By Dominic Strinati
An creation to Theories of pop culture is widely known as an immensely worthy textbook for college students taking classes within the significant theories of pop culture. Strinati presents a serious evaluation of the ways that those theories have attempted to appreciate and assessment pop culture in smooth societies. one of the theories and ideas the publication introduces are: mann tradition, the Frankfurt tuition and the tradition undefined, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism. This re-creation presents clean fabric on Marxism and feminism, whereas a brand new ultimate bankruptcy assesses the importance of the theories defined within the ebook.
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Extra info for An Introduction to Theories of Popular Culture, 2nd Edition
This seems to be a consistent line of argument, although it has obviously undergone subsequent changes in context and content. Leavis (1895–1978), who was responding directly to a clearly emergent mass culture. He assumed that Americanisation was an accomplished fact: ‘it is a common-place that we are being Americanised’ (cited in Webster 1988: 180–181; originally published 1933). Leavis was a critic of mass society and mass culture, and saw America as an embodiment of both of these dangers. As Hebdige has noted with respect to the anxieties expressed about Americanisation in post-1945 British society, one of the main processes which caused concern was the ‘levellingdown’ that Americanisation represented (Hebdige 1988: chapter 3).
The example he had in mind was No Orchids For Miss Blandish, which featured a gangster as its ‘hero’. This he compared with the less morally ambivalent ‘Raffles’ books which were also about the activities of a 24 MASS CULTURE criminal hero figure. Hornung). In view of the Americanised and popular character of the No Orchids novel, Orwell argued that there were ‘great numbers of English people who are partly Americanised in language and, one ought to add, in moral outlook’. : 73). If such Americanisation is indeed a trend then, for Orwell, ‘there would be good grounds for dismay’.
In this society ‘folk-songs, folk-dances, Cotswold cottages and handicraft products are signs and expressions of something more: an art of life, a way of living, ordered and patterned, involving social arts, codes of intercourse and a responsive adjustment, growing out of immemorial experience, to the natural environment and the rhythm of the year’ (cited in Johnson 1979:96). It may be the case that this view of the past is not fanciful but merely an attempt to show what has been lost, and the subsequent consequences of that loss.
An Introduction to Theories of Popular Culture, 2nd Edition by Dominic Strinati