Reiss uses P. T. Barnum's Joice Heth hoax to examine the race relations in the antebellum North. Barnum's first exhibit as a showman, Heth was an enslaved woman said to be the 161-year-old former ...nurse of the infant George Washington. The newly emerging commercial press turned her act into one of the first media spectacles in American history.
Late nineteenth-century America saw an explosion in mass culture-from sensationalist tabloid newspapers to amusement parks to Wild West shows. Historians and critics have traditionally observed the ...advent of mass culture as undermining literature's central role in the public sphere. Literary writers of the time either reacted with a public show of disdain or retreated to conduct their own private experiments in style and form. InFrantic Panoramas, Nancy Bentley questions these narratives of opposition.
For literary writers, Bentley explains, the confrontation with mass culture was less a retreat than a transformation, an ordeal through which habits of contemplative appreciation could be refashioned into new forms of critical thought. By grappling with the energies that marked mass culture, authors came to recognize kinds of human experience that were only then becoming visible as public. William Dean Howells shaped the plots of his novels around tabloid events like rail and trolley accidents and the public chaos of apartment house fires. Although Henry James was distressed at the way dime fiction had changed the very definition of literature, his meditations on mass culture led him to reimagine the novel as a collective "workshop" in which authors and readers jointly discovered new meaning. Bentley offers close readings of these and other writers such as Edith Wharton, James Weldon Johnson, Pauline Hopkins, and Gertrude Bonnin to demonstrate how leading artists took inspiration from commercial culture to create new and distinct literary forms.
Drawing on original archival research and a historically grounded theory of realism,Frantic Panoramasis an innovative and comprehensive study of how the emergence of mass culture affected literary culture in America.
The 2012 smash "Gangnam Style" by the Seoul-born rapper Psy capped the triumph of Hallyu , the Korean Wave of music, film, and other cultural forms that have become a worldwide sensation. Dal Yong ...Jin analyzes the social and technological trends that transformed Hallyu from a mostly regional interest aimed at families into a global powerhouse geared toward tech-crazy youth. Blending analysis with insights from fans and industry insiders, Jin shows how Hallyu exploited a media landscape and dramatically changed with the 2008 emergence of smartphones and social media, designating this new Korean Wave as Hallyu 2.0. Hands-on government support, meanwhile, focused on creative industries as a significant part of the economy and turned intellectual property rights into a significant revenue source. Jin also delves into less-studied forms like animation and online games, the significance of social meaning in the development of local Korean popular culture, and the political economy of Korean popular culture and digital technologies in a global context. A first-of-its-kind treatment, New Korean Wave maps how a convergence of technology, leadership, and avid fandom unleashed a cultural tsunami.
This ambitious work provides a comprehensive, empirically grounded study of the production, circulation, and reception of Japanese popular culture in Asia. While many studies typically employ an ...interactive approach that focuses on the "meaning" of popular culture from an anthropological or cultural studies point of view,Regionalizing Cultureemphasizes that the consumption side and contextual meaning of popular culture are not the only salient factors in accounting for the proliferation of popular cultural products-the production side and organizational aspects are also important. In addition to presenting individual case studies, the book offers a big-picture view of the dramatic changes that have taken place in popular culture production and circulation in Asia over the past two decades.The author has gleaned information from primary sources in Japanese, English, and other languages; research visits to Japan, Hong Kong, Singapore, Shanghai, Bangkok, and Seoul; as well as insights of people with firsthand knowledge from within the cultural industries. From this broad range of source, he develops an integrative political economic approach to popular culture. Regionalizing Culture offers a dialectical look at the organization of cultural production, primarily at the structure and control of cultural industries, interconnections between companies and production networks, and relations between the business sector and the state. It traces the rise of Japan as a popular culture powerhouse and the expansion of its cultural industries into Asian markets. It looks as well at the creation of markets for Japanese cultural commodities since the late 1980s, the industrial and normative impact that Japanese cultural industries have on the structure of the local cultural industries, and the wider implications these processes have for the Asian region.The growing popularity and importance of Japan's popular culture will make this book a basic text for scholars and students of popular culture as well as for those interested in political economy, media and communication studies, Japanese-Asian relations, Asian studies, and international relations.Nissim Kadosh Otmazginis lecturer in the Department of East Asian Studies, The Hebrew University of Jerusalem, and research fellow at the Harry S. Truman Research Institute for the Advancement of Peace.
South Korean masculinities have enjoyed dramatically greater influence in recent years in many realms of pan-Asian popular culture, which travels freely in part because of its hybrid ...trans-nationalistic appeal. This book investigates transcultural consumption of three iconic figures — the middle-aged Japanese female fandom of actor Bae Yong-Joon, the Western online cult fandom of the thriller film Oldboy, and the Singaporean fandom of the pop-star Rain. Through these three specific but hybrid contexts, the author develops the concepts of soft masculinity, as well as global and postmodern variants of masculine cultural impacts. In the concluding chapter, the author also discusses recently emerging versatile masculinity within the transcultural pop production paradigm represented by K-pop idol boy bands.
Examining the figure of Aesop and the traditions surrounding him, Aesopic Conversations offers a portrait of what Greek popular culture might have looked like in the ancient world. What has survived ...from the literary record of antiquity is almost entirely the product of an elite of birth, wealth, and education, limiting our access to a fuller range of voices from the ancient past. This book, however, explores the anonymous Life of Aesop and offers a different set of perspectives. Leslie Kurke argues that the traditions surrounding this strange text, when read with and against the works of Greek high culture, allow us to reconstruct an ongoing conversation of "great" and "little" traditions spanning centuries.
How is it that American intellectuals, who had for 150 years worried about the deleterious effects of affluence, more recently began to emphasize pleasure, playfulness, and symbolic exchange as the ...essence of a vibrant consumer culture? The New York intellectuals of the 1930s rejected any serious or analytical discussion, let alone appreciation, of popular culture, which they viewed as morally questionable. Beginning in the 1950s, however, new perspectives emerged outside and within the United States that challenged this dominant thinking.Consuming Pleasuresreveals how a group of writers shifted attention from condemnation to critical appreciation, critiqued cultural hierarchies and moralistic approaches, and explored the symbolic processes by which individuals and groups communicate. Historian Daniel Horowitz traces the emergence of these new perspectives through a series of intellectual biographies. With writers and readers from the United States at the center, the story begins in Western Europe in the early 1950s and ends in the early 1970s, when American intellectuals increasingly appreciated the rich inventiveness of popular culture. Drawing on sources both familiar and newly discovered, this transnational intellectual history plays familiar works off each other in fresh ways. Among those whose work is featured are Jürgen Habermas, Roland Barthes, Umberto Eco, Walter Benjamin, C. L. R. James, David Riesman and Marshall McLuhan, Richard Hoggart, members of London's Independent Group, Stuart Hall, Paddy Whannel, Tom Wolfe, Herbert Gans, Susan Sontag, Reyner Banham, and Robert Venturi and Denise Scott Brown.
Which is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, ...Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture. The implications of Currid's argument are far-reaching, and not just for New York. Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy. With vivid first-person reporting about New York's creative scene, Currid takes the reader into the city spaces where the social and economic lives of creativity merge. The book has fascinating original interviews with many of New York's important creative figures, including fashion designers Zac Posen and Diane von Furstenberg, artists Ryan McGinness and Futura, and members of the band Clap Your Hands Say Yeah. The economics of art and culture in New York and other cities has been greatly misunderstood and underrated. The Warhol Economy explains how the cultural economy works-and why it is vital to all great cities.
The Seduction of Brazil Tota, Antonio Pedro; Ellis, Lorena B; Greenberg, Daniel J
2009, 20090101
eBook
Following completion of the U.S. air base in Natal, Brazil, in 1942, U.S. airmen departing for North Africa during World War II communicated with Brazilian mechanics with a thumbs-up before starting ...their engines. This sign soon replaced the Brazilian tradition of touching the earlobe to indicate agreement, friendship, and all that was positive and good—yet another indication of the Americanization of Brazil under way during this period. In this translation of O Imperialismo Sedutor, Antonio Pedro Tota considers both the Good Neighbor Policy and broader cultural influences to argue against simplistic theories of U.S. cultural imperialism and exploitation. He shows that Brazilians actively interpreted, negotiated, and reconfigured U.S. culture in a process of cultural recombination. The market, he argues, was far more important in determining the nature of this cultural exchange than state-directed propaganda efforts because Brazil already was primed to adopt and disseminate American culture within the framework of its own rapidly expanding market for mass culture. By examining the motives and strategies behind rising U.S. influence and its relationship to a simultaneous process of cultural and political centralization in Brazil, Tota shows that these processes were not contradictory, but rather mutually reinforcing. The Seduction of Brazil brings greater sophistication to both Brazilian and American understanding of the forces at play during this period, and should appeal to historians as well as students of Latin America, culture, and communications.
From the late nineteenth century through World War II, popular culture portrayed the American South as a region ensconced in its antebellum past, draped in moonlight and magnolias, and represented by ...such southern icons as the mammy, the belle, the chivalrous planter, white-columned mansions, and even bolls of cotton.InDreaming of Dixie, Karen Cox shows that the chief purveyors of this constructed nostalgia for the Old South were outsiders of the region, especially advertising agencies, musicians, publishers, radio personalities, writers, and filmmakers playing to consumers' anxiety about modernity by marketing the South as a region still dedicated to America's pastoral traditions. Cox examines how southerners themselves embraced the imaginary romance of the region's past, particularly in the tourist trade as southern states and cities sought to capitalize on popular perceptions by showcasing their Old South heritage. Only when television emerged as the most influential medium of popular culture did views of the South begin to change, as news coverage of the civil rights movement brought images of violence, protest, and conflict in the South into people's living rooms. Until then, Cox argues, most Americans remained content with their romantic vision of Dixie.
