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Journal articles on the topic 'Highbrow/lowbrow'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

Nygaard, Jon. "Popular Theatre - Highbrow or Lowbrow." Nordic Theatre Studies 29, no. 2 (2018): 48. http://dx.doi.org/10.7146/nts.v29i2.104605.

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For 13 years, from 1851 to 1864, Ibsen worked full time at the Norwegian theatres in Bergen and Christiania (Oslo) as a stage director and theatre manager. Ibsen’s period in the theatre and the repertory he staged have seldom enjoyed much attention in schol­arly research. The reason for this has been that the repertory Ibsen staged has been seen as vulgar and lowbrow, and Ibsen’s period in the theatre has almost unani­mously been seen as a waste of time. The general understanding has been that Ibsen’s development as an artist had been much faster if he had been working with a highbrow repertory of serious drama.Contrary to this established opinion I will contribute to the discussion of popular theatre as highbrow or lowbrow by presenting the production A Caprice (En Kaprice) by Erik Bøgh, staged by Henrik Ibsen at the Norwegian Theatre in Christiania (Oslo). It premi­ered 7 September 1859 and then ran for another thirty-five performances during the 1859-60 season. The total number of attendances was more than 30.000. In relation to the population of the town of 42.000, it was about 2/3 or 67%. This is the by far largest box-office success in Norwegian theatre history. No wonder that Ibsen scholars gener­ally have understood A Caprice as the ultimate example of the unholy trade Ibsen was forced into as a theatre manager. According to Michael Meyer Ibsen for the only time in his life “rebuked for truckling to the box-office” (Meyer 1971, 166). The contemporary criticism in Morgenbladet (Nr. 278, 9.10.1859) claimed that Ibsen was declining the Norwe­gian Theatre in Christiania into a kind of amusement ground for the lower classes.I will, however, present A Caprice as the summit of Ibsen’s theatrical career and under­line that both this and other dance productions staged by Ibsen in this period, were not at all amusement for the lower classes but on the contrary important expressions of his artistic creativity and development – and actually a highbrow performance presented for an upper class audience.
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2

Veenstra, Gerry. "Culture and class in Canada." Canadian Journal of Sociology 35, no. 1 (2009): 83–112. http://dx.doi.org/10.29173/cjs4198.

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I apply Pierre Bourdieu’s conception of relationally-defined social spaces of capitals and classes that delimit highbrow and lowbrow cultural forms to Canadian society. I use categorical principal components analysis techniques and a nationally representative survey dataset from 1998 containing measures of economic capital, cultural capital and a wide range of cultural practices to construct a visual representation of Canadian social space which is directly inspired by the social space for 1960s France crafted by Bourdieu in Distinction: A Social Critique of the Judgement of Taste (Bourdieu 1984). After identifying nascent class groupings and potentially highbrow and lowbrow cultural practices in my depiction of social space, I speculate on precisely how such cultural practices might factor into class dynamics in Canada, in particular examining the role played by “cultural omnivorism” in identifying and reinforcing class distinctions.
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3

Roger, Alicia Kae, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." Theatre Journal 42, no. 3 (1990): 391. http://dx.doi.org/10.2307/3208098.

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4

Muccigrosso, Robert, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." History Teacher 25, no. 3 (1992): 386. http://dx.doi.org/10.2307/494259.

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5

Bindas, Kenneth J., and Lawrence W. Levine. "Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America." History Teacher 22, no. 1 (1988): 93. http://dx.doi.org/10.2307/493112.

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6

Marchand, Roland, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." Journal of American History 76, no. 2 (1989): 565. http://dx.doi.org/10.2307/1907993.

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7

Rouse, John, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." English Journal 78, no. 7 (1989): 86. http://dx.doi.org/10.2307/817967.

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8

Linn, Karen, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." Ethnomusicology 34, no. 2 (1990): 306. http://dx.doi.org/10.2307/851691.

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9

Fellman, Michael, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." American Historical Review 95, no. 2 (1990): 569. http://dx.doi.org/10.2307/2163917.

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10

Turner, Robert Y., and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." Shakespeare Quarterly 42, no. 3 (1991): 373. http://dx.doi.org/10.2307/2870855.

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11

Horowitz, Daniel, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." Journal of Interdisciplinary History 20, no. 2 (1989): 329. http://dx.doi.org/10.2307/204869.

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12

Spitzer, John, and Lawrence W. Levine. "Highbrow/Lowbrow-The Emergence of Cultural Hierarchy in America." American Music 8, no. 2 (1990): 233. http://dx.doi.org/10.2307/3051953.

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13

Hurt, James, and Lawrence W. Levine. "Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America." Modern Language Review 85, no. 4 (1990): 934. http://dx.doi.org/10.2307/3732679.

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14

Huntzicker, William E. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." American Journalism 7, no. 3 (1990): 202–3. http://dx.doi.org/10.1080/08821127.1990.10731293.

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15

Wasser, Frederick. "Highbrow/Lowbrow: The emergence of cultural hierarchy in America." History of European Ideas 18, no. 4 (1994): 616–17. http://dx.doi.org/10.1016/0191-6599(94)90115-5.

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16

GUTHRIE, KATE. "Vera Lynn on Screen: Popular Music and the ‘People's War’." Twentieth-Century Music 14, no. 2 (2017): 245–70. http://dx.doi.org/10.1017/s1478572217000226.

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AbstractBy the outbreak of the Second World War in Britain, critics had spent several decades negotiating the supposed distinctions between highbrow and lowbrow culture, as recent scholarship has shown. What has received comparatively little attention is how the demands of wartime living changed the stakes of the debate. This article addresses this lacuna, exploring how war invited a reassessment of the relative merits of art and popular music. Perhaps the most iconic British singer of the period, Vera Lynn provides a case study. Focusing on her first film vehicle,We'll Meet Again(1942), I explore how Lynn's character mediated the highbrow/lowbrow conflict – for example, by presenting popular music as a site of community, while disparaging art music for its minority appeal. In so doing, I argue, the film not only promoted Lynn's star persona, but also intervened in a broader debate about the value of entertainment for a nation at war.
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17

Silva, Renán. "Lawrence Levine. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America." Historia Crítica, no. 44 (May 2011): 203–11. http://dx.doi.org/10.7440/histcrit44.2011.11.

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18

van Rees, Kees, Jeroen Vermunt, and Marc Verboord. "Cultural classifications under discussion latent class analysis of highbrow and lowbrow reading." Poetics 26, no. 5-6 (1999): 349–65. http://dx.doi.org/10.1016/s0304-422x(99)00019-4.

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19

SABO, ANNE G. "Highbrow and Lowbrow Pornography: Prejudice Prevails Against Popular Culture. A Case Study." Journal of Popular Culture 42, no. 1 (2009): 147–61. http://dx.doi.org/10.1111/j.1540-5931.2009.00575.x.

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20

Masteller, Jean Carwile. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (review)." Philosophy and Literature 15, no. 1 (1991): 144–45. http://dx.doi.org/10.1353/phl.1991.0077.

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21

Scheil, Katherine West. "Shakespeare and the American Nation." Theatre Survey 47, no. 1 (2006): 131–33. http://dx.doi.org/10.1017/s0040557406310095.

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The combination of Shakespeare and American Studies has recently proven to be fertile ground for scholarly inquiry. In Shakespeare and the American Nation, Kim C. Sturgess shows that the subject has not yet been exhausted. Following the work of Lawrence Levine's Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988) and Michael D. Bristol's Shakespeare's America, America's Shakespeare (New York: Routledge, 1990), Sturgess's intriguing book examines how nationalistic appropriations of Shakespeare accorded him the status of a hero in American culture in a climate of strong anti-British sentiment.
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22

Gibson, Dylan Lawrence. "Postmodernism in Lou Reed and Metallica’s collaborative album Lulu: The subjective perception of highbrow and lowbrow." Metal Music Studies 5, no. 2 (2019): 187–200. http://dx.doi.org/10.1386/mms.5.2.187_1.

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The 2011 collaborative album Lulu (by Lou Reed and Metallica) presents one with what can be clearly identified as a ‘clash’ between highbrow and lowbrow culture. This ‘clash’, as will be demonstrated in this article, attempts to ‘blur’ what the media tries to enforce by revealing that Metallica and Lou Reed in actuality cannot be exclusively defined by one coherent label. The intended implication is that the album should not be dismissed as its impact, as Metallica’s first postmodern album, ought to be remembered and formally recognized as such – a postmodern experimental metal album.
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23

Valančiūnas, Deimantas. "Introduction. From Highbrow to Lowbrow: Studies of Indian B-grade cinema and beyond." Acta Orientalia Vilnensia 12, no. 2 (2011): 7–12. http://dx.doi.org/10.15388/aov.2011.1.3936.

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Vilnius University Cardboard skulls decorating the book of the dead’s pink cover―the Necronomicon; intoxicated young ladies having a ‘kitty party’ then gang raping their male servant; secret agents 077 and 707 serving the nation; a shape-shifting monster’s head rotates 180 degrees while tracing a doomed bride in red and the list of similar images is far from exhaustive. The above mentioned aesthetical and narrative cinematic devises just happen to come from a variety of Indian films―usually ascribed to the ‘lower’ cinematic cultures and labeled as exploitative, B-grade or even ‘trash’ cinema. Often despised and ridiculed by academicians, critics, and the big budget film industries while at the same time enjoying vast popularity in smaller urban centers and towns, these Indian low budget films co-exist with Bollywood and other major industries―yet work by their own sets of rules and agendas. These films remain a part of the national as well as global film consumption, even if slightly overshadowed by the blockbuster or Arthouse cinemas. Despite the changing trends in India’s film productions and aesthetics, the low budget cinema retains its cult status throughout the country―and this is most evident while taking a stroll down the Grant Road in Mumbai, lined up with numerous video stalls and offering enormous amounts of cheaply produced ‘3 films in 1’ type of DVDs: the genre selection ranging from action (fight) to horror; from mythological to soft-core sex films.
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24

Reichenberg, Monica. "Cultivating Images of Cultural Capital: Cultural Activities in Storybooks Featuring Young Characters with Disabilities." International Journal of Research in Education and Science 6, no. 3 (2020): 369. http://dx.doi.org/10.46328/ijres.v6i3.1267.

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Portrayals of children and youths with disabilities participating in various types of cultural activities during their leisure time have been understudied. The current study aims to understand how Swedish storybooks targeting youths and children with disabilities portray their cultural activities during their leisure time. A collection of 66 storybooks was strategically chosen for the analysis. Applying the grounded theory approach, the study codes for disabilities (sensory, physical, and cognitive) and dimensions of cultural capital (book reading, music, theatre, concerts, and sports). Low cultural activities are prominent leisure activities in the story books. Watching television and listening to popular music had a prominent role for the characters, whereas sports had a less prominent role. In summary, watching television dominates the cultural activities in the storybooks. With regards to music, the participants engage in karaoke. The storybooks again reinforce the impression that characters with disabilities can only appreciate lowbrow culture. The storybooks seldom portray images of highbrow cultural activities. However, exceptions exist that portray how people with disabilities create highbrow cultural activities, rather than being passive consumers. The storybooks seldom portray images of sports activities.
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25

Marsh, Robert M. "Musical Taste And Social Structure In Taiwan." Comparative Sociology 11, no. 4 (2012): 493–525. http://dx.doi.org/10.1163/156913312x621640.

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Abstract Research in the comparative cultural sociology of musical taste has been confined to Western societies. The present study tests hypotheses from Western research in a culturally different, East Asian society, Taiwan. The 1992 Taiwan survey asked a representative sample of the population which of ten types of music they liked or disliked. To a large extent, the Taiwan findings replicate those in the West. For example, high status, younger people are more likely to be omnivores, liking both highbrow and lowbrow music, while low status, older people tend toward the univore pole. The ten types of musical taste can be clustered into three more general, culturally distinct taste audiences.
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26

Kiseleva, Kristina. "„Гамлет. Версия” Бориса Акунина как отказ от регламентации шекспировского интертекста". Kultury Wschodniosłowiańskie - Oblicza i Dialog, № 6 (22 вересня 2018): 97–105. http://dx.doi.org/10.14746/kw.2016.6.8.

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The present article aims at analyzing one of the modern drama's strategies — playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting — consumers are getting less and less sensitive and adequately formed to perceive art. But one cannot say that Akunin is descending to his readers narrow horizons. He is a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
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27

Yoshihara, Yukari. "Toward “Reciprocal Legitimation” between Shakespeare’s Works and Manga." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (2016): 107–22. http://dx.doi.org/10.1515/mstap-2016-0019.

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In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film titled “Ophelia, not yet”. Ophelia, in this animation, survives, as she is a backstroke champion. This article will attempt to contextualize the complex negotiations, struggles and challenges between high culture and pop culture, between Western culture and Japanese culture, between authoritative cultural products and radicalized counterculture consumer products (such as animation), to argue that it would be more profitable to think of the relationships between highbrow/lowbrow, Western/non-Western, male versus female, heterosexual versus non-heterosexual, not simply in terms of dichotomies or domination/subordination, but in terms of reciprocal enrichment in a never-ending process of mutual metamorphoses.
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28

Watroba, Karolina. "World Literature and Literary Value: Is “Global” The New “Lowbrow?”." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 1 (2017): 53–68. http://dx.doi.org/10.1017/pli.2017.41.

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This paper is about the critical debates surrounding contemporary novels with a global reach, especially those written by non-Western authors, but highly successful on the Western literary market, such as Haruki Murakami’s and Orhan Pamuk’s works. A close analysis of the evaluative terms used in these debates, epitomized by Tim Park’s coinage “the dull new global novel,” reveals that they conflate two distinct lines of argument. Fashioned as a materialist narrative about cultural hegemony in the globalized world, these critiques turn out to be motivated by a much older concern to preserve a literary elite. “The global” and its opposite, “the local,” start to sound like code words for “highbrow” and “lowbrow,” and, seen in this light, the whole critical debate about the new global novel appears as an attempt to sidestep a direct engagement with the ever-elusive question of literary value.
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29

Torras-Gómez, Elisabeth, Laura Ruiz-Eugenio, Teresa Sordé-Martí, and Elena Duque. "Challenging Bourdieu’s Theory: Dialogic Interaction as a Means to Provide Access to Highbrow Culture for All." SAGE Open 11, no. 2 (2021): 215824402110107. http://dx.doi.org/10.1177/21582440211010739.

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According to Bourdieu, class position is related to cultural capital, taste, and preferences. Accordingly, the author states that, because of their “habitus,” those from high social classes have higher cultural capital and preferences for highbrow culture, which gives them more chances to succeed in life. On the contrary, those from low social classes have lower cultural capital because of their lowbrow cultural preferences, which makes it more difficult for them to achieve in a system that favors the dominant classes. Through the review of articles on Dialogic Literary Gatherings published in peer-reviewed journals, this article aims to provide more insights on how the principles of dialogic learning occur. The results of the review challenge Bourdieu’s concept of “habitus,” providing evidence of how socioeconomic status (SES) is not determinant to cultural capital.
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30

Skrobanek, Jan, and Verena Kuglstatter. "Class, Lifestyle and Substance Use among Adolescents: A Bourdieusian Perspective." YOUNG 27, no. 2 (2018): 140–63. http://dx.doi.org/10.1177/1103308818774984.

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Against the backdrop of the continuing controversy regarding the interlinkage between social class, lifestyle and substance use of young people, the article reports the findings of an effort to assess the impact of adolescents’ cultural and economic capital and lifestyle practices on substance use. Drawing on Bourdieu’s work on class, lifestyle and practice, young people’s substance use can be seen as the product of class-specific capital endowment and related highbrow or lowbrow lifestyles. However, research seeking to explain adolescent substance use so far has eschewed a stringent empirical attempt to examine the impact of capital and lifestyle in relation to the use of different substances. Taking this desideratum as a starting point, our research indicates that although effects of cultural and economic capital are present, the type of lifestyle is more important for understanding and explaining substance use by young people.
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31

Koehrsen, Jens. "How to Negotiate Class Ambiguity: A Boundary Work Approach." Zeitschrift für Soziologie 49, no. 5-6 (2020): 356–70. http://dx.doi.org/10.1515/zfsoz-2020-0029.

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AbstractResearch indicates that actors increasingly engage in practices that do not match their class background. This contribution explores how actors negotiate class ambiguity through boundary work. Studying Argentinean middle-class actors participating in Pentecostalism, the article draws attention to boundary conversion as a strategy to manage class ambiguity. Deviating from the middle class with their religious affiliation, the studied Pentecostals convert existing boundaries between the Argentinean middle class and Pentecostalism into internal boundaries within Pentecostalism, creating trenches between “highbrow” middle-class and “lowbrow” mass Pentecostalism. The boundary processes point to the ongoing relevance of class distinction even among those actors that freely engage in practices at odds with their class background. As such, the results underpin the need to study not only what type of dissonant practices actors perform, but equally what boundary strategies they employ to negotiate their class belonging.
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32

KREUTZER, EVELYN. "Mediating and Disrupting the Flow." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (2020): 141–58. http://dx.doi.org/10.3828/msmi.2020.9.

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This essay explores the relationship between ‘highbrow’ classical music traditions and ‘lowbrow’ associations with television culture in the collaborative oeuvre of Charlotte Moorman and Nam June Paik. Contextualizing them within the history of classical music broadcasting conventions on TV on the one hand, and the countercultural avantgarde on the other, I argue that Moorman and Paik’s acts of disrupting and breaking with musical, performative, and/or televisual notions of flow prevent the immersive listening experience that had marked classical music and TV discourses, and in so doing empower the listener in an anti-authoritarian, participatory appeal. This article is the winner of the 2019 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.
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33

Rehn, Alf. "Pop (Culture) Goes the Organization: On Highbrow, Lowbrow and Hybrids in Studying Popular Culture Within Organization Studies." Organization 15, no. 5 (2008): 765–83. http://dx.doi.org/10.1177/1350508408093652.

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34

JACOBSON, LISA. "Will It Be Wine or Cocktails? The Quest to Build a Mass Market for California Wine after Prohibition." Enterprise & Society 18, no. 2 (2017): 360–99. http://dx.doi.org/10.1017/eso.2016.61.

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This article examines why wine marketers struggled to build a mass market for American wine from the 1930s to the 1950s. Wine promoters worked to both surmount and accommodate existing preferences for spirits by casting wine both as a base for cocktails and as the budget-friendly alternative to them. Previously marked as either too highbrow or too lowbrow, wine gradually lost its foreignness as merchandisers learned to sell the glamour of wine without the demands of connoisseurship. Instead of setting their sights on urban sophisticates, wine promoters aimed for young married couples and budget-conscious new homeowners—the most recent entrants into the middle class. These populist marketing approaches, I contend, sowed the seeds of the table “wine revolution” not in bohemian enclaves and gourmet dining societies but in middle-class suburbia, where wine found its way to the American dinner table via the cocktail glass, the casserole dish, and the backyard barbecue.
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35

Nuccio, Massimiliano, Marco Guerzoni, and Tally Katz-Gerro. "Beyond Class Stratification: The Rise of the Eclectic Music Consumer in the Modern Age." Cultural Sociology 12, no. 3 (2018): 343–67. http://dx.doi.org/10.1177/1749975518786039.

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This article contributes to the literature on the association between class position and cultural tastes by analyzing a unique historical data set and asking whether there were significant class differences in the consumption of music in the 19th century. Archival data from a publisher in Milan are used to analyze the characteristics of customers who purchased sheet music between 1814 and 1823. To avoid contemporary depictions of cultural hierarchies (e.g. ‘highbrow’, ‘lowbrow’ and ‘omnivorous’ tastes), we offer a new method for considering both the quantitative and qualitative dimensions of music consumption. Considering both the aggregate level of music consumption and the evolution of individual patterns over time, we find little evidence that musical tastes were aligned with class position. This finding calls for more research on the origins of the strong link between social structure and cultural preferences in general, or between class position and musical tastes in particular, which we witness today.
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36

Luo, Mengyu. "The omnivore turn in cultural production: Case study of China’s Rainbow Chamber Singers." International Journal of Cultural Studies 23, no. 1 (2019): 81–101. http://dx.doi.org/10.1177/1367877919875972.

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Previous studies on China’s cultural production have concentrated on the tension between state and individual creativity, overlooking the more dynamic and popular expression in China’s complicated cultural market, especially in this information age. This article is inspired by the omnivore–univore argument in cultural consumption and argues there is a similar omnivore turn among China’s independent cultural producers. Drawing on a case study of the Rainbow Chamber Singers (RCS), this article provides a new dimension and perspective to examine omnivore production in China’s ‘unconventional’ chamber choir. Data from the RCS’s music, lyrics, performances, the conductor Jin Chengzhi’s interviews (first-hand and second-hand), and the author’s own participant observation of the RCS’s concerts will be combined and elaborated. This article contends that the RCS adapts to creative thinking from creative industries and blurs conceptual boundaries between state/individual, art/commerce, and highbrow/lowbrow. The process also contributes to forming a participatory culture in the arena of classical chamber music.
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37

Hatfull, Ronan James, and Ronan Hatfull. "‘Excess of It’: Reviewing 'William Shakespeare’s Long Lost First Play (abridged)'." Exchanges: The Interdisciplinary Research Journal 4, no. 1 (2016): 61–67. http://dx.doi.org/10.31273/eirj.v4i1.147.

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It is timely in 2016, the 400th anniversary of Shakespeare’s death, to consider his legacy as a figure ingrained within popular culture. This critical review will investigate one of the chief exponents and parodists of the dichotomy which Shakespeare symbolises between supposed ‘highbrow’ and ‘lowbrow’ culture: the Reduced Shakespeare Company, a comedic theatre troupe who, to use their own slogan of droll self-deprecation, have been ‘reducing expectations since 1981’.The review will investigate the company’s most recent and tenth production, William Shakespeare’s Long Lost First Play (abridged), as a template for considering Shakespearean parody, focusing on the contemporary process of adapting and condensing Shakespeare’s texts within a populist context.Debuted at the Folger Shakespeare Library in April 2016, the play was first performed in the United Kingdom in August 2016 as part of the Edinburgh Festival Fringe. It is those performances upon which this review focuses. It will also use primary material drawn from live interviews and rehearsal observations conducted with Reed Martin and Austin Tichenor, the company’s managing partners, co-directors, co-writers and performers.
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38

Notten, Natascha, Gerbert Kraaykamp, and Ruben P. Konig. "Family Media Matters: Unraveling the Intergenerational Transmission of Reading and Television Tastes." Sociological Perspectives 55, no. 4 (2012): 683–706. http://dx.doi.org/10.1525/sop.2012.55.4.683.

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In this study, the authors scrutinize the intergenerational transmission of book reading and television viewing behaviors. They examine long-term effects of parents' social status, parental media example, and media guidance activities during one's childhood on adult media tastes. Data are employed from the Family Survey of the Dutch Population. By estimating structural equation models, the authors gained more insight into how parental socialization efforts influence children's book reading and television viewing. Unraveling direct and indirect effects, they found that both parental socioeconomic status and media socialization activities play a major role in the intergenerational transmission of media tastes. Imitation appeared to be the main mechanism underlying the media socialization process. Parental media guidance, both directly and via its effect on children's school success, partly mediates the imitation process, especially for reading. The current study above all shows that parental media socialization activities do enduringly affect a person's media taste. Hence, socialization is found to play an indispensable role in the development of both highbrow and lowbrow reading and television tastes.
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39

Hawley, Jamie. "“The Rivalry is Hot:” Shakespeare, Harry Potter, and the Magic of Fanfiction." Undergraduate Research Journal for the Humanities 4, no. 1 (2020): 4–13. http://dx.doi.org/10.17161/urjh.v4i1.13479.

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Abstract: While most crossover fanfiction focuses on characters of different works interacting, fanfiction involving Shakespeare often involves characters from one work interacting with a particular Shakespeare text. By examining this phenomenon in three Harry Potter/Romeo and Juliet crossover fanfictions, it can be seen that Shakespeare’s language and cultural capital are being used in fan communities in order to develop new interpretations of both Harry Potter and Shakespeare’s work, especially when it comes to utilizing tropes like “star-crossed lovers” to develop relationships not present in Harry Potter’s text. As such, Shakespeare has taken on a role in these fanfictions that is magic-like, and the fanfictions speak to how Shakespeare, rather than becoming lowbrow popular culture, has instead ascended to a role in literature no author has reached before.
 Literature Review: Scholars that have studied Shakespeare in relation to fanfiction such as MK Finn and Michelle Yost have argued that Shakespeare’s existence and prevalence on fanfiction sites is a sign of his descendance from a literary pedestal to existence on the same level as other “lowbrow” popular culture, such as Star Trek and The Avengers. A 2013 survey of high school English teachers showed that 93% of ninth-grade classrooms studied Romeo and Juliet, which fueled some scholars in their belief that Shakespeare, by becoming more accessible, has lost some of his highbrow reputation. However, I argue that rather than this accessibility resulting in the loss of Shakespeare’s cultural power, this power has instead increased, and Shakespeare has taken on a role in culture unseen by any other author, and this can be seen most clearly in his impact on fanfiction and his popularization of tropes like “star-crossed lovers,” which have moved beyond an existence in Shakespeare’s plays and have now been used as an interpretive lens in their own right.
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Shi, David, and Lawrence W. Levine. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. The William E. Massey, Sr., Lectures in the History of American Civilization." Journal of Southern History 56, no. 2 (1990): 365. http://dx.doi.org/10.2307/2210264.

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Muratova, E., and D. Pulatova. "Angels and Demons Novel - a Milestone in Dan Brown’s Creative Work." Bulletin of Science and Practice 6, no. 3 (2020): 571–84. http://dx.doi.org/10.33619/2414-2948/52/69.

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Nowadays the genres eclecticism is so widespread that it is sometimes impossible to identify to which genre a work belongs. This situation, in turn, is reflected in the blurring of the frontiers between Highbrow and Lowbrow literature. Moreover, there are novels that contain some elements of Pulp fiction, and yet they do not belong to this type of literature. This situation is particularly topical with the works that open a series of sequels exploring the same theme or featuring the same protagonist, like the novel under our investigation. This research has proved that this novel contains artistic merit and cannot be referred to as Pop culture product, repeating the same stamp. Furthermore, we traced how the author’s concept of the archetypal notions of Angels and Demons was reflected in the novel. Thus, these results have been reached by implementing biographical approach in considering the writer’s literary career; historical approach in analyzing inaccuracies in depiction of the historical events; and mythological in tracing the reflection of the novelist’s archetypal concept. The benefits of this study include changing attitude to the literary heritage of the author and drawing more attention of scholars to the given novel.
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Meuleman, Roza, Marcel Lubbers, and Maykel Verkuyten. "Parental socialization and the consumption of domestic films, books and music." Journal of Consumer Culture 18, no. 1 (2016): 103–30. http://dx.doi.org/10.1177/1469540516648372.

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By innovatively combining insights from research on cultural consumption, socialization and nationalism, this study is one of the first empirical studies to shed more light on role of parental socialization in domestic and foreign cultural consumption of films, books and music. Similar to previous studies on parental socialization of highbrow and lowbrow cultural consumption, parents’ cultural socialization when respondents were in their formative years (i.e. parental domestic cultural consumption) is relevant for respondents’ domestic and foreign cultural consumption later in life. Parents’ national behaviour during their children’s formative years is related to the respondents’ positive nationalist attitudes, which, in turn, is associated with respondents’ domestic film and music consumption. Parental socialization plays a less important role in domestic book consumption, indicating that in less diverse cultural markets, other socialization influences (such as school) might be playing a role as well. Adding to the debate on the influence of parental socialization over the life course, we found indications that the effects of parental socialization on domestic consumption were weaker for older compared to younger people. This suggests the importance of parental socialization and the varying ways in which it is associated with domestic cultural consumption.
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O'Leary, James. "Oklahoma!, “Lousy Publicity,” and the Politics of Formal Integration in the American Musical Theater." Journal of Musicology 31, no. 1 (2014): 139–82. http://dx.doi.org/10.1525/jm.2014.31.1.139.

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The achievements of Rodger and Hammerstein’s Oklahoma! (1943) are well known: since the musical opened, critics have proclaimed it a new version of the genre, distinguished by its “integrated” form, in which all aspects of the production—score, script, costume, set, and choreography—are interrelated and inseparable. Although today many scholars acknowledge that Oklahoma! was not the first musical to implement the concept of integration, the musical is often considered revolutionary. Building on the work of Tim Carter, I use the correspondence and press materials in the Theatre Guild Collection of the Beinecke Rare Book and Manuscript Library at Yale University to situate the idea of integration into two intimately related discourses: contemporary notions of aesthetic prestige and World War II-era politics. By comparing the advertising of Oklahoma! to the Guild’s publicity for its previous musical productions (especially Porgy and Bess, which was labeled integrated in 1935), I demonstrate that press releases from the show’s creative team strategically deployed rhetoric and vocabulary that variously depicted the show as both highbrow and lowbrow, while distancing it from middlebrow entertainment. I then describe how the aesthetic register implied by this tiered rhetoric carried political overtones, connotations that are lost to us today because the word “integration” has become reified as a purely formal concept.
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Hameršak, Marijana. "Lowbrow Skepticism or Highbrow Rationalism? (Anti)Legends in 19th-Century Croatian PrimersPučki skepticizam ili elitni racionalizam? (Anti)predaje u hrvatskim početnicama 19. stoljeća." Studia mythologica Slavica 14 (October 17, 2011): 143. http://dx.doi.org/10.3986/sms.v14i0.1605.

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Cohen, L. "Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. By Lawrence W. Levine (Cambridge: Harvard University Press, 1988. xii plus 306 pp., 21 illus. $25.00)." Journal of Social History 23, no. 2 (1989): 387–88. http://dx.doi.org/10.1353/jsh/23.2.387.

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Hoogland, Rikard. "The Valuation of Popular Theatre Performances: The Forgotten Success Story of Ljungby horn." Nordic Theatre Studies 29, no. 2 (2018): 6. http://dx.doi.org/10.7146/nts.v29i2.104603.

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Albert Ranft started as an actor in touring theatre companies in the 1880’s, but soon became responsible for one of the most important groups. Twenty-five years later, he ran a big company with about 2500 employees, owned theatres in Stockholm and Gothen­burg as well as a couple of touring companies.His repertoire was based on popular entertainment plays, revues, operettas, historical plays, contemporary dramas etc. Simultaneously, his companies could offer ‘highbrow’ and ‘lowbrow’ productions. Even the actors could, during just one week, work in differ­ent genres. The way of programing was for Ranft an art form by itself, and sometimes he even acted in and directed the plays.In November 1893, at Stora Teatern in Gothenburg, he premiered a fairy tale play, and the staging was filled with spectacular effects. The play was, from the beginning, a stun­ning success with the production running for several hundred nights. Moreover, the pro­duction of Ljungby Horn became the ground stone for Ranft’s theatrical enterprise.The article describes how this success was established through mediatization and its base on rural oral history. The performance is analyzed and discussed as a popular theatre production (McConachie, Price, Röttger, Schecter). The author proposes that a more inclusive definition of popular theatre should be used; one which also takes into account the productions that had commercial success. Popular theatre needs to be in­cluded in theatre history writing to enable a better understanding of how the theatre system has developed.
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Mitchell, Sally. "READING CLASS." Victorian Literature and Culture 33, no. 1 (2005): 331–39. http://dx.doi.org/10.1017/s1060150305000872.

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THIRTY OR FORTY YEARS AGO, in the United States at least, we confidently used the terms “highbrow,” “middlebrow,” and “lowbrow” to describe not only reading matter but all sorts of cultural artifacts; and we generally assumed that the terms described quality or value as well as defining the social and intellectual class of people who chose one instead of the others. When it came to the study of British literature, we learned that the novel and the popular novel were (in the beginning) one and the same: that when the fictional prose narrative became a recognized literary form in English it was distinguished by its commercial character and its wide readership. Novels were the reading of the middle classes and particularly of women, tainted both by gender and by the disrepute attached by writing with an eye on public reception rather than artistic integrity. By the 1840s, however, novels had become a vehicle for serious thought. For a very short time, best-selling authors were also great writers. A serious novelist could speak with a voice of cultural authority–and also earn a substantial income. There were, of course, light and ephemeral fictions (and whole classes of sub-literature such as penny dreadfuls and cheap romances), but in the middle of the nineteenth century, we once learned, it was generally assumed that a book read by a great many people was probably worth reading.
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Kupfer, Charles A. "Ring Lardner's You Know Me Al: Up from Popularity." Prospects 30 (October 2005): 487–504. http://dx.doi.org/10.1017/s0361233300002143.

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Ring Lardner's position in American literature suffers more from the praise he gains than the criticism he receives. His reputation as an acerbic journalist, mordant satirist, master dialectician, and popular sportswriter still draws clouds of suspicion across the minds of highbrow critics weighing his stature as a serious writer.Lardner himself did nothing to debunk the notion that he was at heart a pulp author, never tearing away from his journalistic roots as did other authors who started their careers in the newspaper business. It may have been comfort with his preferred environment, or a reverse snobbery, but Lardner always disdained self-conscious artfulness, instead preening his image as a wordsmith and copy-slave. Max Perkins, his Scribner's editor, noted this self-defined lowbrow posture: “He always thought of himself as a newspaperman, anyhow. He had a sort of provincial scorn for literary people.”Provincial scorn notwithstanding, Lardner was a prominent member of Perkins's stable. Contemporaries at Scribner's included Thomas Wolfe, Ernest Hemingway, and F. Scott Fitzgerald. Perkins, a literary talent scout with a knack for coaxing maximum output from mercurial writers, devoted ample time and attention to cultivating Lardner's work. Few writers of any stripe could boast more lustrous friends and colleagues, and, in his lifetime, Lardner's proper place in the American literary pantheon was accorded with scant complaint. It was only after his death in 1933 that the diminishing process began.
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Westgate, J. Chris. "“I'll Show You the Bowery from Chatham Square to the Cooper Institute”: The Entertainment and Ethics of Slumming in the Theatre." Theatre Survey 56, no. 2 (2015): 195–212. http://dx.doi.org/10.1017/s0040557415000071.

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In 1894, Robert Neilson Stephens's playOn the Bowerydebuted at Haverly's Fourteenth Street Theatre in New York City, with Steve Brodie, who had won fame for purportedly jumping from the Brooklyn Bridge years earlier, playing himself. Although Brodie's entrance is delayed until the second act, he rather quickly commandeers the plot and leads the rest of the characters through the Bowery and across the Brooklyn Bridge (where he reenacts his jump to enthusiastic audiences) to an East River pier, where he leaps into a burning building to rescue one of those perpetually distressed damsels from the 1890s. Naturally, mainstream newspapers were rather critical ofOn the Bowery’s literary merits. TheNew York Heraldclaimed that the play made “no dramatic pretensions,” and thePhiladelphia Inquireremphasized that it left the critic not “overly impressed with the play as a play.” TheNew York Timestook an especially harsh line. Lamenting the play's “threadbare plot” and “no originality,” and overreliance on Brodie's celebrity, its critic used the production as an opportunity to advance rigid delineations of highbrow and lowbrow, upper class and lower class, and literature and leisure. For what this reviewer described as the “Brodie audience,” the working-class spectators who crowded the gallery and boisterously cheered Brodie's every feat,On the Bowerygratified a yearning for escapism and entertainment.On the Bowerywas not, according to theTimes, geared to what the reviewer described as the “Booth audience,” the middle- and upper-class spectators who normally prized Edwin Booth's Shakespearean performances: “even the management does not take [Brodie] seriously.” If box office success is any measure, however, many from both the Booth and Brodie audiences did takeOn the Boweryseriously. Productions of the play toured for nearly three years, and a number of plays emulatedOn the Boweryduring the next five years. If Bruce McConachie is right that what is relevant is not “whether . . . melodramas were any good” but what audiences were watching and what meanings they were constructing from these plays, then theatre history should takeOn the Boweryseriously too.
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Huang, Yunte. "The Lasting Lure of the Asian Mystery." PMLA/Publications of the Modern Language Association of America 133, no. 2 (2018): 384–87. http://dx.doi.org/10.1632/pmla.2018.133.2.384.

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Among the numerous accolades and awards garnered by viet thanh nguyen's debut novel, the sympathizer (2015), the one receiving the least attention from academic critics will probably be the Edgar Award, bestowed by the Mystery Writers of America. After all, The Sympathizer boasts aesthetic achievements that far exceed the generic confines of a conventional mystery novel. Also, even in the age of cultural studies, when the divide between the popular and the elite is supposed to have all but disappeared, literary scholars, if they are honest with themselves, still hang on to the notion that there is a qualitative difference, or a hierarchy, separating literary fiction from crime fiction, the highbrow from the lowbrow. It may be true that we no longer live at a time when an eminent critic like Edmund Wilson would attack mystery novels by asserting, as he did in 1945, partly in response to Agatha Christie's popular mystery novel The Murder of Roger Ackroyd, that “with so many fine books to read …; there is no need to bore ourselves with this rubbish” (qtd. in Bradford 117). And there is more than half a century separating us from the era when Ross Macdonald, one of the most accomplished practitioners of the mystery genre as well as a trained literary scholar, lamented in his 1954 lecture at the University of Michigan, Ann Arbor, where he had received a doctoral degree in English, that “[t]hough it is one of the dominant literary forms of our age, the mystery has received very little study” (11). Even after Jacques Lacan and Jacques Derrida enshrined Edgar Allan Poe's detective short story “The Purloined Letter” as a darling of poststructuralist analysis, most literary scholars worth their salt would continue to regard crime fiction as a subpar genre, something that, as Macdonald said, is reserved for their leisure hours, akin to crossword puzzles in a newspaper (11). Or, as Wilson put it, “Who cares who killed Roger Ackroyd?” (qtd. in Bradford 117).
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