An Introduction to Theories of Popular Culture is widely recognized as an immensely useful textbook for students taking courses in the major theories of popular culture. Strinati provides a critical ...assessment of the ways in which these theories have tried to understand and evaluate popular culture in modern societies.
Among the theories and ideas the book introduces are: mann culture, the Frankfurt School and the culture industry, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism.
This new edition provides fresh material on Marxism and feminism, while a new final chapter assesses the significance of the theories explained in the book.
1. Mass Culture and Popular Culture 2. The Frankfurt School and the Culture Industry 3. Structralism, Semiology and Popular Culture 4. Marxism, Political Economy and Ideology 5. Feminism and Popular Culture 6. Postmodernism and Popular Culture
Dominic Strinati is a Lecturer in Sociology at the University of Leicester. He is the author of An Introduction to Studying Popular Culture (Routledge 2000).
Pridobivanje znanja se je v industrijskem času povezovalo z dejanskimi razmerami. Šolanje in poklic sta pripravila človeka navadno za vse življenje, takrat ko še družba ni bila izpostavljena ...tolikšnim spremembam, kot je danes. Za obdobje, v katerem živimo, je značilno, da se način življenja in preživetja radikalno spreminjata. Spremembe, ekonomske, politične, kulturne, so nenadne in velike. Zato je težko vnaprej predvidevati, kakšno znanje bo človek potreboval. Natančneje lahko ugotavljamo potrebe po znanju šele v konkretnih položajih. Znanje postaja zelo fluidno. Pojavlja se mnogo novega znanja, veliko naučenega pa zastareva. Ključ za ustrezno izobraževanje ni v naštevanju znanj, ki jih danes človek potrebuje, temveč v spremenjenem načinu izobraževanja in v drugačnih osnovnih vzgojnih vzorcih. Strokovnjaki piše jo o novih paradigmah vzgoje, iščejo temeljne vzorce, po katerih bi opredelili vzgojo, primerno sodobnemu stanju družbeno-ekonomskih razmerij. Vzgoja in izobraževanje, ki sta bili značilni za industrijsko civilizacijo, ne zadoščata več za civilizacijo elektronske proizvodnje in informacijske družbe, ker so zanjo značilna nova razmerja in procesi.Nove paradigme obsegajo zlasti neformalno izobraževanje, zasebnost izobraževanja, nevidnega učitelja in nevidne (virtualne) poti izobraževanja, dostop do znanja, ki ga naj ima vsak človek (znanje in izobraževanje nista več lastnina in nista izpostavljena politični moči), razvoj osebnostnih lastnosti kot trajnih učinkov vzgoje, permanentnost izobraževanja ali vseživljenjsko izobraževanje. V teh razmerjih pa se sproti porajajo in zadovoljujejo potrebe po posamičnih znanjih, takrat, ko jih, in tam, kjer jih nekdo potrebuje. Upada pomen institucij, nadomeščajo jih sproti nastale osebne povezave ali mreže. Med pomembnimi paradigmami je tudi globalizacija izobraževanja, v nasprotju s še vedno veljavnimi nacionalnimi izobraževalnimi sistemi. Sodobni človek potrebuje nova razmerja v vzgoji in izobraževanju, zlasti večjo svobodo in možnost za osebni razvoj, profiliranje in identifikacijo. Pri izobraževanju postaja čedalje bolj odvisen od sebe, od tega, koliko znanja in kako ga bo lahko zajel, in ne več od tega, koliko mu ga bo do drugi privoščili. Izobraževanje in vzgoja sta tesno povezana z ekonomskim in s socialnim razvojem. Ker je svetovni trg prevladal nad nacionalnimi trgi, se tudi izobraževalni pojavi in procesi če dalje bolj oblikujejo na svetovni ravni.
Provider: - Institution: - Data provided by Europeana Collections- Rodin I is a sculpture - story loosely based on the life and fate of four different characters, Rodin, Camille Claudel, Rose and the ...Elephant Man. They are connected through the space of their bodies, the territory of Rodin's art. They are sculptures caught at the various points of a spasm. Their fleeting sensual perceptions feed one into other - with the aim of developing the perfect contour of touch, a fluctuating line of touching.
Iva Jevtić- Rodin I je skulptura-zgodba, ki temelji na življenjskih usodah štirih različnih oseb, Rodina, Camille Claudel, Rose Rodin in Cloveka slona. Ti liki so povezani skozi pokrajino svojih teles, skozi področje Rodinovega ustvarjanja. So skuplture ujete v različnih presekih krča. Njihova minljiva senzualna percepcija se med seboj dopolnjuje - in razvije bežen obris dotika, valujočo linijo dotikanja.
Iva Jevtić- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Rodin I is a sculpture - story loosely based on the life and fate of four different characters, Rodin, Camille Claudel, Rose and the ...Elephant Man. They are connected through the space of their bodies, the territory of Rodin's art. They are sculptures caught at the various points of a spasm. Their fleeting sensual perceptions feed one into other - with the aim of developing the perfect contour of touch, a fluctuating line of touching.
Iva Jevtić- Rodin I je skulptura-zgodba, ki temelji na življenjskih usodah štirih različnih oseb, Rodina, Camille Claudel, Rose Rodin in Cloveka slona. Ti liki so povezani skozi pokrajino svojih teles, skozi področje Rodinovega ustvarjanja. So skuplture ujete v različnih presekih krča. Njihova minljiva senzualna percepcija se med seboj dopolnjuje - in razvije bežen obris dotika, valujočo linijo dotikanja.
Iva Jevtić- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Rodin I is a sculpture - story loosely based on the life and fate of four different characters, Rodin, Camille Claudel, Rose and the ...Elephant Man. They are connected through the space of their bodies, the territory of Rodin's art. They are sculptures caught at the various points of a spasm. Their fleeting sensual perceptions feed one into other - with the aim of developing the perfect contour of touch, a fluctuating line of touching.
Iva Jevtić- Rodin I je skulptura-zgodba, ki temelji na življenjskih usodah štirih različnih oseb, Rodina, Camille Claudel, Rose Rodin in Cloveka slona. Ti liki so povezani skozi pokrajino svojih teles, skozi področje Rodinovega ustvarjanja. So skuplture ujete v različnih presekih krča. Njihova minljiva senzualna percepcija se med seboj dopolnjuje - in razvije bežen obris dotika, valujočo linijo dotikanja.
Iva Jevtić- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Žiga Divjak, prejemnik Borštnikove nagrade za najboljšo režijo za režijo uprizoritve Človek, ki je gledal svet v izvedbi Slovenskega ...mladinskega gledališča.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Žiga Divjak, prejemnik Borštnikove nagrade za najboljšo režijo za režijo uprizoritve Človek, ki je gledal svet v izvedbi Slovenskega ...mladinskega gledališča.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Na fotografiji: Peter Boštjančič (brivec Šu Fu) v predstavi Dobri človek iz Sečuana v režiji Ivane Vujić- All metadata published by ...Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Na fotografiji: v ospredju Peter Boštjančič (Brivec Šu Fu), Milada Kalezić (Šen Te), Kristijan Ostanek (Jang Sun)- Režiserka Ivana ...Vujić, premiera 6. 3. 2004, Drama SNG Maribor- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Na fotografiji: Sonja Blaž (Gospa Jang), Kristijan Ostanek (Jang Sun), Milada Kalezić (Šen Te)- Režiserka Ivana Vujić, premiera 6. ...3. 2004, Drama SNG Maribor- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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