IniciGrupsConversesMésTendències
Cerca al lloc
Aquest lloc utilitza galetes per a oferir els nostres serveis, millorar el desenvolupament, per a anàlisis i (si no has iniciat la sessió) per a publicitat. Utilitzant LibraryThing acceptes que has llegit i entès els nostres Termes de servei i política de privacitat. L'ús que facis del lloc i dels seus serveis està subjecte a aquestes polítiques i termes.
Hide this

Resultats de Google Books

Clica una miniatura per anar a Google Books.

Cultural Theory, Popular Culture: An…
S'està carregant…

Cultural Theory, Popular Culture: An Introduction (edició 2000)

de John Storey (Autor)

MembresRessenyesPopularitatValoració mitjanaConverses
1503139,010 (3.69)No n'hi ha cap
This extensively revised and updated fifth edition of Storey's market-leading textbook provides an engaging, clear and coherent introduction to cultural theory. Popular culture is used to critically examine the theories and main approaches of cultural theory, and ensures that the accessible approach of previous editions is retained.… (més)
Membre:bagginofbagend
Títol:Cultural Theory, Popular Culture: An Introduction
Autors:John Storey (Autor)
Informació:Addison-Wesley Longman Ltd (2000), Edition: 3rd, 248 pages
Col·leccions:La teva biblioteca
Valoració:
Etiquetes:No n'hi ha cap

Detalls de l'obra

Cultural Theory and Popular Culture: An Introduction de John Storey

No n'hi ha cap
S'està carregant…

Apunta't a LibraryThing per saber si aquest llibre et pot agradar.

No hi ha cap discussió a Converses sobre aquesta obra.

Es mostren totes 3
In Cultural Theory and Popular Culture: An Introduction, Sixth Edition, John Storey argues, “Popular culture is always defined, implicitly or explicitly, in contrast to other conceptual categories: folk culture, mass culture, high culture, dominant culture, working-class culture” (pg. 1). Further, “Whichever conceptual category is deployed as popular culture’s absent other, it will always powerfully affect the connotations brought into play when we use the term ‘popular culture’” (pg. 1). Of the historiography of popular culture, Storey writes, “This history of cultural theory’s engagement with popular culture is, therefore, a history of the different ways in which the two terms have been connected by theoretical labour within particular historical and social contexts” (pg. 5). He concludes, “Whatever else popular culture is, it is definitely a culture that only emerged following industrialization and urbanization” (pg. 12).
Examining culturalism, Storey writes, “Positively, culturalism is a methodology that stresses culture (human agency, human values, human experiences) as being of crucial importance for a full sociological and historical understanding of a given social formation; negatively, culturalism is used to suggest the employment of such assumptions without full recognition and acknowledgement that culture is the effect of structures beyond itself, and that these have the effect of ultimately determining, constraining and, finally, producing culture (human agency, human values and human experience)” (pg. 51). Examining Marxism, Storey writes, “According to Althusser a problematic consists of the assumptions, motivations, underlying ideas, etc., from which a text (say, an advert) is made. In this way, it is argued, a text is structured as much by what is absent (what is not said) as by what is present (what is said)” (pg. 74). Building on this, Judith Williamson argues “that advertising is ideological in the sense that it represents an imaginary relationship to our real conditions of existence” (pg. 81). Finally, “Post-Marxist cultural studies is informed by the proposition that people make popular culture from the repertoire of commodities supplied by the culture industries” (pg. 91).
Turning to structuralism, Storey writes, “Structuralists argue that language organizes and constructs our sense of reality – different languages in effect produce different mappings of the real” (pg. 115). On the other hand, “Post-structuralists reject the idea of an underlying structure upon which meaning can rest secure and guaranteed. Meaning is always in process” (pg. 128). In terms of gender, Storey writes, “There are at least four different feminisms: radical, Marxist, liberal and what Sylvia Walby (1990) calls dual-systems theory. Each responds to women’s oppression in a different way, positing different causes and different solutions” (pg. 137). Race, on the other hand, “is a cultural and historical category, a way of making difference signify between people of a variety of skin tones. What is important is not difference as such, but how it is made to signify; how it is made meaningful in terms of a social and political hierarchy” (pg. 171). Turning to postmodernism, Storey writes, “Rather than begin with polysemy, cultural studies would being with power. Put simply, a text will survive its moment of production if it is selected to meet the needs and desires of people with cultural power. Surviving its moment of production makes it available to meet the (usually different) desires and needs of other generations of people with cultural power” (pg. 207). Finally, “Perhaps the most significant thing about postmodernism for the student of popular culture is the dawning recognition that there is no absolute categorical difference between high and popular culture” (pg. 209). ( )
  DarthDeverell | Sep 5, 2017 |
Storey gives a very interesting look at the developments in cultural theory regarding popular culture over the past century, from early movements like Leavisism through to modern Marxist and post-Marxist, feminist, and other postmodernist theories. This book is very helpful for its application of cultural theory and sociological concepts to popular culture and for the numerous references to excellent books for further reading on each subject encountered. I was somewhat disappointed, however, with its assumption of radical left politics as standard. I'm well aware of a left slant among cultural and sociological academics and I'm fine with authors with biases (purely natural, of course), but the assumption that all readers share these same biases is a bit irritating. It would have been interesting to see Matthew Arnold given a more thorough and fair treatment, and to see those who have followed in his footsteps today mentioned at all. ( )
  davidpwithun | Dec 18, 2011 |
This text brings together theories on popular culture including: what popular culture is; the "culture and civilisation" tradition; structuralism and post-structuralism; Marxisms; gender and sexuality; postmodernism; and the politics of culture. (Libris)
  kaprogrammet | Apr 9, 2009 |
Es mostren totes 3
Sense ressenyes | afegeix-hi una ressenya
Has d'iniciar sessió per poder modificar les dades del coneixement compartit.
Si et cal més ajuda, mira la pàgina d'ajuda del coneixement compartit.
Títol normalitzat
Títol original
Títols alternatius
Data original de publicació
Gent/Personatges
Llocs importants
Esdeveniments importants
Pel·lícules relacionades
Premis i honors
Epígraf
Dedicatòria
Primeres paraules
Citacions
Darreres paraules
Nota de desambiguació
Editor de l'editorial
Creadors de notes promocionals a la coberta
Llengua original
CDD/SMD canònics

Referències a aquesta obra en fonts externes.

Wikipedia en anglès (2)

This extensively revised and updated fifth edition of Storey's market-leading textbook provides an engaging, clear and coherent introduction to cultural theory. Popular culture is used to critically examine the theories and main approaches of cultural theory, and ensures that the accessible approach of previous editions is retained.

No s'han trobat descripcions de biblioteca.

Descripció del llibre
Sumari haiku

Dreceres

Cobertes populars

Valoració

Mitjana: (3.69)
0.5
1
1.5
2
2.5
3 7
3.5
4 2
4.5 2
5 2

Ets tu?

Fes-te Autor del LibraryThing.

 

Quant a | Contacte | LibraryThing.com | Privadesa/Condicions | Ajuda/PMF | Blog | Botiga | APIs | TinyCat | Biblioteques llegades | Crítics Matiners | Coneixement comú | 157,078,859 llibres! | Barra superior: Sempre visible