What this book tries to do, in part, is blur the lines between the differences between today's college students - the millennial generation - and their professors, many of whom hail from the Boom Generation and Generation X. In the following chapters, contributors build upon what both parties already know. Writing in a highly accessible yet compelling style, contributors explain communication theories by applying them to "artifacts" of popular culture.
For some years, it has been possible to detect an obvious increase in studies of objects and products that are considered part of popular culture.
Even so, overall, the gaps in research remain considerable. There are numerous subjects on which hardly any work is available — magazines, best-sellers, television programmes, internet pages, for example.
What is not lacking at all, though, are definitions of popular culture. At a rough estimate, there must be one to two thousand scholars in the English- and German-speaking countries who have already tried their hand at providing such a definition.
Even if precise, sustained consideration of works of popular culture is an exception, abstract reflection about popular culture per se is clearly nothing of the sort.
These abstractions are predominantly provided in the form of nominal definitions. The present article identifies a total of twenty-three definitions that in some cases differ considerably from one another and each of which works with a particular component in its definiens different combinations of such components then yield numerous further definitions.
This might give rise to the view that it is impossible to define popular culture precisely — but hardly anyone is prevented by this from presenting their own definition, as is readily apparent from the number of existing suggestions.
This kind of definition binds those who make it: The possible confusion could abate rapidly because of this. Far from contradicting one another in an irresolvable sense, the definitions merely use the same sequence of sounds or letters to indicate different quantities.
Certainly, a constructivist who denies that the world by its nature breaks down into pieces that are noticed or discovered by human perception is unlikely to have a problem with this, and the same goes for those for whom words refer to invariably predetermined things and states of affairs.
It would be unacceptable only for a Platonist, who gives a concept the status of an immutable idea distinct from human postulations. Given that Platonic thought is not widespread any more now, it would be easy to conclude that the many different definitions of popular culture are not a particularly significant problem for most scholars.
This, however, is not the case. Many authors insist on their form of language and treat that of others as inappropriate, misleading, and so on.
Community facilities, authorities such as ministries of state and standardization bodies, courts, accredited experts, research institutions, and so on make their meticulous and wide-ranging contributions to the discourse of definitions, yet in the vast majority of cases there are no substantial debates about them.
This means that it is easy to explain why the definitions of popular culture are of such significance: There are great opportunities to be drawn from the various definitions, some of which are contradictory or in open conflict with one another, for to date they have amounted mostly to brief statements and prescriptions on the printed page.
They provide a vocabulary and channel interest and attention in a particular direction — but what comes or could come into view as a result, in individual cases or more comprehensively as a result of systematic study, has to date been described very rarely or not at all.
Do they still exist at all? What is the difference between the schemata and formulas that should be highlighted in the analysis of works of popular and high literature?
Does it lie primarily in particular textual features or rather in publishers' practice of collecting literature that is classified as entertaining material in series and under headings of genre?
Many more could easily be derived.Provides accurate analysis of pop culture, using research on one of these theories of pop culture, including strengths and weaknesses of this theory. Analyze how pop culture is used in commercialization, industrialization and indoctrination of society. That is, the performative approach to culture highlighted the performative dimensions in cultural transformation and stasis, whereas the system-of-meaning approach explained well the perennial aspects and effects of culture but had little to say about cultural transformation.
Cultural Analysis of Film: American History X Eliana Jimenez Racism is one of the biggest flaws humanity has exercised throughout history and continues to exercise in modern day society.
After you have reviewed the role of the culture industry, consider the following questions. Describe Adorno’s views on standardization and pseudo-individualization. Share a unique example from pop culture (movies, songs, books, etc.) that follows this structure .
According to Hall, there is a close connection between doing cultural work and studying theories related to such work. This, according to Hall means that the dynamic nature of culture extends to the intellectual endeavors of the institutions that have been put in place to address all changes and developments in .
What Is The Impact Of Culture Nursing Essay. Many countries in the 21st Century with the increase in global movement have become multicultural. In today’s multicultural society, minority ethnic groups form % of the UK population (office for National Statistics, cited by Black ).