WordNet

a blunder that makes you look ridiculous; used in the phrase `make a spectacle of yourself
an elaborate and remarkable display on a lavish scale
something or someone seen (especially a notable or unusual sight); "the tragic spectacle of cripples trying to escape"
take aim by looking through the sights of a gun (or other device)
the range of vision; "out of sight of land" (同)ken
the ability to see; the visual faculty (同)vision, visual sense, visual modality
a range of mental vision; "in his sight she could do no wrong"
an instance of visual perception; "the sight of his wife brought him back to reality"; "the train was an unexpected sight"
anything that is seen; "he was a familiar sight on the television"; "they went to Paris to see the sights"
scan (game in the forest) with binoculars
the quantity a glass will hold (同)glassful
a brittle transparent solid with irregular atomic structure
put in a glass container
a container for holding liquids while drinking (同)drinking glass
glassware collectively; "She collected old glass"
enclose with glass; "glass in a porch" (同)glass in
furnish with glass; "glass the windows" (同)glaze
wearing, or having the face adorned with, eyeglasses or an eyeglass; "a bespectacled grandmother"; "the monocled gentleman" (同)monocled, spectacled
caiman with bony ridges about the eyes; found from southern Mexico to Argentina (同)Caiman sclerops
optical instrument consisting of a frame that holds a pair of lenses for correcting defective vision (同)specs, eyeglasses, glasses

PrepTutorEJDIC

(特に印象的な)『光景』,ながめ,ありさま / 〈C〉(特に大規模な)見せ物,スメクタクル / (また《話》『specs』)《複数形で》『眼鏡』
〈U〉『視力』,視覚(vision)・〈U〉《時にa ~》(…を)『見ること』《+『of』+『名』》・〈U〉見える範囲,視野,視界・〈C〉『景色』,『光景』,眺め・《the sights》『名所』・〈U〉見解・〈C〉《しばしば複数形で》(望遠鏡などの)照準器,照尺,照星・〈C〉《a ~》《話》ひどいもの・《a ~》多数(の…),多量(の…)《+『of』+『名』》;《副詞的に用いて》うんと,ずっと:a sight of money多額の金・…‘を'見つける,認める・ / (照準器で)…‘を'ねらう, ‘に'照準を合わせる
〈U〉『ガラス』 / 〈C〉(ガラス製の)『コップ』,グラス / 〈C〉(…の)『コップ(グラス)1杯[の量]』(glassful)《+『of』+『名』》 / 〈U〉《集合的に》『ガラス製品』,ガラス器(glassware) / 〈C〉《英話》『鏡』(looking glass) / 〈C〉レンズ;望遠鏡;顕微鏡 / 《複数形で》『眼鏡』(eyeglasses, spectacles) / 〈C〉晴雨計(barometer) / 〈C〉《英》砂時計(sandglass) / …‘に'ガラスをはめる,‘を'ガラスでおおう
(視力の弱いほうの目に用いる)片眼鏡,単眼鏡 / 《複数形で》めがね / (望遠鏡・顕微鏡などの)接眼鏡
《文》めがねをかけた
めがねをかけた / (動物が)めがね状の斑紋点のある

Wikipedia preview

出典(authority):フリー百科事典『ウィキペディア（Wikipedia）』「2013/05/14 17:41:05」(JST)

wiki en

[Wiki en表示]

For other uses, see Spectacle (disambiguation).

In general, spectacle refers to an event that is memorable for the appearance it creates. Derived in Middle English from c. 1340 as "specially prepared or arranged display" it was borrowed from Old French spectacle, itself a reflection of the Latin spectaculum "a show" from spectare "to view, watch" frequentative form of specere "to look at."^[1] The word spectacle has also been a term of art in theater dating from the 17th century in English drama.

Ancient cultural origins [edit]

The term originated from the Roman practice of staging circuses, in the tradition of the Roman elite of providing "bread and circuses" to maintain civil order by distracting the populace from underlying social and economic problems.

Low and high culture [edit]

Spectacle operates in two contexts simultaneously. On the one hand, it refers to high culture (drama, movies) performances where the draw for an audience is the impressive visual accomplishment. On the other hand, it refers to low cultural shows operating in a folk environment. These can range from the freak show to folk drama to tablieau and beast-plays. The two worlds have always interacted to a lesser or greater degree, with the folks spectacle often being rewritten into a literary spectacle, whether for humor (e.g. The Mechanicals with their performance of Pyramus and Thisbe in William Shakespeare's A Midsummer Night's Dream) or not (e.g. the serious treatment of the folk Everyman).

Low and high culture mingled in the spectacle as long as folk productions of spectacle were possible. In the 17th century in England, popular spectacles of the playhouse would be adapted into spectacles for the fair, and in the 18th century fair shows and pantomimes would be adapted to the playhouse stage. In the 19th century, theaters moved farther from folk cultural spectacles and began to develop stand-alone seasonal plays that were centered on a spectacular piece. However, in the 20th century, with the invention of movie theaters, folk festivals were unable to create or recreate the spectacles on film, and the theaters themselves were soon unable to replicate the spectaculars of films. Although film adaptation would occasionally begin with the old, folk mythological narrative material, the movie that resulted would be distributed out to all audiences, thus destroying the audience and source of folk spectacle.

The Masque and spectacle [edit]

Court masques and masques of the nobility were most popular in the Jacobean and Caroline era. Such masques, as their name implies, relied heavily upon a non-verbal theater. The character lists for masques would be quite small, in keeping with the ability of a small family of patrons to act, but the costumes and theatrical effects would be lavish. Reading the text of masques, such as The Masque at Ludlow (most often referred to as Comus), the writing is spare, philosophical, and grandiose, with very few marks of traditional dramatic structure. This is partially due to the purpose of the masque being family entertainment and spectacle. Unlike The Masque at Ludlow, most masques were recreations of well-known mythological or religious scenes. Some masques would derive from tableau. For example, Edmund Spenser (Fairie Queene I, iv) describes a masque of The Seven Deadly Sins.

Masques were multimedia, for they almost always involved costuming and music as a method of conveying the story or narrative. Joseph Bigler, for example, wrote masques with the architect Inigo Jones. William Davenant, who would become one of the major impresarios of the English Restoration, also wrote pre-Revolutionary masques with Inigo Jones. The role of the architect was that of designer of the staging, which would be elaborate and often culminate in a fireworks show.

The Hollywood Spectacular [edit]

When the zoetrope and nickelodeon technology first appeared, the earliest films were spectacles. They caught the attention of common people. They showed things people would rarely see, and they showed it to the wide audience.

Thomas Edison filmed Eiffel Tower, actual American Indians in a simulated attack, and even celebrated beauty queens.
Louis Lumière filmed a train pulling into a station in 1895. The camera was in front of the train, and the train "came" directly at the viewer. It was a sensational because it gave an object of gaze.

Spectacle and Society [edit]

Within industrial and post-industrial cultural and state formations, Spectacle implies an organization of appearances that are simultaneously enticing, deceptive, distracting and superficial. Jonathan Crary: 2005

Spectacle can also refer to a society dominated by electronic media, consumption, and surveillance, reducing citizens to spectators by political neutralization. Recently the word is associated with the many ways in which a capitalist structure creates play-like celebrations of its products and leisure time consumption. Guy Debord's philosophical critique and documentary The Society of the Spectacle explores the concept.

Notes [edit]

^ Online Etymological Dictionary

External links [edit]

Holonet on the Lumière Brothers retrieved August 1, 2005.
Milton, John. An online critical edition of Comus retrieved July 30, 2005.

UpToDate Contents

全文を閲覧するには購読必要です。 To read the full text you will need to subscribe.

1. 成人における視覚障害：屈折障害と老視 visual impairment in adults refractive disorders and presbyopia
2. レーザー屈折矯正手術 laser refractive surgery
3. 小児における屈折異常 refractive errors in children
4. 頚部の関節保護プログラム joint protection program for the neck
5. 商業用運転免許の試験 commercial drivers license examination

English Journal

Association between mouth opening and upper body movement with intake of different-size food pieces during eating.

Inada E, Saitoh I, Nakakura-Ohshima K, Maruyama T, Iwasaki T, Murakami D, Tanaka M, Hayasaki H, Yamasaki Y.SourceDepartment of Pediatric Dentistry, Kagoshima University Graduate School of Medical and Dental Sciences, 8-35-1 Sakuragaoka, Kagoshima 890-8544, Japan.
Archives of oral biology.Arch Oral Biol.2012 Mar;57(3):307-13. Epub 2011 Oct 5.
Head rotation is coordinated with mandibular movement during mouth opening, and the range of head rotation and mouth opening change with food size. However, past research did not include upper body movement, and no reports have related head and mandibular movement during realistic eating. The purpos
PMID 21975117

Artisan iris-claw lenses for the correction of aphakia in children following lensectomy for ectopia lentis.

Cleary C, Lanigan B, O'Keeffe M.SourceDepartment of Ophthalmology, Children's University Hospital, Temple Street, Dublin 7, Ireland; mokeefe@materprivate.ie.
The British journal of ophthalmology.Br J Ophthalmol.2012 Mar;96(3):419-21. Epub 2011 Jul 26.
Purpose To describe the results of Artisan iris-claw lens implants in children with aphakia following lensectomy for ectopia lentis. Method We measured visual acuity, refractive error and endothelial cell counts and recorded complications in a group of children after insertion of Artisan iris-claw
PMID 21791507

Early clinical outcomes of implantation of posterior chamber phakic intraocular lens with a central hole (Hole ICL) for moderate to high myopia.

Shimizu K, Kamiya K, Igarashi A, Shiratani T.SourceDepartment of Ophthalmology, Kitasato University School of Medicine, 1-15-1 Kitasato, Minami-ku, Sagamihara, Kanagawa, 252-0374, Japan; kimiyas@med.kitasato-u.ac.jp.
The British journal of ophthalmology.Br J Ophthalmol.2012 Mar;96(3):409-12. Epub 2011 Jul 6.
Aim To assess the early clinical outcomes of an ICL with a central hole (Hole ICL) implantation for the correction of moderate to high myopia. Methods This study evaluated 20 eyes of 20 patients with spherical equivalents of -7.36±2.13 D (mean±SD) who underwent Hole ICL implantation. Before surge
PMID 21733922

Japanese Journal

臨床研究着色非球面多焦点乱視矯正眼内レンズ(SND1T3, SND1T4, SND1T5, SND1T6)の白内障摘出眼を対象とした臨床試験成績

中村邦彦,ビッセン宮島弘子,林研 [他]
日本眼科学会雑誌 119(1), 7-15, 2015-01
NAID 40020320848

« Rechercher la chance » ― l'écriture fragmentaire de Georges Bataille (1)

SAKAI Takeshi
法政大学文学部紀要 69, 1, 2014-10-15
… Ils'agit là de son éthique qui est qualifiée de « sommetmoral », aussi bien que de son esthétique qui estcaractérisée par ses sujets chers comme le « voir» et le « spectacle ». …
NAID 120005531377