23日)
- 語言： English
- ISBN-10: 0300059434
- ISBN-13: 978-0300059434
|
(English) Reprint 版本
Louis XIV was a man like any other, but the money and attention lavished on his public image by the French government transformed him into a godlike figure. In this engrossing book, an internationally respected historian gives an account of contemporary representations of Louis XIV and shows how the making of the royal image illuminates the relationship between art and power.
Images of Louis XIV included hundreds of oil paintings and engravings, three-hundred-odd medals struck to commemorate the major events of the reign, sculptures, and bronzes, as well as plays, ballets (in which the king himself sometimes appeared on stage), operas, odes, sermons, official newspapers and histories, fireworks, fountains, and tapestries. Drawing on an analysis of these representations as well as on surviving documentary sources, Peter Burke shows the conscious attempt to "invent" the image of the king and reveals how the supervision of the royal image was entrusted to a commitee, the so-called small academy.
This book is not only a fascinating chronological study of the mechanics of the image-making of a king over the course of a seventy-year reign but is also an investigation into the genre of cultural construction. Burke discusses the element of propaganda implicit in image-making, the manipulation of seventeenth-century media of communication (oral, visual, and textual) and their codes (literary and artistic), and the intended audience and its response. He concludes by comparing and contrasting Louis's public image with that of other rulers ranging from Augustus to contemporary American presidents.
AMAZON 掃描有錯字
Drawings, British Museum, London 140 Venit. Vidit red non Vicit, reverse of meda…
vidit 1693
---- The Fabrication of Louis XIV 圖61
WORD-WATCHER.BLOGSPOT.COM
Veni, vidi, vici is a Latin phrase popularly attributed to Julius Caesar who, according to Appian, used the phrase in a letter to the…
Veni, vidi, vici is a Latin phrase popularly attributed to Julius Caesar who, according to Appian, used the phrase in a letter to the Roman Senate ... The title of French poet Victor Hugo's Veni, vidi, vixi ("I came, I saw, I lived"), written after the death of his daughter Leopoldine at age 19 in 1843, uses the allusion with its first ...
(obverse) Bust of Louis XIV, right, hair long, no drapery. (reverse) Louis standing in a triumphal car, drawn by two ladies of ... Inscription Content. VENIT VIDIT, SED NON VICIT. Inscription Translation. He came, he saw, but he did not conquer.
. VENIT VIDIT, SED NON VICIT. Inscription Translation. He came, he saw, but he did not conquer.
Collection online
medal
Object type
Museum number
M.7862
Description
Silver medal.(obverse) Bust of Louis XIV, right, hair long, no drapery.
(reverse) Louis standing in a triumphal car, drawn by two ladies of his court, preceded by a third carrying his standard, i.e., an empty purse and the figure O: Versailles in the distance.
Producer name
Date
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