High culture as mass culture

Society ◽  
1986 ◽  
Vol 23 (4) ◽  
pp. 65-69 ◽  
Author(s):  
Judith R. Blau
Keyword(s):  
Mass Culture ◽  
High Culture

scholarly journals Las alusiones a la Literatura española en Internet como palabras aladas : reto para el traductor extranjero

2011 ◽  
pp. 355
Author(s):  
Katarzyna Madyjewska
Keyword(s):  
Mass Culture ◽  
Spanish Language ◽  
Target Language ◽  
The Internet ◽  
High Culture ◽  
Important Impact ◽  
Virtual Interaction ◽  
The Subject ◽  
Rhetorical Model ◽  
Sobre Todo

este trabajo trata de las alusiones literarias en la traducción de textos españoles, sobre todo de los artículos de opinión accesibles en Internet. Con la creciente divulgación de la lengua española, y en consecuencia de los estereotipos de la cultura hispana, es más patente que el contacto entre lenguas no coincide con el de las literaturas locales. Además, las nuevas formas de comunicación en Internet, donde accedemos a ediciones digitales de prensa, foros, etc., plantean nuevos retos a la traducción, porque incorporan tanto los registros y contenidos de la cultura de masas como los de la alta cultura. Ésta se manifiesta en frecuentes alusiones a la literatura española, que independizadas de su contexto original se han convertido en las denominadas palabras aladas. Por tanto, un traductor debe elegir entre varias técnicas de traducción para reflejar en la lengua meta un impacto, un juego de palabras, una pretendida mezcla de registros o un idiolecto, que en la lengua original se producen a través del uso de alusiones literarias.Tthe article tackles with the subject of literary allusions in translation of spanish texts available on the internet. Along with the spread of spanish language, among which the spanish stereotypes have their important impact, we realize that the reciprocity between languages does not convey the subtle liaisons found in the local literary content. Contemporary means and manners of virtual interaction, within which we find newspages, blogs and forums, constitute further challenge in rhetorical model of translation. It is due to the fact that a blended styles and contents of discourse, which mix the mass culture with a high one, can be observed in texts addressed to all different audiences. In case of the participation of the high culture we may encounter certain allusions which became independent from its origin: so called winged words. Hence, a translator shall adopt a technique of translation which would convey in the target language the literary modes such as pun, witty remarks, styles of utterances or idiolect, which are, in the original texts, attained by the mentioned literary allusions.

scholarly journals Sinking in Quicksand: The Demise of Victorian High Culture in America 1870-1915

2008 ◽  
Vol 3 ◽  
Author(s):  
Mitra Sharafi
Keyword(s):  
Mass Culture ◽  
Ethnic Origin ◽  
Turn Of The Century ◽  
Point Of View ◽  
Common Denominator ◽  
High Culture ◽  
Level Of Education ◽  
Modern Mass ◽  
The Cost ◽  
The Ideal

Today, the term Victorian implies snobbishness and rigidity. Our world, the result in part of a rebellion against Victorian formality and social hierarchy, celebrates the classless, the democratic, and the popular. It professes faith in the artistic judgment of all members of society regardless of ethnic origin, level of education or wealth. From the Victorian point of view, however, twentieth-century mass culture is accessible to all by appealing to the lowest common denominator; it is inclusive at the cost of a loss of education, refinement, and profundity. Turn-of-the-century America is the ideal subject for a study of the interaction between Victorian high culture and modern mass culture; the period from 1870 to 1915 was one of drastic cultural metamorphosis. Social change threatened the foundations of high culture and eventually killed it, but not without the unintentional help of the Victorians' own self-alienating behaviour.

“Soul Is But Harmony”: David Josef Bach and the Workers' Symphony Concert Association, 1905–1918

2008 ◽  
Vol 39 ◽  
pp. 66-91 ◽  
Author(s):  
Jonathan Koehler
Keyword(s):  
World War I ◽  
Mass Culture ◽  
Art Music ◽  
Cultural Hegemony ◽  
World War ◽  
Public Performance ◽  
High Culture ◽  
Cultural Divide ◽  
Mass Politics ◽  
Great Attraction

Ifhigh culture, asTheodorAdornoonce proposed, promises a reality that does not exist, why, at the fin de siècle, did it hold such great attraction for Central Europe's populist politicians who were most attuned to the realities of everyday life? The answer, at least for imperial Austria, is that those politicians believed high culture to possess an integrative social function, which forced them to reconcile notions of “high” culture with “mass” culture. This was particularly true in Vienna, where the city's public performance venues for art, music, stage theater, and visual art stood as monuments to the values that the liberal middle classes had enshrined in the 1867 Constitution. A literate knowledge of this cultural system—its canon of symphonic music; the literature of tragedy, drama, and farce; and classical and contemporary genres of painting—was essential for civic participation in an era of liberal political and cultural hegemony. This article examines one cultural association that attempted to exploit the interaction between German high culture and two spheres, which are commonly thought to stand at odds with elite, high culture: popular culture and mass politics. Rather than a simple, cultural divide, this relationship created a contested “terrain of political and social conflict” in the decades preceding World War I. This terrain was of enormous consequence for Viennese of every social class.

Bulgarian Culture after 1989

2020 ◽  
Vol 44 (2) ◽  
pp. 283-302
Author(s):  
Kiril Vassilev
Keyword(s):  
Mass Culture ◽  
Communist Regime ◽  
The West ◽  
High Culture ◽  
Financial Difficulties ◽  
The Social ◽  
Arts And Culture ◽  
Modernization Process ◽  
Value Crisis

This article deals with the changes in Bulgarian culture after the fall of the Communist regime in Bulgaria in 1989. The first sections sketch the state of the Bulgarian culture and society during the later years of the communism. They describe the change in official ideology, i.e. the return to nationalism. The controversial role of the Communist regime in the modernization process of society is analyzed, with its simultaneous modernization and counter-modernization heritage. Then we shift to the changes in society and culture that have taken place since the fall of the regime. Attention is focused on the new mass culture, the embodiment of the value crisis in which the post-Communist Bulgarian society is located. The radical transformations in the field of the so-called ‘high’ culture are examined, especially the financial difficulties and the overall change in the social status of arts and culture. The basic trauma of the Bulgarian culture embodied in the constantly returning feeling of being a cultural by-product of the West is brought out. The article concludes that Bulgarian post-Communist culture has failed to create a more complex and flexible image of the “Bulgarian” that can use the energies of globalization without feeling threatened by disintegration.

The Problem of High Culture and Mass Culture

Diogenes ◽  
1954 ◽  
Vol 2 (5) ◽  
pp. 1-13 ◽  
Author(s):  
D.W. Brogan
Keyword(s):  
Mass Culture ◽  
High Culture

Culture

2006 ◽  
Vol 23 (2-3) ◽  
pp. 351-358 ◽  
Author(s):  
John Hutnyk
Keyword(s):  
Mass Culture ◽  
Frankfurt School ◽  
Culture Industry ◽  
High Mass ◽  
Critical Mode ◽  
High Culture ◽  
Cultural System ◽  
Street Culture ◽  
Political Struggles ◽  
Development Resource

Culture is considered as a key term in anthropology, now in critical mode, and to be worked through powerful tropes that lead to issues in politics, interpretation, translation, stereotype and racism. Anthropology is described as a cultural system itself, with a large supporting institutional apparatus, not unlike the culture industry as critiqued by Adorno and the Frankfurt School. The high mass culture/high culture distinction is considered and some distortions explained (away). Street culture and culture as (development) resource are evaluated, leading to an assessment of culture as souvenirs, trinkets and the ephemera of tourism as a modern commodity fetish. How this measures up to political struggles is again considered in the light of work by critics such as Fanon and those engaged with anti-imperialist struggles worldwide.

scholarly journals 'The Awful Stuff': Colin McCahon, High Art, and the Common Culture 1947-2000

2021 ◽  
Author(s):  
◽  
Lara Strongman
Keyword(s):  
Popular Culture ◽  
National Identity ◽  
New Zealand ◽  
Everyday Life ◽  
Mass Culture ◽  
High Culture ◽  
Common Culture ◽  
The Social ◽  
The Common ◽  
The Impact

<p>This thesis analyses the conditions of artistic production at two pivotal moments in the reception of modernism in New Zealand: the emergence of a tradition of modernist painting in the work of Colin McCahon in the late 1940s, and the dispersal of that tradition under the impact of postmodernism and postcolonialism circa 1990 in the work of Michael Parekowhai and Ronnie van Hout, among others. Artists’ distinctive engagement with a broad compass of visual culture is considered alongside a critique of local high culture in relation to the culture of everyday life. The reception of this work is figured as emblematic of the historical contestation over the representation of the everyday; a struggle for visibility which reveals the social antagonisms of New Zealand culture.  The first part of the thesis considers the vituperative critical response to McCahon’s use of formal devices drawn from comic books and commercial design in the late 1940s, against the background of the establishment of the national high culture. It accounts for the response by exploring the social factors inherent in critical disdain for commercial art and mass culture, which drew on the trenchant opposition of British intellectuals, and suggests that in McCahon’s work popular culture is employed as a form of aesthetic primitivism with which to represent the barbarities of World War II, as well as to express the experience of everyday life in New Zealand to a broad public audience. It concludes that fundamental to the antagonism over his work was disagreement over what constituted local cultural authenticity.  The second part of the thesis considers problems of New Zealand high culture figured in antagonistic relation to the culture of everyday life that were advanced by New Zealand critics in the years after McCahon produced his popular-culture inflected paintings. The anti-Americanism of New Zealand culture is considered in relation to the rise of the ‘comics menace’ as a source of moral panic in the early 1950s. However, the interest of a new generation of New Zealand scholars in popular culture is observed in changing attitudes towards comic strips (and to American culture) in the 1980s. The same scholars also seek new terms for local critical address. A final chapter of this section explores the afterlife of McCahon’s work following his death in 1987, tracking the movement of the work out into the common culture and the high culture’s contestation of his modernist legacy.   The third part of the thesis opens with an account of aspects of art practice under emerging cultural conditions of postmodernism and postcolonialism in New Zealand in the 1990s, and explores the continued role of McCahon’s work in expressing and revising issues of national identity. Central here is ‘Choice!’ (1990), an exhibition of contemporary Māori art, which introduced Michael Parekowhai’s work and precipitated an ongoing discussion on the politics of identity in contemporary art. While Parekowhai located aspects of Māori identity in the traditions of high art and globalised mass culture, other artists interrogated national identity by similar means. The result was an expansion of the terms both of national identity and of the critical territories of the high culture. The thesis concludes by examining the critical furore that arose when Te Papa Tongarewa, New Zealand’s new national museum, opened with the exhibition of a painting by Colin McCahon beside a refrigerator of the same vintage. The debate, which ensued, was largely concerned with the desire of critics to separate the domain of art from the domain of everyday life.  This analysis demonstrates how contestation between the high culture and the common culture represents a recurring and generative dynamic in the history of New Zealand art—in which McCahon is a pivotal figure—during the second half of the twentieth century.</p>

Horseback riding in the history of Poland – selected moments and reflections

2021 ◽  
Vol 4 (2) ◽  
pp. 11-24
Author(s):  
Wojciech J. Cynarski
Keyword(s):  
Urban Space ◽  
Mass Culture ◽  
Military Culture ◽  
High Culture ◽  
Martial Art ◽  
City Space ◽  
The World ◽  
History Of ◽  
Ancient Times ◽  
The City

Background. The cavalry was the primary armed force of Poles and their legendary ancestors from ancient times, especially in historical formations. It also functions as an element of national history in culture in its various areas. Problem. How this fragment of the old Polish military culture manifests itself in high and mass culture, in the world of film, in the city space, in pictures and numismatic values, and how is it displayed in the field of martial arts cultivated today? Method. The answers will be formulated based on an analysis of 30 selected works of art, value or cultural artefacts and illustrated with examples. Examples include films of Polish cinematography (Teutonic Knights, The Deluge, Hubal and others), a series of commemorative medals and paintings by outstanding Polish painters that inspired the authors of these medals. Therefore, both great paintings by outstanding artists (Jan Matejko, Wojciech Kossak etc.), monuments and films, and small graphic forms (coins, medals). Results and conclusions. This Polish tradition of military culture manifests itself even today in high culture (painting, literature) and mass culture (films, songs), in urban space (monuments), and the artistic qualities of medals. It is also cultivated in the Polish martial art practised today – in teaching one of the schools. It is about horse fencing in Signum Polonicum.

The Dangers of Poetry

2020 ◽  
Author(s):  
Kevin M. Jones
Keyword(s):  
Social History ◽  
Mass Culture ◽  
Cultural Landscape ◽  
Historical Analysis ◽  
High Culture ◽  
Political Consequences ◽  
Avant Garde ◽  
The Social ◽  
Social Acts ◽  
History Of

Poetry has long dominated the cultural landscape of modern Iraq, simultaneously representing the literary pinnacle of high culture and giving voice to the popular discourses of mass culture. As the favored genre of culture expression for religious clerics, nationalist politicians, leftist dissidents, and avant-garde intellectuals, poetry critically shaped the social, political, and cultural debates that consumed the Iraqi public sphere in the twentieth century. The popularity of poetry in modern Iraq, however, made it a dangerous practice that carried serious political consequences and grave risks to dissident poets. The Dangers of Poetry is the first book to narrate the social history of poetry in the modern Middle East. Moving beyond the analysis of poems as literary and intellectual texts, Kevin Jones shows how poems functioned as social acts that critically shaped the cultural politics of revolutionary Iraq. He narrates the history of three generations of Iraqi poets who navigated the fraught relationship between culture and politics in pursuit of their own ambitions and agendas. Through this historical analysis of thousands of poems published in newspapers, recited in popular demonstrations, and disseminated in secret whispers, this book reveals the overlooked contribution of these poets to the spirit of rebellion in modern Iraq.

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