High Culture and Popular Culture in Eighteenth-Century England

2013 ◽  
pp. 103-124
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
High Culture

Fortunetellers and Sorcerers in the Service of a Russian Aristocrat of the Eighteenth Century: The Case of Chamberlain Petr Saltykov

2013 ◽  
Vol 40 (3-4) ◽  
pp. 364-380
Author(s):  
Elena B. Smilianskaia
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
18Th Century ◽  
Traditional Culture ◽  
Supplementary Information ◽  
Folk Culture ◽  
High Culture ◽  
Two Cultures ◽  
Imperial Court ◽  
The Masses

The case of Petr Saltykov, which stretched on between 1758 and 1765, with a surprising coda in 1796, is noteworthy in many respects. The material collected in connection with Saltykov’s crime is useful for an investigation into magic belief as such, offering parallels and supplementary information to the dozens of “magic trials” of the 18th century. However, what makes the Saltykov case unique is how the chancellor’s “superstition” managed so compellingly to bring together two cultures – traditional folk culture and the “Europeanized” culture of the imperial court. The case of Saltykov’s “sorcery” brought the diametrically opposed cultures of the court elite and the masses into confrontation. But even opposites can come together. As it turned out, the magic beliefs of the masses and medical practices of archaic traditional culture continued to attract adherents at court, getting along just fine in a high-culture, “Europeanized” environment. The chasm that lay between the culture of the aristocratic court elite and popular culture in the 18th century was not unbridgeable, although possible intersections of these two cultures sometimes took on rather strange configurations.

scholarly journals The Counter-Hegemonic Virtues of Popular Culture in Eighteenth-Century England

2015 ◽  
Vol 25 (1) ◽  
pp. 10-19
Author(s):  
Dragoș Ivana
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
National Identity ◽  
Cultural Identity ◽  
Early Modern ◽  
Early Modern England ◽  
High Culture ◽  
Valid Method ◽  
Porous Boundaries

Abstract The purpose of this article is to re-examine popular culture in early-modern England by focusing on the oral/illiterate-written/literate and popular culture-high culture dyads. I aim to question why these interrelated socio-cultural categories have not been properly reconciled by the writers of the time. Moreover, my purpose is to focus on antiquarianism as a valid method whereby the delineation between the above-mentioned dichotomies turns into a subtle relationship in which both terms become complementary. I shall focus on two important antiquarian texts - Henry Bourne’s Antiquitates Vulgares (1725) and John Brand’s Observations on Popular Antiquities (1777) - by considering issues of religion and national identity, in an attempt to show that popular culture made known its counter-hegemonic virtues which, though permanently negotiated, were never rejected by the polite. Ultimately, the unstable relationship between the high and the low will be seen as suggestive of the porous boundaries between the two, indicating, at the same time, popular culture’s participatory role in rethinking cultural identity in Enlightenment England.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

Polin: Studies in Polish Jewry Volume 32

2020 ◽  
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Popular Culture ◽  
National Identity ◽  
Final Section ◽  
Classical Music ◽  
Religious Practice ◽  
Jewish Music ◽  
The Holocaust ◽  
Jewish Involvement

With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The chapters do not attempt to define what may well be undefinable—what “Jewish music” is. Rather, they provide an original and much-needed exploration of the activities and creativity of “musicians of the Jewish faith.“

Art and Brand Contamination

2019 ◽  
pp. 339-354
Author(s):  
Marta Massi ◽  
Chiara Piancatelli ◽  
Sonia Pancheri
Keyword(s):  
Popular Culture ◽  
The Other ◽  
Brand Awareness ◽  
Arts Organizations ◽  
High Culture ◽  
Goods And Services ◽  
The Arts ◽  
Low Culture ◽  
The One ◽  
Cross Fertilization

Albeit often perceived as two worlds apart, low culture and high culture are increasingly converging to collaborate in mutually advantageous ways. Brands—including the name, term, sign, symbol, or combination of them that identify the goods and services of a seller or group of sellers, and differentiate them from those of the competitors—are the new territory where high culture and low culture co-exist and collaborate, creating new possibilities of cross-fertilization and hybridization between the two. Through the analysis of successful examples coming from different industries, this chapter aims to highlight how brands have blurred the distinction between low culture and high culture. On the one hand, brands can use the heritage of the arts world to gain authenticity and legitimate themselves in the eyes of consumers and the society. On the other hand, artists and arts organizations, such as museums and other art institutions, can indulge in popular culture in order to become appealing to younger target markets and enhance their brand awareness and image.

FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’

2020 ◽  
Vol 17 (2) ◽  
pp. 177-199
Author(s):  
ANA LOMBARDÍA
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Cultural Identity ◽  
Chamber Music ◽  
Musical Identity ◽  
Violin Sonata ◽  
Violin Music ◽  
Musical Traditions ◽  
Solo Violin

ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.

American Popular Culture and High Culture in a Changing Class Structure

Prospects ◽  
1985 ◽  
Vol 10 ◽  
pp. 17-37 ◽  
Author(s):  
Herbert J. Gans
Keyword(s):  
Popular Culture ◽  
Leisure Time ◽  
Previous Analysis ◽  
Class Structure ◽  
Accurate Analysis ◽  
High Culture ◽  
Parallel Class ◽  
American Popular Culture ◽  
Class A ◽  
Time Culture

America's leisure-time activities — artistic, entertaining, inlorma-tional and other — have usually been divided into elite and mass components, high culture and popular culture. However, because sociologists aim, among other things, to connect people's behavior with their social and economic origins, and because leisure-time culture is in part a reflection and an effect of class, a sociologically more accurate analysis calls for a set of cultural strata or subcultures that parallel class strata. I proposed such cultural strata in an earlier study; the purpose of this paper is to update the previous analysis. After raising some conceptual issues, I want to describe recent changes in the American class structure and therefore in American culture, concluding with some comments on the relationships between culture and class.

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