By M. C. Beaton
Unique booklet: 1987
When Priscilla Halburton-Smythe brings her London playwright fiancé domestic to Lochdubh, everyone on the town is overjoyed . . . apart from love-smitten Constable Hamish Macbeth. but his affairs of the center should wait. Vile, boorish Captain Bartlett, one of many site visitors at Priscilla's engagement social gathering, has simply been came across murdered-shot whereas on a grouse hunt. Now with many titled celebration visitors because the best suspects, every one with a reason behind snuffing out the despicable captain, Hamish needs to soft ruffled feathers as he investigates the case. whilst the hidden perpetrator moves back, Hamish will locate himself attempting to retailer Priscilla from a depressing marriage-and trap a killer earlier than he flies the coop.
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Extra info for Death of a Cad (Hamish Macbeth, Book 2)
Instead, the aetiology of celebrity was explained in terms of determinate, totalizing structures of influence: the culture industry, capitalism, masculinity. It would be unwise to minimize the rhetorical power of these explanations compared to the accounts offered by fanzines, authorized biographies or self-reporting by celebrities. On the other hand, Structuralists rarely took the trouble to test their propositions empirically. In many cases, this exaggerated the importance of the designated structure of social control and neutralized the knowledge, skills and power of social actors to resist.
By penetrating the veil of prohibitions, religious rites and ceremonies, individ54 CELEBRITY uals satisfy their curiosity and experience ecstasy. The journey has a different purpose. Entry to the underworld allows contact with the dead, who, theoretically, possess all knowledge. The journey to the sky brings one closer to the eternal knowledge of the divinities that rule the earth. The journeys provide one with knowledge that cannot be gained by earthly delving or reflection. The underworld is a realm of past knowledge that can illuminate the conditions of the present.
Nor is this appeal to be explained in terms of the innate talent of the celebrity. Instead, Morin favours an explanation of celebrity that explores celebrity power as a projection of the pentup needs of the audience. On this reckoning, celebrities are akin to transformers, accumulating and enlarging the dehumanized desires of the audience, and momentarily rehumanizing them through dramatized public representation and release. Morin therefore overturns the Frankfurt School’s emphasis on the dominant class as the motive force behind celebrity appeal.