This paper gives an overview of the placebo effect in popular culture, especially as it pertains to the work of authors Patrick O’Brian and Sinclair Lewis. The beloved physician as placebo, and the clinician scientist as villain are themes that respectively inform the novels, The Hundred Days and Arrowsmith. Excerpts from the novels, and from film show how the placebo effect, and the randomized clinical trial, have emerged into popular culture, and evolved over time.

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in (...) a variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

This paper contributes to the Business Ethics literature by unpacking the multimodal construction of moral narratives in popular culture and its portrayals of organizations and organizational roles. Understanding such portrayals and their construction is crucial to Business Ethics scholarship because they shape organizational imaginaries, influencing understandings and expectations of the ethical/moral responsibilities of organizations and the actors within them. In particular, we study the construction of moral narratives within a reality TV show that focuses on immigration and (...) border control at an airport. We find that the immigration officers are depicted as rational and heroic figures whilst the travellers are presented as emotional and potentially dangerous characters. Our analysis highlights how this is achieved via five multimodal editing dimensions—the structure of interactional scenes, the ability to address the camera, the narrator’s comments, the visual and music effects—that are key in constructing clearly defined personae. We show how, through the intersubjective construction of clear-cut characters, the show downplays the moral complexity of its content. Portraying immigration officers as heroic, while presenting travellers as potentially dangerous, allows for a silencing of any ethical questioning of immigration officers’ organizational practices. (shrink)

This volume addresses the relationship between irony and popular culture and the role of the consumer in determining and disseminating meaning. Arguing that in a cultural climate largely characterised by fractious communications and perilous linguistic exchanges, the very role of irony in popular culture needs to come under greater scrutiny, it focuses on the many uses, abuses, and misunderstandings of irony in contemporary popular culture, and explores the troubling political populism at the heart of (...) many supposedly satirical and (apparently) non-satirical texts. In an environment in which irony is frequently claimed as a defence for material and behaviour judged controversial, how do we, as a society entrenched in forms of popular culture and media, interpret work that is intended as satire but which reads as unironic? How do we accurately decode works of popular film, literature, television, music, and other cultural forms which sell themselves as bitingly ironic commentaries on current society, but which are also problematic celebrations of the very issues they purport to critique? And what happens when texts intended and received in one manner are themselves ironically recontextualised in another? Bringing together studies across a range of cultural texts including popular music, film and television, Isn't it Ironic? will appeal to scholars of the social sciences and humanities with interests in cultural studies, media studies, popular culture, literary studies and sociology. (shrink)

These essays showcase the value of the narrative arts in investigating complex conflicts of value in moral and political life, and explore the philosophical problem of moral dilemmas as expressed in ancient drama, classic and contemporary novels, television, film, and popular fiction. From Aeschylus to Deadwood, from Harriet Beecher Stowe to Harry Potter, the authors show how the narrative arts provide some of our most valuable instruments for complex and sensitive moral inquiry.

Utilizing an evolutionary perspective has proven fruitful in a number of areas of interest outside of the standard psychological or anthropological topics. This includes a wide range of fields from applied disciplines such as law, criminology, medicine, and marketing, to the study of the imagined worlds found in art and literature, the domains of the humanities. A number of excellent books, as well as numerous articles, detail the impressive work done in applying evolutionary insights to the study of art (...) and literature. This article focuses on evolutionarily informed explorations of popular culture, an area that, only relatively recently, has benefited from research taking this approach. The existing scholarship in this area will be reviewed, and future directions and challenges highlighted. (shrink)

These essays showcase the value of the narrative arts in investigating complex conflicts of value in moral and political life, and explore the philosophical problem of moral dilemmas as expressed in ancient drama, classic and contemporary ...

The article examines recurrent instances of personal and professional negative sanctions resulting from individual researchers publishing findings considered contrary to the historical and prevailing alcoholism and drug-addiction treatment Zeitgeist. Instances from the published literature along with personal accounts from professionals in the field are presented. It is suggested that these instances indicate a pattern of political and ideological conflicts generated from a treatment-professional and a popular-culture, nonscientifically based belief system on the one hand, versus a research-based system (...) on the other. Implications are discussed in terms of open scientific discourse, and the consequences on addiction research, treatment, policy, funding, and ethics. (shrink)

ABSTRACT In what ways can the study of science and popular culture in the American context contribute to ongoing debates on popularization and popular science? This essay suggests that, for several reasons, attention to the antebellum era offers the most significant opportunity to realize more sophisticated understandings of science in American popular culture. First, it enables us to take advantage of comparative opportunities, both by benefiting from the advanced state of historiography for Victorian popular (...) science and by engaging with a generation of historiographic innovations by scholars in U.S. history, American studies, literature, and art history. Second, the emergence of popular science in the context of the republican ethos of the antebellum period provides an important vantage point from which to assess the extent to which the general issue of “popular science” and its cognates is historically variable and multiple in terms of the politics of knowledge. Third, the ramifications of the development of popular science for relations between science and the public well into the twentieth century cannot be understood until we gain a more clearly developed sense of the emergent period. (shrink)

Popular culture is ubiquitous. And referencing popular culture can be an excellent pedagogical tool. Used properly, it provides students with easily accessible examples—in some cases examples they have already been interested in. Given these facts, the creation and expansion of the literature on the intersection of popular culture and philosophy is not surprising. The purpose of these volumes has been controversial since their inception, but they do seem ideally suited as introductory texts. This (...) essay examines four recent volumes in popular culture and philosophy as pedagogical tools. These volumes on Sherlock Holmes, Christmas, Dr. Seuss, and Facebook all offer unique and useful tools for the teacher attempting to introduce students to philosophy. (shrink)

Cultural studies constitutes one of the most multi-perspectival research fields. Amidst a polyvocal theoretical landscape that spans different disciplines semiotics is of foundational value. In an attempt to effectively address the conceptual richness of the semiotic discipline, a wide roster of perspectives is evoked in this book against the background of a diverse set of cultural phenomena, including structuralist and post-structuralist semiotics, semiotically informed psychoanalysis, cultural semiotics, film semiotics, sociosemiotics, but also, to a lesser extent, music semiotics and more niche, (...) but certainly promising perspectives, such as postmodern semiotics, ethnosemiotics, phenomenological semiotics and rhetorical semiotics. The recruitment of semiotic frameworks and concepts is enacted against the background of advances in cultural studies (thus reinstating the dialogue with a discipline that took form by drawing on semiotics in the first place) and the various research streams that have become consolidated within the wider cultural studies territory, such as memory studies, celebrity studies, death studies, cultural geography, visual studies. At the same time, the offered readings engage dialogically with Consumer Culture Theory. As regards the diversity of cultural phenomena that constitute the empirical substratum of the offered analyses, music, cinema, new media, live-shows, branding, advertising and literature constitute the focal areas of concern. Under the aegis of a permeating textuality paradigm, the ubiquitously applicable tools of multimodal analysis, and time-hallowed qualitative research methods facilitated by advances in videography and archival research, the featured semiotic readings aim at scrutinizing the wider social implications and communicative functions of popular cultural artefacts, spectacles, processes and places, such as Lady Gaga’s monstrosity, Dio’s memorial, experiential consumption events, the ice-bucket challenge video meme. (shrink)

This essay examines the breast cancer accounts of four Arab female celebrities who have spoken out in public about their illness experience: the Egyptian TV presenter Basma Wahba and the actress Yasmine Ghaith, the Iraqi actress Namaa al-Ward, and the Lebanese pop singer Elissa. By reading their testimonies against the backdrop of critical literature on illness narratives and memoirs, as well as on cancer narratives and activism, the essay asks: how are the accounts of these women’s cancer diagnosis and (...) treatment disclosed and described? In what medium do they communicate and circulate their breast cancer experiences? What significance do these public disclosures have on challenging and breaking the Arab taboo of cancer? In conclusion, the essay argues that these women’s willingness to share their stories in public constitutes an important form of multimedia activist intervention—visual, sonic, and performative—that is playing a key role in the development of a breast cancer movement. (shrink)

Radio Nation is a methodologically sophisticated book on the mutual relationships among radio broadcasting, popular culture, and nationalism in Mexico at the local, regional, national, and global levels, covering the period from 1920 to the end of World War II. An epilogue continues the story through the radio‐based transition to television in the postwar era. The main social groups examined include the Mexican government, the U.S. Office of the Coordinator of Inter‐American Affairs , the Raul Azcárraga radio conglomerate, (...) and listeners.Joy Hayes carries out her ambitious project by developing a multilayered methodology. She brings together the concepts of antimodernism and hegemony from her mentor, T. J. Jackson Lears; recent literature on Mexican nationalism and nation‐building as a negotiated process; cultural studies work on the aural characteristics of the radio medium ; and the formation of culture and nation as a communications process. Hayes argues that “both radio and nation are social practices that interract to actively resist the concept of modernity” . Thoroughly modern as far as their both being forward looking, the radio and the nation are nevertheless antimodern institutions in overall effect, because they recreate premodern traditions of music, storytelling, and paternalism that can be developed into other forms of mass communication. In this regard, government station XEQ promoted a “musical nationalism,” but the “market nationalism” of Azcárraga's powerful, 200‐kilowatt, commercial station XEW eventually triumphed. Even though Azcárraga depended upon radio manufacturers and networks in the United States, his market nationalism was structured by the Mexican state.An intriguing diagram of power relations in Mexico during World War II shows triangular negotiations between the Azcárraga Group, U.S. media corporations and the CIAA, and the Mexican state—producing and influencing culture markets, U.S. politics, and national culture. Unfortunately from my point of view, the diagram shows radio content and radio audiences as groups outside these negotiations, even though the author pays attention to listening contexts, audience reactions, and the creation of new forms of “traditional” Mexican music for the aural needs of the radio.The book discusses other issues of interest to historians of science and technology, including government regulation , the agency of users , and the appropriation of a technology for use in another society. Very little is said about physical aspects of radio, except for the “presence” of the radio voice, problems with shortwave transmission, which hampered U.S. efforts to beam its message of Pan Americanism and consumer culture to Mexico during World War II, the high power of XEW, and Azcárraga's building a radio network by means of bicycle messengers because of the lack of telephone lines.Although Radio Nation is convincing, its brevity left me wanting to hear more about programming in the commercial and government stations, changes in regional culture and in Mexico City that might have influenced radio listening habits and vice versa, and more examples of antimodernist tendencies . Theory and context tend to crowd out discussions of radio programs, producers, and listeners. That said, Radio Nation is a stimulating book that significantly contributes to our understanding of the complex relationships between communications technology and cultures other than those in the United States and Europe. (shrink)

In recent years, few areas of research have advanced as rapidly as cognitive science, the study of the human mind and brain. A fundamentally interdisciplinary field, cognitive science has both inspired and been advanced by work in the arts and humanities. In _Conversations on Cognitive Cultural Studies: Literature, Language, and Aesthetics,_ Frederick Luis Aldama and Patrick Colm Hogan, two of the most prominent experts on the intersection of mind, brain, and culture, engage each other in a lively dialog (...) that sets out the foundations of a cognitive neuroscientific approach to literature. Despite their shared premises, Aldama and Hogan differ—sometimes sharply—on key issues; their discussion therefore presents the reader not with a single doctrine, but with options for consideration—an appropriate result in this dynamic field. With clarity and learning, Aldama and Hogan consider five central topics at the intersection of literature and cognitive science. They begin with the fundamental question of the nature of the self. From here, they turn to language, communication, and thought before moving on to the central issue of the structure and operation of narrative. The book concludes with thought-provoking explorations of aesthetics and politics. Illustrating their arguments with work that ranges from graphic fiction and popular cinema to William Faulkner and Bertolt Brecht, Aldama and Hogan leave the reader with a clear sense of what cognitive cultural studies have already achieved and the significant promise the discipline holds for the future. (shrink)

Almost wherever we look, depictions of sexuality, both subtle and not-so-subtle, are omnipresent. Whatever the medium, popular culture representations tell us something about ourselves and about the ideologies of which they are symptomatic. These essays examine the strategies of power implicit in popular representations of sexuality. The authors—scholars in fields such as sociology, philosophy, biology, political science, history, and English literature— eschew rigid disciplinary boundaries.

This book provides a philosophical overview of Umberto Eco's historical and cultural development as a unique, internationally recognized public intellectual who communicates his ideas to both an academic and a popular audience. It describes Eco's intellectual development from his childhood during World War II and student involvement as a Catholic youth activist and scholar of the Middle Ages, to his early writings on the "openness" of modern works such as Joyce's Finnegans Wake. Merrell also explores Eco's pioneering role in (...) semiotics and his later career as a novelist. (shrink)

Images and concepts of the 'posthuman' go back at least as far as the famous 'madman parable' in F. Nietzsche's The Gay Science, and their 'roots' go back much further still. In turn, the image or theme of the posthuman has played an increasingly important role in recent literature, film, and television, where the notion of humanity as a 'larval being' (G. Deleuze) that transforms itself or is being transformed into something else, for better or worse, has become increasingly (...) common. This book explores these concepts in relation to biblical texts, particularly texts from the gospel of Mark but also from the books of Daniel, Jonah and Qoheleth (Ecclesiastes), and the Acts of the Apostles. At the same time, texts from recent popular culture are examined, including novels by J. Morrow, C. Miéville and G. Ryman, the movies Local Hero and Lars and the Real Girl, and the Heroes TV series among others. Through a kind of inverted causality, recent texts in various media such as these transform earlier and otherwise unrelated ones, including biblical texts, into precursors, giving them new, postmodern meanings, just as the older texts once signified in still other ways before the advent of the familiar modern world. As a result, biblical texts signify in remarkably different ways in relation to the posthuman. Posthuman beings appear in both biblical and non-biblical texts, and the biblical phrase 'sons of men' (in both plural and singular versions) plays a crucial role, where it too takes on meanings that range far beyond the conventional or traditional ones. (shrink)

Much philosophical work on pop culture apologises for its use; using popular culture is a necessary evil, something merely useful for reaching the masses with important philosophical arguments. But works of pop culture are important in their own right--they shape worldviews, inspire ideas, change minds. We wouldn't baulk at a book dedicated to examining the philosophy of The Great Gatsby or 1984--why aren't Star Trek and Superman fair game as well? After all, when produced, the former (...) were considered pop culture just as much as the latter. This will be the first major reference work to right that wrong, gathering together entries on film, television, games, graphic novels and comedy, and officially recognizing the importance of the field. It will be the go-to resource for students and researchers in philosophy, culture, media and communications, English and history and will act as a springboard to introduce the reader to the other key literature in the field. (shrink)

This article analyzes selected short stories in Cecelia Ahern’s thirty-narrative collection Roar to see how the perspectives of posthuman and postfeminist critique can be incorporated via the common dystopic umbrella into the mainstream female readership of romance literature. The dystopic worlds created by Ahern in Roar portray inequality and power imbalances with regard to gender and sex. The protagonists are mostly middle-aged women whose family and personal lives are either regulated by dystopic realities or acquire a “dystopic” dimension, the (...) solutions to which are provided by, among other tropes, “posthuman” transformations. Roar introduces other-than-human elements, mostly corporeal alterations, in which the female bodies of Ahern’s characters become de-formed and re-formed beyond androcentric systems of value. The article raises the question of whether feminist and, to some extent, “posthuman” approaches, need to be popularized in such an abridged way as Ahern does in her volume. The answer depends upon the identification of the target audience and their expectations. Ahern’s Roar represents popular literature intended to be sold to as many readers as possible, regardless of their education, state of knowledge, etc. Viewed from that perspective, what some critics could perceive as the collection’s structural weaknesses constitutes its utmost marketing asset. The essay argues that despite not being a structurally innovative work of art, Ahern’s book fulfils the basic requirements of the popular fiction genre, intermittently providing some extra, literary gratification and popularizing rudimentary elements of the posthuman and postfeminist thought. (shrink)

Traces the depiction of biological science in mass media and how it has shaped public perceptions.

Recent research into cultural transmission suggests that humans are disposed to learn, remember, and transmit certain types of information more easily than others, and that any information that is passed between people will be subjected to cognitive selective pressures that alter the content and structure so as to make it maximally transmittable. This paper presents a review of emerging research on content biases in cultural evolution with relevance to the transmission of popular narratives. This is illustrated with content analysis (...) of urban legends, which found that most exploited at least one known content bias, with emotional information and social information being the most frequent. We argue that the narratives do not succeed because of the transmission of adaptively relevant information but because of their exploitation of content biases in human cognition. (shrink)

Without question, UFOs are part of popular culture; indeed, one might even talk of them as a popular culture. Without question, Roswell is part of the UFO scene; but it is far from the whole thing, nor is it even the central issue. Still less did the Roswell “culture” spawn humankind's preoccupation with possible alien visitors from outer space or the literary genre of science fiction. Yet if this book is to be believed, Roswell has (...) been the center from which these and yet more matters arose: “through the early years, the single event of Roswell, even without a crumb of proof, augmented every image, word, and sound produced by the mass media” . To call this an enormous overstatement would be a large understatement.Little Gray Men is unfortunately full of such sweeping assertions, so broad as to be implausible on their face and yet unsupported by argument or evidence. Toby Smith even defines popular culture as “communication that may be informative but that principally provides pleasure for the participants” , a description that many scholars of culture or communication might find arguable. Some assertions are not only sweeping but puzzling as well—for example, reference to “the Pavlovian nature of popular culture” or a “rhomboidal, zinc‐tinted” television set . Many more examples can be found without venturing beyond the book's introduction.Chapter 1 asserts that Roswell is “a touchstone for our times.” Chapter 2 is about the rocket pioneer Robert Goddard, who does have a connection to Roswell “the Place” but a most tenuous connection to Roswell “the Incident,” which is supposedly the theme of the book. The UFO Encounter gathering at Roswell in 1997 is described in Chapter 3, and the allegation that Roswellian aliens were transported to Wright‐Patterson Air Force Base constitutes Chapter 4. Books about the Incident are mentioned in Chapter 5, films in Chapter 7, science fiction on television in Chapter 8; in between, Chapter 6 is about the science fiction writer Jack Williamson, whose connection to the Incident is less than noteworthy.The book has no formal bibliography or specific notes, though there is a short chapter entitled “Sources.” Thus, when one reads on page 2 “A book came out, in 1980,” there is no quick or easy way to find out what that book is. So Little Gray Men is not a scholarly book. It is in fact a grab bag of trivia connected, not substantively, but only semantically, through the name “Roswell.”As a piece of journalism, one might describe the book as impressionistic, were it not so misleading. No one could gather from Little Gray Men that the popular culture of ufology has a serious side to it, that competent scientists and social scientists have concerned themselves with issues arising from claims about UFOs in general and, in some small part, from claims about the Roswell incident. It is as though one chose to write about the popular culture of cancer by gathering trivia about cranks, quacks, and survivors while saying nothing about mainstream treatments or the underlying scientific knowledge.Ufology has a vast literature, some of it the give‐and‐take of quite disciplined controversy among competent and informed people. That this book has been entirely ignored by ufologists illustrates that it is, in Wolfgang Pauli's phrase, “not even wrong.”. (shrink)

Efforts to diffuse useful knowledge on the part of dedicated social reformers, enterprising publishers, and vigorous voluntary associations created new forms of popular literature in the urban centres of Paris and London during the middle decades of the nineteenth century. Popular science periodicals, especially, embodied the aims of the advocates of cheap literature, by providing ‘improving’ information at prices low enough to reach readers who might otherwise purchase potentially dangerous political tracts. Besides promoting social stability, (...) class='Hi'>popular science periodicals served to answer the needs of diverse increasingly literate, leisured, and well paid social groups.From their inception, through their evolution over half a century, periodicals in London and Paris mirrored these similar commitments and concerns of their creators. Continuous imitation back and forth across the Channel indicated just how closely English and French editors shared common programmes. Yet despite the similar aspirations of their promoters, popular science periodicals in England and France revealed the outlines of two very different low scientific cultures, shaped by the dissimilar characteristics of their audiences, editors, and high scientific communities. (shrink)

In this research, the key elements of lectio divina, which is a Western spiritual practice, were tried to be mentioned. Many new practices emerged in the transition from desert monasticism, where early Christian monasticism emerged, to the settled monastic order, which attached little importance to reading other than the Bible. The habit of reading has also become one of the indispensable elements of the monastery after the transition to the settled monasteries. The entry of this term into monastic literature (...) dates back to St. Benedict (480-547), who included it in the daily monastic calendar as a kind of monastic discipline. The lectio practice applied in monasteries brought along some questions such as what the content of this reading activity is, how long it lasts and how it should be practiced. In this regard, the contributions of Cassiodorus (490-583), who was also a contemporary of St. Benedict, to the monastic literature and the ideal of the monastic school, are important. In addition, in this study, information is given about the monastery copying activities, which have an important place to be directly related to the lectio and ensuring the preservation of knowledge and transferring it to the next generations. From this point of view, it has been tried to examine the comments made by the monastic leaders from the early period to the 12th century on the pagan literature, which is not included in the Bible and religious works read in the monastic libraries. Lectio divina gained popularity among monasteries affiliated with the Roman Catholic Church, and by the 12th century it had developed into the four-stage reading process known today by Guigo II. The details of this four-stage process were tried to be given in the last section and the study was concluded after the evaluations made in the conclusion section. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The King and the Crowd: Divine Right and Popular Sovereignty in the French Revolution Robert G. Hamerton-Kelly Stanford University We French cannot really think about politics or philosophy or literature without remembering that all this— politics, philosophy, literature—began, in the modem world, under the sign of a crime. A crime was committed in France in 1793. They killed a good and entirely likable king who was (...) the incarnation of legitimacy. We cannot not remember that this crime was horrible... When we speak about writing, the accent is on what is necessarily criminal in writing. (Jean-François Lyotard, "Discussion Lyotard-Rorty" 583; quoted in Dunn 165) The condemnation ofthe king is at the crux ofour contemporary history. It symbolizes the secularization of our history and the disincarnation of the Christian God. (Albert Camus, The Rebel 120; quoted in Dunn 140) Susan Dunn makes a well-documented case that the death of Louis XVI was unconsciously understood, especially by the Jacobins, as a human sacrifice that was necessary for the founding of the republic. "Louis must die because the patrie must live," said Robespierre at the king's trial, and the representative Carra considered Louis "the source of corruption and servitude... the fatal talisman ofall our ills" whose death would cause the people to be "regenerated in morality and virtue" (Dunn 15-37). The king was a monster and the source ofall the ills, and his death 68Robert G. Hamerton-Kelly had the power to alleviate those ills and regenerate the nation. This image of the king as sacrificial victim persisted throughout the first half of the nineteenth century in French literature and politics, sometimes assimilating itself to the image of Jesus Christ who died for the sins of the world. Legitimist writers like Joseph de Maistre saw his death precisely in this light as a great Christian sacrifice that would do France and the world good (Dunn 28-37). The king as a sacred monster whose life causes all ill and whose death brings healing is the classic figure of the scapegoat or sacrificial victim identified by René Girard. Susan Dunn recognizes this but because she does not know Girard's mimetic theory she is not able to explain the significance of the scapegoat king. Her work is, indeed, as Conor Cruise O'Brien says in the foreword, a work ofdemonstration rather than argument, of evidence rather than interpretation. I offer a mimetic interpretation ofthe Jacobin claim that the death ofthe king was the human sacrifice that founded the republic, and an argument that a universally operative generative mechanism forged the historical events of the revolution.1 There is no essential difference between the sovereignty ofthe king and the sovereignty of the people. In both cases sovereignty arises from a metaphorical contract that threatens death to anyone who violates it. The royal metaphors are organic while the revolutionary metaphors are legal and rational, but they all express the sacrificial structure ofpolitical power. Revolutionary democracy imports the fiction ofrationality to obscure its sacrificial structure. The desire ofthe general will for contractual equality is a transformation of mimetic desire in search of a victim around which the bad violence ofmimetic rivalry can coalesce into the good violence of sacred order. Sovereignty, therefore, is structurally single and simple; it is violence transformed through the sacred into the powers oforder. Max Weber understood this in general ifnot in its particulars when he defined sovereignty as the monopoly of the means of violence within a single territory.2 1 Mimetic theory was discovered by René Girard. I have given an account of my understanding of it in 7Ae Gospel and the Sacred 129-52. The idea of a mechanism universally operative in human history isjustified in the emerging discipline ofevolutionary psychology. Such mechanisms are the result ofthe interaction ofgenetic and environmental factors in the process of evolution (see Robert Wright). 2 The precise quotation from Weber is as follows: "The state is a human community that (successfully) claims the monopoly of the legitimate use of physical force within a The King and the Crowd69 The transition from royal to popular sovereignty is a transformation of the basic pattern of victim and group. The... (shrink)

The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of the Second Empire we (...) find a group of men carving out a new career for themselves as professional popularizers of science, commissioned to write regular articles in newspapers and journals. Although they had begun by simply reporting the meetings of the Académie des sciences, they soon widened their scope and even began criticizing the august Académie. Thus they represented the alternative voice of science, distinct from ‘official science’. These independent writers had their counterpart in painting and literature, both of which were developing radical new approaches in mid-century. When the very traditional Fine Art Academy refused to consider their paintings, painters like Cézanne and Manet found an alternative outlet. Writers too asserted their independence from the Académie française. There were not only many parallels between the independent practitioners in science, painting and literature but also new schools of ‘naturalism’ in painting and literature which looked to science as a model. (shrink)

The article is devoted to reception of Austrian literature before the Second World War in Wiadomości Literackie. It was the most popular letter, whose aim was to educate society, and popularize foreign literature and culture. The literature that was most often promoted was French literature, but also German-speaking authors were discussed. Austrian literature was not treated as distinct from German literature during that time but nontheless, the articles presents artists, of Austrian origin: (...) Joseph Roth, Stefan Zweig, Rainer Maria Rilke, Hugo von Hofmannsthal, Arthur Schnitzler, Odon von Horváth, Franz Werfel and others. The article examines interviews with these writers as well as reviews their books and other texts which appeared in Wiadomości Literackie. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When Did Literature Stop Being Cultural?Sandy Petrey (bio)Debate over the future of French Studies in the United States has sometimes neglected a vital fact: even though the field of French Studies incorporates everything relevant to the francophone world, no single department of French Studies can be that comprehensive. If we want to teach anything serious, we must focus our collective energy and intellect on some manageable component of (...) the many topics French Studies can legitimately address. To try to cover everything is to condemn ourselves to watered-down, dumbed-down versions of history, political science, art, economics, sociology, and the many other areas pertinent to things French.I believe the makeup of French departments in the United States means that our dominant focus should remain literary. Since we aren’t going to retool ourselves so spectacularly as to master all the disciplinary perspectives relevant to the francophone world, we have to make choices. As far as I can see, the best choice is an orientation toward literary criticism, the area in which most productive scholars in French departments in the United States were trained. We’ve learned how to deal with words, and chances are very good that we will do more things that deserve doing if we address words than if we address immigration statistics, changing styles on Maghreb dance floors, or the status attached to owning a pit bull in French housing projects.This doesn’t mean that immigration statistics, dance styles, and pit bulls are forbidden topics, just that we can best approach them if our primary focus remains literary while we open secondary focuses onto other areas. Those openings can renew our field without compromising our identity, allow us to adopt the interdisciplinary concerns animating cultural studies without repudiating literature’s traditional place in foreign language programs. I categorically reject the idea that the literary studies/cultural studies opposition is absolute, that concentrating on literature imposes the necessity of ignoring dance floors and pit bulls. My answer to the question in my title, “When did literature stop being cultural?,” is that it didn’t, whether we take “cultural” in the dirty-word sense of “high culture” or the buzzword sense of “cultural studies.” Literature’s credentials among the accomplishments of high culture matter to language departments in a great many ways, but more relevant to current professional concerns is that cultural studies can address the monuments of the French literary tradition as well as the monuments of French reaction to the Spice Girls. To impose a choice between literary studies and cultural studies strikes me as horribly misguided, something like imposing a choice between breathing and eating.Yet that choice is being imposed with more and more insistence, its suicidal consequences accepted with less and less concern. At times, those preaching an either/or approach have done so in defense of literature, and I refuse the idea that literature is Emerson’s “jealous mistress” who tolerates nothing else in her domain. To study either high culture or popular culture as if the other were unworthy of concern impoverishes both, which means the literary studies/cultural studies binary is pernicious no matter which side defends it. Although the either/or model has sometimes been asserted in the [End Page 12] name of literature’s integrity, however, its most influential recent articulations have come from partisans of cultural studies. The sides have changed. Instead of the argument that the nature of cultural studies means it must be excluded from literary analysis, we now hear that the nature of literary analysis means that it must be excluded from cultural studies.Let me take as evidence the MLA’s most recent publication on trends in language and literature departments, Profession 1997, and the Russell Berman article it contains, a brief for a new form of “Graduate Education toward a Foreign Cultural Literacy.” Berman’s essay makes a strong and informed argument for interdisciplinarity, the best features of which have in Berman’s representation come together to create cultural studies. Throughout this argument, I find the scary logical and political missteps endemic to recent contentions that cultural studies and literary studies are mutually exclusive. Berman’s essay is doubly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Popular Culture in the Houses of Poe and CortázarDaniel Bautista (bio)"[…]at the age of nine I read Edgar Allan Poe for the first time. That book I stole to read because my mother didn't want me to read it, she thought I was too young and she was right. The book scared me and I was ill for three months, because I believed in it."…—Julio Cortázar1In interviews (...) and essays, Julio Cortázar, the famous Argentine author, often expressed a lifelong fascination with Edgar Allan Poe (Berg 227–32). Moreover, as a young man Cortázar spent two years translating the American author's prose into Spanish, making irresistible the search for traces of Poe in his own work. His description of Poe as a youthful and guilty pleasure reflects a common reaction to the American author that has led some critics to rue Poe's influence. Jonathan Elmer points out that "Poe's connection with juvenile tastes, and hence with a time when reading and acquiring 'culture' were actually enjoyable […] has been insistently and disapprovingly stressed by the Anglo-American literary-historical tradition" (3). Although Poe himself often liked to "advertise [his work] as ethereal and otherworldly, or avowedly timeless," critics who found elements of the vulgarly popular in his writing regarded the author as a true "stumbling block" in the American literary landscape (Rosenheim and Rachman xii; Eliot 205). In a similar vein, Elmer observes,It has puzzled many critics, sometimes to the point of vituperation, that Poe stands simultaneously as the germinal figure of a central modernist trajectory (leading via Baudelaire to French Symbolism and thence to the high modernism of Eliot and others) and as the much-acknowledged pioneer of several durable mass-cultural genres: detective fiction and science fiction, as well as certain modes of sensational or gothic horror, which are today, to use one of Poe's coinages, "omniprevalent."(2)In the past, such critics tended to dismiss Poe to the fringes of the American canon for what they saw as his highbrow pretensions and lowbrow taste. More recently, critics like Elmer and others have argued that Poe's ability to straddle the high/low cultural divide is precisely what makes him such a perennially fascinating writer and one of the most revealing about American culture in general.Considering Poe's high standing in Latin America, one might assume that the question of his low or popular status was not as much of a stumbling block there.2 Cortázar himself blamed American discomfort with Poe on his use of "baroque" language, an issue that Cortázar's own background as a native Spanish speaker allowed him to ignore: [End Page 1] "since I'm neither English nor American, I see it with another perspective. I know there are aspects which have aged a lot, that are exaggerated, but that hasn't the slightest importance next to his genius" (Weiss 73). The idea that an author's "genius" could rise above the demands of his countrymen was important to Cortázar. Questions about his own cultural status also significantly affected the reception of Cortázar's work, though in many ways he suffered from just the opposite charges made against Poe. The style and themes of his work, and the political context in Argentina during the early part of his career (characterized most conspicuously by the rise of Perónism), led some in the literary establishment of his own country to accuse Cortázar of being too European or elitist.3 Looking at Poe and Cortázar together, this essay compares how both authors negotiated such cultural issues in their writing and the way that Cortázar reworks some of Poe's particular strategies in a modern Argentine setting. Focusing on two of these authors' most well-known stories, "The Fall of the House of Usher" (published in 1839) and "Casa tomada" ("House Taken Over") (published in 1946), I argue that they both reflect some of the ways that Poe and Cortázar grappled with the rise and attraction of a popular culture that threatened to reconfigure their particular literary landscapes.In Keywords, Raymond Williams traces the... (shrink)

Transactions and Encounters examines a diverse range of emerging technologies in the Victorian era. Such topics are explored as the popular craze for microscopes the uncanny possibilities of the telephone the jostling for authority between literature and science, with scenes by and including Dickens and Lewes, Huxley and Gosse the weird imaginary around androgynous barnacles and the competing versions of a mind-reading act. These essays combine to produce an invigorating and involving attempt to re-cast understandings of 19th century (...) encounters between the cultural and scientific spheres. (shrink)

This book argues for the ethical relevancy of contemporary fiction at the beginning of the 21st century. The writers discussed in Contemporary Fiction and the Ethics of Modern Culture pay close attention to the concrete realities of the everyday world, such as the feelings of isolation created in urban environments; the roles played by sports, drugs, advertising, and the media; and the widespread use of computer, telecommunication, and entertainment technologies. Through reading novels by such writers as David Foster Wallace, (...) Richard Powers, and Irvine Welsh, this book looks at how these works seek to transform the ways that readers live in the world. This book should appeal to scholars of contemporary literature, persons interested in cultural studies, critics interested in ethics, scholars of Gilles Deleuze and Felix Guattari, students of contemporary literature, and general readers of contemporary literature. (shrink)

Cultural appropriation, as both concept and practice, is a hugely controversial issue. It is of particular importance to the arts because creativity is often found at the intersection of cultural boundaries. Much of the popular discourse on cultural appropriation focusses on the commercial use of indigenous or marginalized cultures by mainstream or dominant cultures. There is, however, growing awareness that cultural appropriation is a complicated issue encompassing cultural exchange in all its forms. Creativity emerging from cultural interdependence is far (...) from a reciprocal exchange. This insight indicates that ethical and political implications are at stake. Consequently, the arts are being examined with greater attention in order to assess these implications. This article will focus on appropriation in literature, and examine the way appropriative strategies are being used to resist dominant cultural standards. These strategies and their implications will be analyzed through the lens of Deleuze and Guattari’s notion of minor literature. (shrink)

Nowadays references to the afterlife-angels strumming harps, demons brandishing pitchforks, God enthroned on heavenly clouds-are more often encountered in New Yorker cartoons than in serious Christian theological reflection. Speculation about death and its sequel seems to embarrass many theologians; however, as Greg Garrett shows in Entertaining Judgment, popular culture in the U.S. has found rich ground for creative expression in the search for answers to the question: What lies in store for us after we die? The lyrics of (...) Madonna, Los Lonely Boys, and Sean Combs; the plotlines of TV's Lost, South Park, and The Walking Dead; the implied theology in films such as The Dark Knight, Ghost, and Field of Dreams; the heavenly half-light of Thomas Kinkade's popular paintings; the ghosts, shades, and after-life way-stations in Harry Potter; and the characters, situations, and locations in the Hunger Games saga all speak to our hopes and fears about what comes next. In a rich survey of literature and popular media, Garrett compares cultural accounts of death and the afterlife with those found in scripture. Denizens of the imagined afterlife, whether in heaven, hell, on earth, or in purgatory, speak to what awaits us, at once shaping and reflecting our deeply held-if often somewhat nebulous-beliefs. They show us what rewards and punishments we might expect, offer us divine assistance, and even diabolically attack us. Ultimately, we are drawn to these stories of heaven, hell, and purgatory--and to stories about death and the undead--not only because they entertain us, but because they help us to create meaning and to learn about ourselves, our world, and, perhaps, the next world. Garrett's deft analysis sheds new light on what popular culture can tell us about the startlingly sharp divide between what modern people profess to believe and what they truly hope and expect to find after death--and how they use those stories to help them understand this life. (shrink)

The avant-garde has been popular for some time, but its popularity has tended to fly under the radar. This ¿popular avant-garde,¿ conceived as the meeting ground of the avant-garde and popular, avoids the divorce of art and praxis of which the avant-garde has been accused. The Popular Avant-Garde takes stock of the debates about both the ¿historical¿ (¿modernist¿) and posterior avant-gardes, and sets them in relation to popular culture and art forms. With a critical (...) introduction that examines the concepts of ¿the avant-garde,¿ ¿the popular,¿ and ¿the popular avant-garde,¿ the series of essays analyzes the way in which the avant-garde employs popular genres for political purposes, as well as how the popular acquires a critical function with respect to the avant-garde. Each of the volume¿s three sections considers a different aspect of the productive exchange between the avant-garde and popular: the popular avant-garde as a culturally hybrid and cross-border phenomenon; the play between the popular avant-garde and developments in media and technology; and the popular avant-garde¿s upending of conventional ideas about ¿the people¿ and ¿the popular.¿ The Popular Avant-Garde takes a fresh look at the now canonical Dadaist, Futurist, and Surrealist movements from the perspectives of gender and sexuality, and cultural and critical theory, while at the same time exploring less well-known avant-garde work in literature, film, television, music, photography, dance, sculpture, and the graphic arts. This volume¿s coverage of the American and Afro-American, Luso-Brazilian and Latin-American, East-European, and Scandinavian avant-gardes, in addition to the vanguards of Spain and other parts of Western Europe, will appeal to all those interested in avant-garde and popular art forms. (shrink)

We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a (...) large sample of 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)

The Celebration of Death in Contemporary Culture investigates the emergence and meaning of the cult of death. Over the last three decades, Halloween has grown to rival Christmas in its popularity and profitability; dark tourism has emerged as a rapidly expanding industry; and funerals have become less traditional. "Corpse chic" and "skull style" have entered mainstream fashion, while elements of gothic, horror, torture porn, and slasher movies have streamed into more conventional genres. Monsters have become pop culture heroes: (...) vampires, zombies, and serial killers now appeal broadly to audiences of all ages. This book considers, for the first time, these phenomena as aspects of a single movement, documenting its development in contemporary Western culture. Previous considerations of our fixation on death have not developed a convincing theory linking the mounting demand for images of violent death and the dramatic changes in death-related social rituals and practices. This book offers a conceptual framework that connects the observations of the simulated world of fiction and movies--including The Twilight Saga, The Vampire Diaries, Night Watch, Hannibal, and the Harry Potter series--to social and cultural practices, providing an analysis of the specific aesthetics and the intellectual and historical conditions that triggered the cult of death. It also considers the celebration of death in the context of a longstanding critique of humanism and investigates the role played by 20th-century French theory, as well as by posthumanism, transhumanism, and the animal rights movement, in the formation of the current antihumanist atmosphere. With its critique of movie and book blockbusters and the death-related social rituals, festivals, and fashions that have coalesced into the cult of death, this timely volume will appeal to anyone hoping to better understand a defining phenomenon of our age. Scholars and general readers of cultural studies, film and literary studies, anthropology, and American and Russian studies will find this book thought-provoking. (shrink)

These essays highlight the shifting sets of relationships which determine the forms taken by desire. They argue that the spread of the subject within and across geographic, ethnic, class and gender boundaries makes a difference to the ways in which desire is theorized, experienced and represented.

Lying in Early Modern English Culture is a major study of ideas of truth and falsehood in early modern England from the advent of the Reformation to the aftermath of the failed Gunpowder Plot. The period is characterised by panic and chaos when few had any idea how religious, cultural, and social life would develop after the traumatic division of Christendom. While many saw the need for a secular power to define the truth others declared that their allegiances belonged (...) elsewhere. Accordingly there was a constant battle between competing authorities for the right to declare what was the truth and so label opponents as liars. Issues of truth and lying were, therefore, a constant feature of everyday life and determined ideas of individual identity, politics, speech, sex, marriage, and social behaviour, as well as philosophy and religion. This book is a cultural history of truth and lying from the 1530s to the 1610s, showing how lying needs to be understood in action as well as in theory. Unlike most histories of lying, it concentrates on a series of particular events reading them in terms of academic theories and more popular notions of lying. The book covers a wide range of material such as the trials of Ann Boleyn and Thomas More, the divorce of Frances Howard, and the murder of Anthony James by Annis and George Dell; works of literature such as Othello, The Faerie Queene, A Mirror for Magistrates, and The Unfortunate Traveller; works of popular culture such as the herring pamphlet of 1597; and major writings by Castiglione, Montaigne, Erasmus, Luther, and Tyndale. (shrink)

Age of Anxiety: Meaning, Identity, and Politics in 21st Century Film and Literature applies historical and contemporary political and rhetorical theory to current popular culture to discuss the problem of the displaced autonomous self and the quest for a meaningful life.

The concept of ‘accounts’ (Scott and Lyman, 1968) – or linguistic strategies for neutralizing the negative social meanings of norm violation – has a long history in sociology. This work examines British and American women's accounts of cosmetic surgery. In the medical literature, feminist writings and the popular press, aesthetic plastic surgery has been associated with narcissism, psychological instability and self-hatred. Given these negative connotations, cosmetic surgery remains a practice requiring justification even as its popularity increases. Drawing on (...) interview data, I argue that respondents' efforts to account for cosmetic surgery vary according to the ‘repertoires of evaluation’ (Lamont and Thévenot, 2000) made available by their own nation and, particularly, by its healthcare culture. In the market-based US healthcare system, women justify cosmetic surgery by referring to their personal and financial ‘investments’ in physical attractiveness and well-being. Such explanations are less legitimate in Britain, where healthcare is considered a social right rather than a consumer good. In the latter context, women employ narratives that medicalize the pre-surgical body by stressing the physical pain and emotional distress that it caused. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings (...) about the term "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

This work explores the vast differences between oral and literate cultures, offering an account of the intellectual, literary and social effects of writing, print and electronic technology.

The studies of urban popular culture in modern China in recent years have attracted wide attention from scholars in China and abroad. The symposium, which is composed by Ma Min’s “Injecting vitality into the studies of urban cultural history,” Jiang Jin’s “Issues in the studies of urban popular culture in modern China,” Wang Di’s “The microcosm of Chinese cities: The perspective and methodology of studying urban popular culture from the case of teahouses in Chengdu,” (...) Joseph W. Esherick’s “Remaking the Chinese city: Urban space and urban culture” and Lu Hanchao’s “From elites to common people: The downward trend in the studies of Chinese urban history in the United States,” provide valuable insights on the perspective, trend, and methodology of the studies. (shrink)

This book argues that the negotiation of agency is central not only to the experience of war but also to its representation in cultural expressions, ranging from a notion of disablement, expressed in victimization, immobilization, traumatization, and death, to enablement, expressed in the perpetration of heroic, courageous, skillful, and powerful actions of assertion and dominance. In order to illustrate this thesis, it provides a comprehensive analysis of literary representations of the American War of Independence from 1775, the beginning of the (...) war, up until roughly 1860, when the Civil War marked a decisive historical turning point. As the first national war, it has an unquestionably exemplary status for the development of American conceptions of war. The in-depth study of exemplary texts from a variety of genres and by authors like Thomas Paine, Benjamin Franklin, James Fenimore Cooper, Catharine Sedgwick, William Gilmore Simms, and Herman Melville, demonstrates that the overall character of Revolutionary War literature presents the war as a forum in which collective and individual agency is expressed, defended, and cultivated. It uses the military environment in order to teach the values of discipline and self-subordination to a communal good, which are perceived as basic principles of a Republican virtue to guide the actions of the autonomous individual in a popular democracy. (shrink)