AN INTRODUCTION TO THEORIES OF POPULAR CULTURE DOMINIC STRINATI PDF

An Introduction to Theories of Popular Culture Second Edition Dominic Strinati LONDON AND NEW YORK First published by Routledge Second edition. Dominic Strinati provides a critical assessment of the ways in which these theories have tried to understand and evaluate popular culture in modern societies. Read the full-text online edition of An Introduction to Theories of Popular Culture ( ). to Theories of Popular Culture. By Dominic Strinati. No cover image.

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An Introduction to Theories of Popular Culture by Dominic Strinati

It is clearly important in other societies, both past and present, but in these societies the sheer volume of popular media culture which is made available gives it a specific significance which needs to be considered. However, it also fails to lf how much elite or folk culture may be standardised and how some element of standardisation is required for communication to take place at all.

First, is there any such thing as a mass audience? Second, the theories covered in this book have all played an important part, at different times, in moulding arguments about how popular culture can and should be interpreted.

This occurs because people do not realise their real needs remain unsatisfied; as a result of the stimulation and fulfilment of false needs, they have what they think they want. To some extent, the consumption of popular culture by the general public has been a problem for intellectuals, political leaders, and moral and social reformers.

Is popular culture there to indoctrinate the people, to get them to accept and adhere to ideas and values which ensure the continued dominance of those in more privileged positions who thus exercise power over them?

It has been shown how the concept of mass culture involves the mass production and consumption of culture, the populxr subversion of folk culture and high culture, and the relationship between cultural pessimism and the role played by an intellectual avant-garde. The idea of what people should and should not be doing, and what they should really want, although couched in vague and abstract terms, actually assumes a particular model of cultural activity, one go by the example of art e.

Yet it is still popular with those, for introducttion, who are committed to the defence of what they see as great literature and great art. This potential was also marked by the deliberate and conscious attempt by the Nazi party in Germany in the s to establish official Nazi ideology in all areas of culture and art, and eradicate alternative political and aesthetic ideologies.

In response to the claims that modern mass culture is a relatively harmless form of entertainment, a democratic response to ddominic demand, and that critics like himself adopt elitist intellectual positions, Adorno stresses the vacuity, banality and conformity fostered by the culture industry. This authentically popular folk culture can never aspire to be art, but its distinctiveness is accepted and respected.

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The ritual value of the work of art is replaced by its exhibition value. This argument is clearly similar to those we hear today regarding the postmodern traits of contemporary culture. Udah baca yang versi bahasa indonesia. Her analysis is therefore instructive not only for what it says about what she sees culure the debasing effect of mass culture upon literary standards, but also for its political response to this situation which involves a coherent theory of the role of an intellectual and elite avant-garde.

One problem with books such as these is that they intrduction often more concerned with the internal mechanics of intellectual debates, or the uneven development of the field of study, than with the analysis culturf evaluatlon of popular culture.

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However, as a number of writers have suggested, democratisation and mass culture are not that easily distinguished from each other.

Furthermore, as Hebdige notes himself, the influence of the Continent was experienced by a subculture which took its music from black American culture. Given their continued prominence it may even be premature to talk about their legacy particularly that of semiology. Instead, the mass audience is there to have its emotions and thoeries manipulated, to have its needs and desires distorted and thwarted, to srinati its hopes and aspirations exploited for the sake vulture consumption, by the meretricious sentiments, the surrogate fantasies, the false dreams of mass culture.

The role of this elite, this conscious minority, is two-fold. The introcuction of the mass media and the increasing commercialisation of culture and leisure gave rise to issues, interests and debates which are still with us today. Once embedded in this fabric of tradition, art retained its aura independently of its ritual role in religious ceremonies.

Please re-enter recipient e-mail address es. It is equally conformist and mind numbing, enforcing the general acceptance of the capitalist order. Doo-wop is defined by Gendron as: Equally, elitism, like mass culture theory, tends to ignore the range and diversity of popular culture, and the tensions and contradictions within it. Citations are based on reference standards. Each chapter includes a guide to key texts for further reading, and there is also a comprehensive bibliography.

Or does the increasingly universal market for popular culture ensure that it is truly popular because it makes available commodities people actually want? As Ang has pointed out, the ideology of mass culture influences the evaluations audiences make of popular culture even if it gives them obvious pleasure This is also why Adorno supports the cause of avant-garde music because, in rejecting popularity, standardisation and accessibility, it is rejecting commodity fetishism, exchange value and the culture industry.

As Goldthorpe et al. I am also very grateful to Helen Faulkner, Lesley Riddle and Ruth Whittington for all their work in making sure this second edition has finally seen the light of day.

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An Introduction to Theories of Popular Culture

It is also clear that the inter-disciplinary accord rarely extends to biology and genetics; and if it were, the problems we have noted would become more intractable. One danger which I have long foreseen from the spread of the democratic sentiment, is that of the tradition of literary taste, the canons of literature, being reversed with success by a popular vote. The process of standardisation marks the lives that people have to live in capitalist societies and ensures that popular music is inferior to classical and avant-garde music.

Murdock and Golding You already recently rated this item. Kristinne Nigel Santos rated it liked it Jun 06, This process was hastened by the changes strintai with the Renaissance which extended the secularisation of the work of art and its subject matter.

Popular music and film do not deny this awareness, but can reconcile people to their fate. While sgrinati book attempts to outline and criticise some leading theories of popular culture, it is not cultuge as a history of the study of popular culture. However, Adorno might equally take comfort from the way Gendron establishes the extent to which popular music has been standardised and how the music industry can shape its meanings ibid.: It would be equally possible to consider the amenities and possessions for which the couples in our sample were striving as representing something like the minimum material basis on which they and their children might be able to develop a more individuated style of life, with a wider range of choices, than has hitherto been possible for the mass of the manual labour force.

It is so effective in doing cultre that the working class is no longer likely to pose a threat to the stability and continuity of capitalism.

An introduction to theories of popular culture (Book, ) []

The people clamour for what they are going to get anyway. In any event, a sociology of knowledge is required to do a proper job with their material but is usually lacking in such work. The first problem which this suggests concerns the privilege conferred upon those positions from which popular or mass culture can be understood and interpreted.

This fetishism is accentuated by the domination of money, which regulates the relationships between commodities. How can needs be defined without reference to their social definition, historical transformation and practical fulfilment or non-fulfilment? Mass culture and popular culture — 2.

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