Popular Culture Review 29.2
is the category emperor , rather than any particular ruler ” ( Malamud & McGuthrie 253 ). Ask someone at the bell desk whether a statue is of Julius or Augustus Caesar and they will reply , “ They are all Caesars . After all , it ’ s his Palace .”
Benjamin ’ s work reaffirms the conviction that replicated art has its own reality . It reminds us of the original artist ’ s message , intent , and creativity . It enriches our lives as a thing of beauty . A particular piece may not carry a name or author , but is approachable by the people . Benjamin wrote an essay in 1935 entitled “ Paris the Capital of the Nineteenth Century ” in which he enthused about the interplay of light and shadow on ceilings and walls by magic lanterns . He called these images phantasmagoria ( Khatib 11 ). The gilt and glitter of Caesar Palace constitutes a modern-day version of the commercial and entertainment galleries of Paris .
Sami Khatib , a disciple of Benjamin , observed that the concept of phantasmagoria extended to “ collective fantasies and dream images ” ( 5 ). Khatib stated that Benjamin hoped consumers might one day awaken from dream consciousness and recognize things for their true worth . Until that day , Caesars will maintain their lucrative business based on controlling the human desire to dominate , control , and possess .
The history , the theory , and Sarno ’ s dream come together with a visit to this special place in Paradise . This elegant eighty-acre resort has six towers with 3,976 rooms , seven pools , a convention center , extensive gaming areas , signature restaurants , the Colosseum , and the Forum . This maze without clocks keeps guests gambling , shopping , and consuming . The Roman art found throughout this property forms its signature attraction . Julius Caesar divided all Gaul into three parts . This paper examines replica art in three areas : the
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