By P. David Marshall
Companion to Celebrity provides a multi-disciplinary selection of unique essays that discover myriad matters with regards to the origins, evolution, and present tendencies within the box of famous person studies.
- Offers an in depth, systematic, and transparent presentation of all points of famous person experiences, with a constitution that rigorously construct its enquiry
- Draws at the most recent scholarly advancements in famous person analyses
- Presents new and provocative methods of exploring celebrity’s meanings and textures
- Considers the innovative ways that new social media have impacted at the creation and intake of celebrity
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Additional resources for A Companion to Celebrity
The life became synonymous with the work. Byron kept no space open between passion and poetry. He wrote very fast and spontaneously, just as he lived. But he did so with a shrewd sense of the adoring, jealous gallery to which he played to mutual gratification. He caught up all the dizzy new clich´es of Romantic melodramas and gave them blazing sultry life. Thus, in the poems, there are the dark dungeons and mysterious hero of The Prisoner of Chillon, the Arab horsemen in the desert in The Giaour, the pirates in The Corsair.
They are the systolic and diastolic forces of the beating heart of contemporary culture. They are hegemonic intensities that play out against one another, competing for supremacy or dominance but ever reliant upon one another. And celebrity culture sits at the center of this contest over companionship and loneliness; it helps dynamize this companion culture, even if – as I have also argued – it can create the conditions for intimacy and isn’t simply a “room” where lonely people go to belong and to find meaning (Redmond 2014).
With their work, their talent, their true merits, their character. So one first point of this essay will be to reassure ourselves that there is nothing uniquely decadent about our being 30 Fred Inglis intermittently so mesmerized by the famous; it’s just been going on for a very long time. Riding the curves of history backward and landing in a Parisian theater in 1872, we will find Sarah Bernhardt playing the lead in Victor Hugo’s colossal romantic melodrama Ruy Blas, and playing it with such unforgettable force and poignancy that among those hundreds who fell in love with her from afar was the playwright himself, 40 years her senior and able to press his devotion from a lot nearer (Brandon 1991).
A Companion to Celebrity by P. David Marshall