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Journal articles on the topic 'Humanities -> art -> popular culture'

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Author: Grafiati

Published: 25 July 2024

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1

Lindner, Christoph. "The oblique art of shoes: popular culture, aesthetic pleasure, and the humanities." Journal for Cultural Research 19, no. 3 (March 26, 2015): 233–47. http://dx.doi.org/10.1080/14797585.2015.1021992.

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2

Thurner, Mira. "The Painting that Leapt Through Time: Popularized High Art on Screen." Journal of Asia-Pacific Pop Culture 7, no. 1 (May 1, 2022): 51–71. http://dx.doi.org/10.5325/jasiapacipopcult.7.1.0051.

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Abstract Much high art of the twenty-first century is influenced by popular culture and, conversely, high art often finds its way into representation in popular culture media to varying levels and degrees. An example of this is the anime The Girl Who Leapt through Time, which uses a fictional artwork to significantly drive a narrative arc within the plot situating the important action within the museum environment. The artwork is both a signifier of the film’s central themes of loss, memory, and a representation of humanities creative impulse. The painting is explored via art formalist means and as metaphor to outline a speculative museology of the high art object inside and outside of the bounds of the particularity of the physical museum. This analysis and discursive treatise probes the importance of the interplay of “high” art and popular culture in a contemporary paradigm and the broader concern of art as bound to the human experience.

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3

Snaevarr, Stefán. "Pragmatism and Popular Culture: Shusterman, Popular Art, and the Challenge of Visuality." Journal of Aesthetic Education 41, no. 4 (December 1, 2007): 1–11. http://dx.doi.org/10.2307/25160248.

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4

Guard, Julie, D’Arcy Martin, Laurie McGauley, Mercedes Steedman, and Jorge Garcia-Orgales. "Art as Activism." Labor Studies Journal 37, no. 2 (January 5, 2012): 163–82. http://dx.doi.org/10.1177/0160449x11431895.

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Popular theater has significant, although largely overlooked, potential as a tool for unions to raise members’ political consciousness and strengthen their relationship to the union movement. Activist theater validates workers’ own knowledge, builds workers’ solidarity and self-confidence, and fosters an activist culture. It can also raise gender consciousness within unions. It has particular value for unions attempting to organize precarious workplaces such as call centers, where workers are especially vulnerable and often unfamiliar with unions and union culture. The experience of one group of workers demonstrates how popular theater can be integrated into the labor movement’s repertoire of strategies for building solidarity and revitalizing unions.

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5

Shin, Shamyung. "A Comparative Study on the Functional Discourse of Popular Culture in Korea and China." Korean Society of Gyobang and Culture 4, no. 2 (June 30, 2024): 179–204. http://dx.doi.org/10.58936/gcr.2024.6.4.2.179.

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The purpose of this paper is to examine the meaning of popular culture in Korea and China, and to analyze and compare the pure and dysfunctions of popular culture in the two countries. In China since its transition into the market economy by the reform and opening, its people have become well-off and had more desire to enjoy culture. Under these circumstances pop culture played affirmative roles such as relieving economical and mental stress, educating people and forming civic society. On the other hand, because of cultural imperialism, cultural values and a way of thinking from the West have influenced upon Chinese pop culture and collapsed its traditional spiritual culture, causing the crisis of Chinese humanism. In Korea, the positive aspects of its pop culture are as follows: the Korean pop culture not only serves as a way to express oneself and relieve mental stress but also produces economical profit. However likewise the Chinese case, South Korea is confronted by the crisis of the humanities, traditional art and folk culture. Studying these diverse functions of the two nations’ pop cultures, I could understand the two cultures and seek plans to achieve mutual development gradually through the two countries’ cultural interchanges.

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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 5, no. 1 (June 1, 2021): 149–52. http://dx.doi.org/10.26613/esic.5.1.232.

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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 5, no. 2 (December 1, 2021): 155–58. http://dx.doi.org/10.26613/esic.5.2.262.

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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 6, no. 1 (April 1, 2022): 147–50. http://dx.doi.org/10.26613/esic.6.1.292.

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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 6, no. 2 (December 1, 2022): 165–68. http://dx.doi.org/10.26613/esic.6.2.317.

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10

Szekely, Ilona. "Art at the Mall: A Look at the Aesthetics of Popular Mall Art Culture." International Journal of Art & Design Education 27, no. 2 (June 2008): 192–201. http://dx.doi.org/10.1111/j.1476-8070.2008.00574.x.

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11

Larabee, Ann. "Popular culture studies and the crisis in the humanities." Journal of Popular Culture 51, no. 5 (October 2018): 1089–91. http://dx.doi.org/10.1111/jpcu.12729.

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12

Cook, Weston F. "Islamic Expressions in Art, Culture, and Literature." American Journal of Islam and Society 15, no. 2 (July 1, 1998): 155–57. http://dx.doi.org/10.35632/ajis.v15i2.2191.

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The Fourteenth Annual Conference of The American Councilfor the Study of islamic Societies, held on May 2 and 3, 1997,at The Connelly Center, Villanova University, Villanova, PAThe American Council for the Study of Islamic Societies (ACSIS), isone of the oldest continuing organizations in the United States that focusesspecifically on Muslim states, societies, and the problems confrontingMuslim communities throughout the world. Composed of American andforeign scholars, non-Muslims as well as Muslims, ACSIS encompassesthe full range of humanities and social science disciplines. The representeddisciplines include the familiar areas of political science, history,linguistics, philosophy, religion, economics, anthropology, internationalrelations, and sociology; moreover, artists, musicians, media specialists,poets, folklorists, architects, agronomists, bankers, educators, and businessconsultants are involved in the Council‘s work. Along with this professionaldiversity, ACSIS has always taken special pride in providing aforum for younger and innovative students to present their ideas andresearch and encouraging them to publishTrue to these founding goals, the Board of Directors chose “Cultural,Artistic, and Popular Expressions in Islam” as the theme for this conference.Papers on Muslim works from the Americas, Europe, South Asia,China, Africa, and the heartlands of the ummah were solicited. The callfor papers also struck new directions for ACSIs-seeking music andperformance presentations, calligraphy, textile art, film and animation,calligraphy, cuisine, and other original formats different from the standardconfenmce panel modes. The Board also designated long-timemember Weston F. Cook, Jr. as program chair and organizer. Dr. Dale F.Eickelman of Dartmouth College, currently a scholar-in-residence at the ...

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13

Just, Daniel. "Art and everydayness: Popular culture and daily life in the communist Czechoslovakia." European Journal of Cultural Studies 15, no. 6 (November 30, 2012): 703–20. http://dx.doi.org/10.1177/1367549412450637.

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This article analyzes the interaction between art and practices of everyday life in communist Czechoslovakia in the 1970s and 1980s. Discussing various forms of adaptations to the politically repressive system – from photography and film to social activities such as ‘cottage homemaking’ and ‘cabining’ – the author describes ways in which popular culture under communism resisted the state-induced drive to modernize which, as a political tool, was designed to pacify the masses. The article suggests that by breaching the gap between the quotidian and the extraordinary, which as a systemic division has defined daily life in modernity, popular culture was instrumental in reinvigorating everydayness.

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14

Cawelti, John G. "Popular Culture/Multiculturalism." Journal of Popular Culture 30, no. 1 (June 1996): 3–19. http://dx.doi.org/10.1111/j.0022-3840.1996.00003.x.

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15

Holland, Samantha. "Feminism in popular culture." Feminist Review 88, no. 1 (April 2008): 183–85. http://dx.doi.org/10.1057/palgrave.fr.9400395.

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16

Khoroshilov, D. A. "Digital mind: mediatization of social cognition in culture, science and art." Social Psychology and Society 10, no. 4 (2019): 9–22. http://dx.doi.org/10.17759/sps.2019100402.

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Psychology of social cognition as the construction of the image of the social world requires addition of the concept of deep mediatization (N. Couldry, A. Hepp). In the frames of modern sociology and cultural-historical psychology it should be talked about the mediatized construction of the image of the world, mediated by the language of mass communication. The code of media language — not verbal, but visual — is analyzed in the epistemological and methodological contexts of the visual turn in the humanities. The realization of this trend in Russian psychology is the aesthetic paradigm of the everyday life (T. Martsinkovskaya, M. Guseltseva, D. Khoroshilov). Its main idea is the comparative analysis of the languages of the scientific concepts and art and media images, what allows to explicate visibility optics of the everyday life in the modern society. The article concludes with the aesthetics and psychological explanation of the phenomena of deep mediatization of social cognition from Nicola Gogol to the popular TV series «Black mirror».

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17

Chatterjee, P. "Critique of Popular Culture." Public Culture 20, no. 2 (April 1, 2008): 321–44. http://dx.doi.org/10.1215/08992363-2007-028.

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18

McRobbie, Angela. "Postrnodernism and Popular Culture." Journal of Communication Inquiry 10, no. 2 (June 1986): 108–16. http://dx.doi.org/10.1177/019685998601000209.

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19

Sabry, Tarik. "Emigration as popular culture." European Journal of Cultural Studies 8, no. 1 (February 2005): 5–22. http://dx.doi.org/10.1177/1367549405049489.

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20

Lutfi, Huda, and Boaz Shoshan. "Popular Culture in Medieval Cairo." Journal of the Royal Anthropological Institute 1, no. 1 (March 1995): 200. http://dx.doi.org/10.2307/3034269.

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21

Young, B. M., and John Whittier Treat. "Contemporary Japan and Popular Culture." Anthropologica 40, no. 1 (1998): 143. http://dx.doi.org/10.2307/25605885.

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22

Kasfir, Sidney L. "Moments of Freedom: Anthropology and Popular Culture.:Moments of Freedom: Anthropology and Popular Culture." American Anthropologist 102, no. 4 (December 2000): 937–38. http://dx.doi.org/10.1525/aa.2000.102.4.937.

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23

Harmes, Marcus. "Humanities and the Politics of Higher Education in 1980s Popular Culture." History of Humanities 7, no. 2 (September 1, 2022): 279–303. http://dx.doi.org/10.1086/721314.

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24

Jules-Rosette, Bennetta, and Robert Cancel. "Introductory Remarks on African Humanities." African Studies Review 29, no. 1 (March 1986): 1–2. http://dx.doi.org/10.1017/s0002020600011665.

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This issue of the African Studies Review is devoted to research in the African humanities. The appearance of new approaches to the study of literary texts, oral traditions, and the popular arts has inspired us to assemble this collection. Recently, the African humanities have been neglected as an important area in which new empirical and theoretical advances have been made for the study of oral texts, art, and performance.The articles in this collection by Robert Cancel, David Coplan, Bennetta Jules-Rosette, and V. Y. Mudimbe were presented at the Conference on Popular Arts and the Media in Africa held at the University of California, San Diego from May 17-19, 1982. This conference was sponsored by the Joint Committee on African Studies of the Social Science Research Council and the American Council of Learned Societies. We would like to thank the Joint Committee for their support of this conference and our initial efforts to develop a research synthesis for the African humanities.This collection begins with V. Y. Mudimbe's commentary on the nature of African art and the limitations of research models used to study it. He questions the role and position of African arts, especially visual arts, in the post-colonial world. He suggests that the time has passed where most of these works can be judged simply as self-enclosed cultural referents, isolated from the effects of the last two hundred years of history. The process of “aesthetization” that he describes is one which, in various transformations, informs each of the papers that follow. When Fanon suggested that to take on a language is to “take on a world,” he foreshadowed the ideas that acknowledge the development of Africa's humanities in a context of cultural interchange with other world traditions. This is not to accept the Victorian pronouncements that credited all African achievements to various forms of Western influence. Rather, it is a movement towards the view that African culture, always fluid and dynamic, has been responsive to all manner of influences, both local and foreign.

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25

Lê Thành Khôi. "Popular Culture and Lettered Culture in Ancient Vietnam." Diogenes 34, no. 133 (March 1986): 122–43. http://dx.doi.org/10.1177/039219218603413307.

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26

Funnell, Lisa, and Yuya Kiuchi. "Introduction: Asian Popular Culture." Journal of Popular Culture 49, no. 5 (October 2016): 963–66. http://dx.doi.org/10.1111/jpcu.12464.

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27

Blouin, Michael J. "Neoliberalism and Popular Culture." Journal of Popular Culture 51, no. 2 (April 2018): 277–79. http://dx.doi.org/10.1111/jpcu.12667.

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28

Browne, Ray B. "Internationalizing Popular Culture Studies." Journal of Popular Culture 30, no. 1 (June 1996): 21–37. http://dx.doi.org/10.1111/j.0022-3840.1996.00021.x.

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29

Cusic, Don. "The Popular Culture Economy." Journal of Popular Culture 35, no. 3 (December 2001): 1–10. http://dx.doi.org/10.1111/j.0022-3840.2001.3503_1.x.

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30

Hoppenstand, Gary. "Editorial: Collecting Popular Culture." Journal of Popular Culture 38, no. 2 (November 2004): 235–38. http://dx.doi.org/10.1111/j.0022-3840.2004.00108.x.

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31

Pinault, David, and Boaz Shoshan. "Popular Culture in Medieval Cairo." Journal of the American Oriental Society 117, no. 4 (October 1997): 762. http://dx.doi.org/10.2307/606488.

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32

Traube, Elizabeth G. "“THE POPULAR” IN AMERICAN CULTURE." Annual Review of Anthropology 25, no. 1 (October 21, 1996): 127–51. http://dx.doi.org/10.1146/annurev.anthro.25.1.127.

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33

y Blasco, Paloma Gay, and William Washabaugh. "Flamenco: Passion, Politics and Popular Culture." Journal of the Royal Anthropological Institute 5, no. 4 (December 1999): 687. http://dx.doi.org/10.2307/2661215.

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34

Ajayi, Joseph Babatunde. "Importance of Art Museum and its Influence on Behavioral Intention of Visitors." Advances in Multidisciplinary & Scientific Research Journal Publications 12 (2024): 2–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3x.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 2, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3x

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35

Ajayi, Joseph Babatunde. "Importance of Art Museum and its Influence on Behavioral Intention of Visitors." Advances in Multidisciplinary and scientific Research Journal Publication 12 (2024): 23–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 1, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3

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36

Greenhill, Pauline, Robert Muchembled, and Lydia Cochrane. "Popular Culture and Elite Culture in France 1400-1750." Journal of American Folklore 100, no. 395 (January 1987): 119. http://dx.doi.org/10.2307/540013.

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37

Cowan, Gloria. "Rape in Popular Culture." Psychology of Women Quarterly 26, no. 3 (September 2002): 262. http://dx.doi.org/10.1111/1471-6402.00065.

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38

Piatti-Farnell, Lorna, Gwyneth Peaty, and Ashleigh Prosser. "Evolving identities in popular culture." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 3–8. http://dx.doi.org/10.1386/ajpc_00047_2.

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In our twenty-first century context, we tell stories through the foods we eat, the images we share, the people we follow on social media, the shows we watch and the music we listen to. From film to television, from Twitter accounts to the latest fandom trend, popular culture provides us with channels through which our narratives of everyday can transform from immaterial notions to very material and tangible objects of consumption. At the centre of our ways of storytelling lies the formation of our identities. This editorial introduces a Special Issue of the Australasian Journal of Popular Culture that is focused on exploring the many complex intersections between storytelling, identity and popular culture.

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39

Piatti-Farnell, Lorna, Ashleigh Prosser, and Gwyneth Peaty. "Critical intersections in popular culture." Australasian Journal of Popular Culture 12, no. 2 (December 1, 2023): 107–11. http://dx.doi.org/10.1386/ajpc_00072_2.

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In this editorial, the editors introduce the 12.2 volume of The Australasian Journal of Popular Culture. The dynamic and interdisciplinary nature of the field is discussed with reference to the collection of articles within the volume, highlighting the malleability of popular culture in all its transdisciplinary forms. The editors provide a summary of the seven articles included in the volume, which collectively represent diverse critical discussions of the field across sociopolitical, socioeconomic and sociocultural artistic realms. The articles examine the evolving realms of the monstrous, the mythic, the heroic and the historical through various mediums like television, film, characters and historical moments. The editors then conclude by offering a summary of the three book reviews included in the volume.

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40

Blanchard, Mary W. "The Soldier and the Aesthete: Homosexuality and Popular Culture in Gilded Age America." Journal of American Studies 30, no. 1 (April 1996): 25–46. http://dx.doi.org/10.1017/s0021875800024300.

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The aftermath of civil strife, note some historians, can change perceptions of gender. Particularly for males, the effect of exhaustive internal wars and the ensuing collapse of the warrior ideal relegates the soldier/hero to a marginal iconological status. Linda L. Carroll has persuasively argued, for instance, that, following the Italian wars, one finds the “damaged” images of males in Renaissance art: bowed heads, display of stomach, presentation of buttocks. In fact, male weakness and “effeminacy” can, notes Linda Dowling, follow on the military collapse of any collective state. Arthur N. Gilbert argues, in contrast, that historically in wartime, male weakness in the form of “sodomites” was rigorously persecuted. From 1749 until 1792, for instance, there was only one execution for sodomy in France, while, during the Napoleonic Wars, the period of 1803–14, seven men were executed. Such analysis suggests that, in the aftermath of civil wars, cultural attitudes toward effeminate or homosexual men shifted from suppression or persecution during martial crisis to one of latitude and perhaps tolerance in periods following the breakdown of the military collective.The aftermath of America's Civil War, the decades of the 1870s and 1880s, provides a testing ground to examine attitudes toward the soldier/hero and toward the effeminate male in a time of social and cultural disarray. At this time, an art “craze,” the Aesthetic Movement, captured popular culture. Aestheticism, seen in the eighteenth century as a “sensibility,” had, by the nineteenth century, an institutional base and a social reform ideology.

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41

Yang, Shuhui, and Anne E. McLaren. "Chinese Popular Culture and Ming Chantefables." Journal of the American Oriental Society 120, no. 2 (April 2000): 308. http://dx.doi.org/10.2307/605075.

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42

Collison, Scott, and Ian Dyck. "William Cobbett and Rural Popular Culture." Journal of American Folklore 106, no. 422 (1993): 515. http://dx.doi.org/10.2307/541930.

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43

Yano, Christine R. "Takarazuka: Sexual Politics and Popular Culture in Modern Japan:Takarazuka: Sexual Politics and Popular Culture in Modern Japan." American Anthropologist 102, no. 1 (March 2000): 214–15. http://dx.doi.org/10.1525/aa.2000.102.1.214.

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44

Thompson, Gregory J. "Understanding Theology and Popular Culture." Journal of Popular Culture 39, no. 2 (April 2006): 342–43. http://dx.doi.org/10.1111/j.1540-5931.2006.00250.x.

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45

Hoppenstand, Gary. "Editorial: A Popular Culture Original." Journal of Popular Culture 40, no. 6 (December 2007): 913–14. http://dx.doi.org/10.1111/j.1540-5931.2007.00487.x.

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46

CUSIC, DON, and GREGORY K. FAULK. "Popular Culture and the Economy." Journal of Popular Culture 42, no. 3 (June 2009): 458–79. http://dx.doi.org/10.1111/j.1540-5931.2009.00690.x.

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47

Gaboriau, Patrick, and Philippe Gaboriau. "Popular Culture Studies in France." Journal of Popular Culture 24, no. 4 (March 1991): 177–81. http://dx.doi.org/10.1111/j.0022-3840.1991.2404_177.x.

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48

Erard, Michael-Jean. "Novelties in Popular American Culture." Journal of Popular Culture 25, no. 3 (December 1991): 1–16. http://dx.doi.org/10.1111/j.0022-3840.1991.684561.x.

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49

Jackson, Carlton. "Fulbright Experiences and Popular Culture." Journal of Popular Culture 30, no. 1 (June 1996): 39–46. http://dx.doi.org/10.1111/j.0022-3840.1996.00039.x.

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50

Jenkins, Tricia A. "Shakespeare and Modern Popular Culture." Journal of Popular Culture 37, no. 3 (January 29, 2004): 552–53. http://dx.doi.org/10.1111/j.0022-3840.2004.84_12.x.

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