References in periodicals archive ?
One could argue that what makes Bigger's existence truly gothic is the wild terror and the extravagant desire that are produced when these narratives of mass culture act on an individual for whom the normative markers of identity--markers of class, race, gender, sexuality--have broken down and who is confined within the rigid and narrow limits of the ghetto.
Although Schwartz perhaps could have devoted more space to speculating about the extent to which this discussion was distinctively German, this book remains a highly suggestive interpretation of the historical genesis and dialectical development of mass culture theory.
The opacity of the argument in "The Mass Ornament" has its source in a concept of the masses that anticipated certain aspects of the Frankfurt School's rigid perspective on mass culture, notably the global range and the conceptual patterning of their total rejection of it.
Kushner's nearest formulation of negative classicism is in the form of a largely unintelligible question: "[A] re we going to continue on the path of surrendering more and more of our vital, social, communal strength, health and will to an ego-anarchism...serving the mad profiteering of a monied elite?" The problem with critiques of mass culture that demonize the producer is that, in seeking to exclude the mass audience from blame, they necessarily deprive it of will.
The disallowance of the specific cultures and histories of African-Americans and black women especially is figured in The Bluest Eye primarily as a consequence of or sideline to the more general annihilation of popular forms and images by an ever more all-pervasive and insidious mass culture industry.
Doug Aitken's Broken Screen, a project for Artforum, might be considered a kind of living homage to McLuhan's popular handbook, in which the theorist paired his aphorisms with imagery appropriated from art and mass culture to magnify for readers the impact of technology on both human perception and society at large.
Thus, Bodek suggests, not only did the spread of (capitalist) mass culture invade the fortress of proletarian culture but "the manners, style and assumptions of the proletarian public sphere" (151) infiltrated popular culture via the circuitous route of the bourgeois avant garde.
He provides new ways of thinking about the role of music in mass culture and also analyzes how listening took place through radio, recordings, and films from 1924-1945.
From Bruce Hainley's look at Jean-Christophe Ammann's 1974 show "Transformer," which took its name from the eponymous Lou Reed album, to Kitty Hauser's discussion of Takashi Murakami's 2000 manifesto and survey "Superflat," this section revisits key interfaces between art and mass culture, with a close look at how these moments were written into Pop history.
As peasant culture, a primary repository of tradition, has been done in by globalization, democratization, and the advent of mass culture, so French society at large has lost its anchoring in past and memory.
We know that the author of "Avant-Garde and Kitsch" was no fan of mass culture, nor of the "middlebrow" poetry and fiction published in journals like the New Yorker and the Saturday Evening Post.
These include Robert Toll, Blocking Up (1974); Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (1993); Alexander Saxton, The Rise and Fall of the White Republic: Class Politics and Mass Culture in Nineteenth-Century America (1990); Howard L.