By Perry Meisel
The fantasy of pop culture from Dante to Dylan is an interesting exam of the cultural traditions of the yankee novel, Hollywood, and British and American rock track which leads us to redefine our inspiration of the department among "high" and "low" tradition.
- A stimulating background of low and high tradition from Dante Alighieri to Bob Dylan, supplying a debatable defence of pop culture
- Seeks to rebut the sturdy trust that in basic terms excessive tradition is ‘dialectical’ and pop culture isn't through turning Theodor Adorno’s theories on ‘pop’ opposed to themselves
- Presents a severe research of 3 well known traditions: the yankee novel, Hollywood, and British and American rock tune
- Offers an unique account of Bob Dylan for instance of ways the contrast among low and high tradition is very troublesome
- A provocative e-book for any scholar, pupil or common reader, who's attracted to pop culture
Chapter 1 A background of low and high (pages 1–52):
Chapter 2 popular culture within the Spectator (pages 53–67):
Chapter three Pop and Postmodernism (pages 68–74):
Chapter four The loss of life of Kings: American Fiction from Cooper to Chandler (pages 75–99):
Chapter five Knock on Any Door: 3 Histories of Hollywood (pages 100–128):
Chapter 6 The Blues Misreading of Gospel: A historical past of Rock and Roll (pages 129–149):
Chapter 7 Dylan and the Critics (pages 151–162):
Chapter eight phrases and tune (pages 163–169):
Chapter nine Dylan Himself (pages 170–175):
Chapter 10 the 3 Icons: Sinatra, Presley, Dylan (pages 176–181):
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Extra resources for The Myth of Popular Culture: from Dante to Dylan
Objects and language alike – there is no longer a difference – are the products of a historical chain of construction, both always philological as well as linguistic, historical as well as self-present. Virginia Woolf, Johnson’s best disciple, frustrated by her father’s positivism and the mimesis that accompanied it, gives us the best example in all of English fiction for this expanded notion of both language and object in To the Lighthouse (1927). Mr Ramsay’s philosophical work, she says, speaking of her father and demystifying his philosophical point of view, is best understood as “a kitchen table … when you’re not there” (1927, 38).
Arnold had by 1851 become Inspector of English Schools. The task was a congenial one because it gave Arnold a nexus in which the political, the sociological, and the literary all found a place. The reason lies in something common to all three: the epistemological shift in the very conception of “culture” that Arnold brings to a head and to which he gives the fullest expression. The Romantic tradition provides Arnold with his immediate context, but, like his secret mentor, Keats, rather than like his official one, Wordsworth, it is Arnold’s melancholic handling of what is a fall into the vernacular that gives him his recognizable tone.
Indd 27 9/22/2009 9:45:43 AM “The Battle of the Brows” Keats’s preoccupations are externalized in the landscapes of his epic fragments, where the concern with lost power has reached, as it has in Keats’s own body, a fever pitch. Keats’s mid-career odes are already preoccupied with borders, their stability an ironic function of their ready violation by opposites on either side. ” Melancholy and delight, past and present, ancient and modern, self and other, mind and body – the tightrope between these extremes is always on the verge of collapse, and the topic, as a rule, of his poems, which construct these polarities by contrasting them.