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By John Storey

John Storey, a number one determine within the box of Cultural stories, bargains an illuminating and colourful account of the improvement of pop culture. Addressing concerns comparable to globalization, intellectualism, and consumerism, Inventing pop culture provides an attractive review of 1 of the main debated options of contemporary instances. offers a full of life and obtainable historical past of the idea that of pop culture by way of one of many best specialists within the box. lines the discovery and reinvention of the idea that of pop culture from the eighteenth-century “discovery” of folks tradition to modern debts of the cultural impression of globalization. Examines the connection among the idea that of pop culture and key concerns in cultural analyses akin to hegemony, postmodernism, identification, questions of price, consumerism, and lifestyle.

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As someone convinced of the existence of “inferior races” (77), Ortega 25 IPCC02 25 26/5/06, 10:52 AM Mass Culture elaborates his argument by pointing to the fact “that in Central Africa the negroes also ride in motor-cars and dose themselves with aspirin” (66). ” As he explains, “The European who is beginning to predominate . . must then be, in relation to the complex civilisation into which he has been born, a primitive man, a barbarian appearing on the stage through the trap-door, [a] ‘vertical invader’ ” (66).

Between the life of the cultivated and the life of the generality” (264). Clearly, then, the golden age was not just marked by cultural coherence, but, happily for the Leavisites, a cultural coherence based on authoritarian and hierarchical principles. It was a common culture which gave intellectual stimulation at one end and affective pleasure at the other. This was a mythic world in which everyone knew their place, everyone knew their station in life. In fact, it is the world before the working class lost “the strong feudal habits of subordination and deference” (Arnold 1960: 76).

5 Culture and Class I do not claim that before the making of cultural exclusivity in the late nineteenth and early twentieth centuries there had not previously existed a visible connection between cultural taste and social class. But what had changed – and this is what I mean by the invention of popular culture as the “other” of high culture – was the institutionalization of this connection between class and culture. Removing, for example, opera and Shakespeare, from the heterogeneous demands of the market ensured that differences in taste could be marked by, and be indicative of, clear social boundaries.

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