By Dominic Strinati
An creation to Theories of pop culture is well known as an immensely precious textbook for college kids 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 glossy societies. one of the theories and concepts the publication introduces are: mann tradition, the Frankfurt college and the tradition undefined, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism. This new version offers clean fabric on Marxism and feminism, whereas a brand new ultimate bankruptcy assesses the importance of the theories defined within the publication.
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Extra resources for An Introduction to Theories of Popular Culture, 2nd Edition
He therefore concludes that ‘mass culture is very, very democratic: it absolutely refuses to discriminate against, or between, anything or anybody’ (MacDonald 1957:62). This argument is clearly similar to those we hear today regarding the postmodern traits of contemporary culture. Leavis’s argument, just how the intellectual elite’s arbitration of cultural taste is open to the democratising threat posed by mass culture. The real problem sometimes seems to be that mass culture, unlike folk culture, refuses to stay in its place and stick with the masses, but has pretensions beyond its station and merits; it refuses to recognise traditional hierarchies of taste, and the cultural distinctions generated by those at the top.
The temptation to accept the cheap and easy pleasures offered by the cinema, the circulating library, the magazine, the newspaper, the dance-hall, and the loud-speaker is too much for almost every one. To refrain would be to exercise a severer self-discipline than even the strongest-minded are likely to practise, for only the unusually self-disciplined can fight against their environment and only the unusually self-aware could perceive the necessity of doing so. : 229). : 235, 255); and, we might add, from other producers of mass culture as well.
Indeed, if he had continued to trace out these differences in the spy novel, he would have noted that the motives which led the mole in John Le Carré’s novel Tinker, Tailor, Soldier, Spy, to betray his country, arose from a deeply felt anti-Americanism. In his confession at the end of the novel, the mole, very much a Leavisite rather than a mod, cites Britain’s global decline and irrelevance, and America’s capitalist exploitation and materialism, as his reasons for his secret defection to the Soviet Union (Le Carré 1975:306).
An Introduction to Theories of Popular Culture, 2nd Edition by Dominic Strinati