The chief difficulty with most social and psychological studies of violence lies in their assumption that violence is essentially a simple act of aggression that can be treated outside of a more complex moral and dramatic context. This may be the case with news reports of war, murder, assault, and other forms of violent crime, but it is certainly not a very adequate way to treat the fictional violence of a western, a detective story, or a gangster saga. It (...) is true that one can count and catalog the number of violent acts that occur in a day or a week of television and produce distressing statistics about the number of murders and assaults per minute on the typical television show. One can, like the redoubtable Dr. Wertham, amass specific instances where a young person has imitated or thinks he has imitated an act of violence he saw on television, though we should not forget that it can also be said without much fear of contradiction that the literary work which has directly caused more violence in the history of Western civilization than any other is the Bible. One can also construct laboratory experiments in which various groups are shown short films of violent acts and demonstrate that in certain circumstances this experience will cause further aggressive behavior. With procedures such as this, the evidence of a correlation between media violence and aggressive behavior becomes more and more persuasive. But do such studies tell us anything more than that this is a violent age and that there is probably some connection between the violence of actuality and the representation of violence in the media? John G. Cawelti, author of Apostles of the Self-made Man, Six-Gun Mystique, and Focus on Bonnie and Clyde, is professor in the Department of English and chairman of the Committee on General Studies in the Humanities at the University of Chicago. (shrink)

This article engages with current discussions on the politics of aesthetics to theorize the role of popular art in reproducing or contesting urban orders. Specifically, we engage with scholars who have taken up the work of Jacques Rancière to understand how power structures are normalized through ‘the distribution of the sensible’. Building on and critically engaging with debates on the ‘post-political city’, we suggest that all too often scholars fall back on a binary, state-centric approach that depicts non-state (...) class='Hi'>popular aesthetics as either revolutionary and disruptive, or as indicative of an alternative form of oppression. Drawing on our work in Kingston, Jamaica, and Rio de Janeiro, Brazil, we argue that sensorial-political, art-based urban struggles shape multiple urban orders that are distinct but not necessarily antagonistic. Applying Stuart Hall’s work on popular culture to contexts of criminal governance, we show how art is often simultaneously supportive and disruptive of urban orders. (shrink)

Addressing the contradictions surrounding modern-day femininity and its complicated relationship with feminism and postfeminism, this book examines a range of popular female/feminist icons and paradigms. It offers an innovative and forward-looking perspective on femininity and the modern female self.

This article examines the alchemical ideas and practices of the sixteenth-century Italian surgeon Leonardo Fioravanti.

ETHICS IS ABUNDANT IN POPULAR CULTURE—IN RADIO TALK SHOWS, television, films, moral advice columns, books and workshops on popular psychology and spirituality, and other venues. This essay explores the ways in which ethics is presented in three select popular settings; the ethical questions addressed in those settings; the moral theories, perspectives, and values that are privileged in opinions offered; and the judgments that are proffered. Of special interest to professional ethicists are the ways in which ethics (...) in popular culture participates in the ways ethics is done in the academy and the ways in which popular media frame and foster ethics differently from the ways the academy does. This article was the Presidential Address at the 2004 Society of Christian Ethics annual meeting in Chicago. (shrink)

In lieu of an abstract, here is the chapter's first paragraph: IN DIRECTOR/SCREENWRITER JOHN MICHAEL MCDONAGH'S 2011 Quentin Tarantino-Hke comic film The Guard, there is a bizarre scene where three hit men, for no apparent reason, while driving down an Irish road get into a heated debate over who the world's greatest philosopher might be. It is amusing that the chauvinistic characters are willing to reconsider Russell's greatness once they can stop thinking of him as an Englishman, but no doubt (...) Lord Russell himself, given his cosmopolitan leanings as well as his oft-professed love for his Englishness, might have been doubly offended by their banter, not to say their subsequent actions of gunning down a police officer in cold blood. Still, it's yet another example of Russell's ubiquitiousness. His name and image often pop up in the most unexpected places. (shrink)

Social theory can sometimes seem as though it's speaking of a world that existed long ago, so why should we continue to study and discuss the theories of these dead white men? Can their work still inform us about the way we live today? Are they still relevant to our consumer-focused, celebrity-crazy, tattoo-friendly world? This book explains how the ideas of classical sociological theory can be understood, and applied to, everyday activities like listening to hip-hop, reading fashion magazines or watching (...) reality TV. Taking the reader through central sociological texts, Social Theory In Popular Culture explains why key theorists – from Marx to Saussure – are still considered to be the bedrock of sociology and sociological enquiry. Each chapter examines a different key thinker and applies their work to a recognisable aspect of popular cultural, showing how the central issues underpinning classic social thought - class, conflict, gender, power, ethnicity, and social status - can still be readily observed within the modern global world. Encouraging the reader to critique and reflect upon the ways in which classic social theory applies to their own worlds, this is the perfect antidote to dry social theory explanations. It is an eye-opening read for all students and scholars across the social sciences. (shrink)

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.

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

Using Biblical quotes and his own personal beliefs, the author presents analysis and a critique on some of the contemporary viewpoints presented to the public by the popular media, educational leaders, scientists, and politicians.

Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.

Because Arthur ‘Weegee’ Fellig’s crime scene photographs have become the standard for visually representing crime scenes in popular culture, this paper examines the extra-legal lives of two of his images, both of which were produced at the site of a gangster’s death in 1936. To decode the crime scene photograph is to interrogate the ways in which we make sense of crime through seeing and narrating. To that end, this paper charts how these two (...) crime images were contextualized first in a tabloid narrative that invited viewer identification with the law enforcer, and later in Weegee’s own autobiographical narrative as a hardboiled photographer. In contrast to these human ways of seeing and narrating, the images are then examined through computer vision. By moving across these different ways of human and nonhuman seeing, we are arrested anew by the crime scene photograph as different narrators make clear, often for different audiences, who and what it is that we are looking at. Our visual point of focus, in turn, tells us how we engage with crime images at the mediated intersection of law and popular culture; it reveals how viewers identify with the law as a result of an image’s visual structure, as well as through representational exchanges that blur the edges between fact and fiction. (shrink)

In Feel-Bad Postfeminism, Catherine McDermott provides crucial insight into what growing up during empowerment postfeminism feels like, and outlines the continuing postfeminist legacy of resilience in girlhood coming-of-age narratives. McDermott's analysis of Gone Girl (2012), Girls (2012-2017) and Appropriate Behaviour (2012) illuminates a major cultural turn in which the pleasures of postfeminist empowerment curdle into a profound sense of rage and resentment. By contrast, close examination of The Hunger Games (2008-2010), Girlhood (2014) and Catch Me Daddy (2014) reveals that contemporary (...) genres are increasingly constructing girls as uniquely capable of resiliently overcoming and adapting to unforgiving social conditions. She develops an affective vocabulary to better understand contemporary modes of defiant, transformative and relational resilience, as well as a framework through which to expand on further modes that are specific to the genres they emerge within. Overall, the book suggests that exploration of the affective dimensions of girls' and women's culture can offer new insights into how coming-of-age, girlhood and femininity are culturally produced in the aftermath of postfeminism. (shrink)

Reading fiction from high and low culture together, Fiction, Crime, and Empire skillfully sheds light on how crime fiction responded to the British and American experiences of empire, and how forms such as the detective novel, spy thrillers, and conspiracy fiction articulate powerful cultural responses to imperialism. Poe's Dupin stories, for example, are seen as embodying a highly critical vision of the social forces that were then transforming the United States into a modern, democratic industrialized nation; a (...) century later, Le Carré employs the conventions of espionage fiction to critique the exhausted and morally compromised values of British imperialism. By exploring these works through the organizing figure of crime during and after the age of high imperialism, Thompson challenges and modifies commonplace definitions of modernism, postmodernism, and popular or mass culture. (shrink)

The eighteenth century was an era in which science came to play a major role in the cultural ideal of the city elite. The phenomenon of the ‘gentleman-scientist’ arose: a layman without a scientific education who for a variety of often socially desirable reasons devoted himself to scientific endeavours. Scientific instruments were the tools for this interest. This article describes the introduction, diffusion, and construction in the Netherlands of one of the most prominent eighteenth-century instruments: the reflecting telescope. The reception (...) of this instrument casts new light on the usually almost invisible network of gentleman-scientists and instrument-makers in this region. The specific economic and political factors of the Netherlands led to a totally different development of this instrument compared with the ‘motherland’ England. Whereas in Great Britain the reflecting telescope was a great success well into the nineteenth century, in the Netherlands it became a symbol of technical inability and stagnation. (shrink)

This book explores the emergence and significance of 'a Nietzschean heroic model' in 20th-century popular culture, some notable examples of which are James Bond, Tarzan, and Hannibal Lecter.

This book explores the emergence and significance of 'a Nietzschean heroic model' in 20th-century popular culture, some notable examples of which are James Bond, Tarzan, and Hannibal Lecter.

This is a cultural sociology of some controversial aspects of contemporary popular culture. The book rereads disparaged and vilified cultural objects ranging from gangsta rap and death metal to violent video games, using cultural theories on transgression, the sacred, and the tragic as the interpretive lens.

This is a cultural sociology of some controversial aspects of contemporary popular culture. The book rereads disparaged and vilified cultural objects ranging from gangsta rap and death metal to violent video games, using cultural theories on transgression, the sacred, and the tragic as the interpretive lens.

This paper examines the nexus between popular culture and the problem of corruption in Nigeria within the theoretical framework of the Socratic dictum that “the unexamined life is not worth living”. The paper argues that corruption is a social behavior that is propelled by popular culture and sustained by skewed application of logical thinking in critical decision making. Hence, the paper posits that formal education remains the bedrock upon which corruption can be curtailed and also equips (...) people with logical tools to examine their actions as individuals and its consequences on the larger society. (shrink)

Morality and mental health are now inseparably linked in our view of character. Alcoholics are sick, yet they are punished for drunk driving. Drug addicts are criminals, but their punishment can be court ordered therapy. The line between character flaws and personality disorders has become fuzzy, with even the seven deadly sins seen as mental disorders. In addition to pathologizing wrong-doing, we also psychologize virtue; self-respect becomes self-esteem, integrity becomes psychological integration, and responsibility becomes maturity. Moral advice is now sought (...) primarily from psychologists and therapists rather than philosophers or theologians. This book asks: are we replacing morality with therapy, in potentially confused and dangerous ways, or are we creatively integrating morality and mental health? According to the book, it's a little bit of both. It surveys the ways in which morality and mental health are related, touching on practical concerns like love and work, self-respect and self-fulfillment, guilt and depression, crime and violence, and addictions. Terming this integrative development “the therapeutic trend in ethics,” the book uses examples from popular culture, various moral controversies, and draws on line of thought that includes Plato, the Stoics, Freud, Nietzsche, and contemporary psychotherapeutic theories. The book develops some interesting conclusions, among them that sound morality is indeed healthy, and that moral values are inevitably embedded in our conceptions of mental health. In the end, the book shows how both morality and mental health are inextricably intertwined in our pursuit of a meaningful life. (shrink)

In all societies that have arrived at a certain degree of social differentiation, there are two types of culture that may be qualified respectively as “popular” and “lettered”. Popular culture is that of the people as opposed to the dominant political and intellectual classes. The latter two may be distinct (but allied), as in ancient India with the pair Brahman-kshatriva. or mixed as in Confucian China with the bureaucracy of scholars-civil servants. The duality between the two (...) kinds of culture may become less distinct with the democratization of power and education as well as with the omnipresent symbolic universe of the media. None the less, it survives, as has been proven by all sociological research on the nature of leisure time as employed by classes in industrial societies, in the “West” and in the “East”. (shrink)

Central to politicized academic projects such as cultural studies and politicized work in cultural theory and philosophy is a critique of the cultural power of institutions—pedagogical institutions...

Historically, American political science has rarely engaged popular culture as a central topic of study, despite the domain’s outsized influence in American community life. This article argues that this marginalization is, in part, the by-product of long-standing disciplinary debates over the inadequate political development of the American public. To develop this argument, the article first surveys the work of early political scientists, such as John Burgess and Woodrow Wilson, to show that their reformist ambitions largely precluded discussion of (...) mundane activities of social life such as popular culture. It then turns to Harold Lasswell, who produced some of the first investigations of popular culture in American political science. Ironically, however, his work – and the work of those who adapted similar ways of speaking about popular culture after him – only reinforced skepticisms concerning the American public. It has thus helped keep the topic on the margins of disciplinary discourse. (shrink)

Media in Question sets the agenda for a revitalized debate on the hybrid communicative practices that constitute the postmodern media landscape: practices that cross the boundaries between fact and fiction, information and entertainment, public knowledge, and popular culture. In this challenging and provocative collection, the individual contributors rethink key issuesùthe meaning of the public interest, the quality of media performance, and deregulation. In the process they raise questions rarely addressed in normative media theories, for example, the ethics of (...) sports reporting, the moral reasoning in popular culture, and the required professional standards for infotainment genres such as reality television and gossip journalism. Accessible and wide-ranging, The Media in Question will be essential reading for students in mass communication and political communication studies. (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)

Catherine Driscoll est professeure associée en études culturelles et de genre à l’Université de Sydney. Ses recherches portent sur trois domaines : la jeunesse et les filles (l’accent étant mis sur l’adolescence, les médias et la culture populaire), les théories culturelles (l’accent étant mis sur la modernité et le modernisme), les études culturelles en milieu rural (l’accent étant mis sur l’Australie et les recherches ethnographiques). Les ouvrages ici présentés s’inscrivent dans les deux p...