By Dominic Strinati
An creation to Theories of pop culture is widely known as an immensely worthwhile 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 sleek societies. one of the theories and ideas the ebook 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 e-book.
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Extra info for An Introduction to Theories of Popular Culture, 2nd Edition
The better known and more extensive presentation of this position is that put forward by the English cultural critic Richard Hoggart (b. 1918). Hebdige links Orwell and Hoggart together in what he calls a ‘negative consensus’ since they knew what they wanted to preserve—the traditional workingclass community—rather than what they wanted to change. He argues that ‘Orwell and Hoggart were interested in preserving the “texture” of working-class life against the bland allure of post-war affluence—television, high wages, and consumerism’ (Hebdige 1988:51; cf.
Webster 1988:180–181). 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 he writes: 30 MASS CULTURE it was in American fiction that many British working class readers…found a realism about city life, an acknowledgement of big business corruption, and an unpatronising portrayal of working class experience and speech which wasn’t to be found in British popular fiction of the period, least of all in the crime novel obsessed as it was with the corpse in the library, the colonel’s shares on the stock market, and thwarted passion on the Nile. (Worpole 1983:35) Among other things, this provides an interesting contrast to Orwell’s complaints about the ‘decline of the English murder’ and the popularity of the American crime novel.
An Introduction to Theories of Popular Culture, 2nd Edition by Dominic Strinati