Journal articles: 'Popular culture – United States – History'

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Brown, Joshua, and Jim Cullen. "The Art of Democracy: A Concise History of Popular Culture in the United States." Journal of American History 83, no. 3 (December 1996): 989. http://dx.doi.org/10.2307/2945662.

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Whatley, Edward. "Book Review: Freedom of Speech: Reflections in Art and Popular Culture." Reference & User Services Quarterly 57, no. 3 (March 16, 2018): 226. http://dx.doi.org/10.5860/rusq.57.3.6625.

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For a country that prides itself on the freedoms it bestows on its citizens, the United States has a surprisingly extensive history of censorship. As Patricia L. Dooley’s Freedom of Speech: Reflections in Art and Popular Culture demonstrates, the arts and pop culture have long been favored targets of censors. Sometimes the censors are private citizens or organizations acting as self-appointed guardians of morality. More ominously, they sometimes are government entities intent on controlling the dissemination and consumption of creative products.

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Margolis, Maxine L. "Transnationalism and Popular Culture: The Case of Brazilian Immigrants in the United States." Journal of Popular Culture 29, no. 1 (June 1995): 29–41. http://dx.doi.org/10.1111/j.0022-3840.1995.2901_29.x.

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Samarin, Yaroslav. "THE DISCOURSE OF PATRIOTISM IN MODERN AMERICAN MASS CULTURE: THE CASE OF “WATCHMEN” TV SERIES." Political Expertise: POLITEX 17, no. 1 (2021): 28–38. http://dx.doi.org/10.21638/spbu23.2021.103.

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This article examines the role of popular culture products as a factor in changing the concept of patriotism in the United States. The discourse of patriotism is formed through a “sum” of images including an assessment of the political system, values and national history. According to American sociologist Jeffrey Alexander, “gaining power depends on the outcome of struggles for symbolic domination in the civil sphere”. The exacerbation in the last decade of problems related to race, gender and social justice led to a split in society and created the demand for a critical revision of the history of the United States, and as result the revision of the concept of patriotism. Nowadays, more and more graphic novels and media-shows based on patriotism are focusing on issues of social justice, and play an important role in the “culture wars” in the United States. An example of this is the popular series “Watchmen”, which has received various influential awards. Through the plot about superheroes, its authors construct a new narrative of civic patriotism. This narrative assumes that the racial issue has been a key factor in US history and that the country was founded on the principles of intolerance and oppression. In addition, it is suggested that the political system, in turn, is only formally democratic and the founding fathers created a state that is prone to authoritarianism and suppression, regardless of which political party is in power. Therefore, radical reforms are required for the United States to become a truly democratic and inclusive country.

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Fyn, Amy F. "Book Review: Pop Culture in Europe." Reference & User Services Quarterly 58, no. 1 (October 10, 2018): 65. http://dx.doi.org/10.5860/rusq.58.1.6857.

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What is the history behind the Dr. Who series? Which bands dominated the Britpop sound in the 1990s? Which fashion icons represent uniquely European pop culture in the twentieth century? Pop Culture in Europe, from ABC-CLIO’s Entertainment and Society around the World series, provides reliable content to patrons researching popular trends and entertainments across the pond. The title efficiently introduces residents of the United States to the stars and amusements primarily associated with Western Europe.

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Chasar, Mike. "The Business of Rhyming: Burma-Shave Poetry and Popular Culture." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 29–47. http://dx.doi.org/10.1632/pmla.2010.125.1.29.

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This essay uses the example of the long‐lived and popular Burma‐Shave advertising campaign to argue that literary critics should extend their attention to the vast amounts of poetry written for advertising purposes in the nineteenth and twentieth centuries. The Burma‐Shave campaign—which featured sequences of rhyming billboards erected along highways in the United States from 1926 to 1963—not only cultivated characteristics of literary and even avantgarde writing but effectively pressured that literariness into serving the commercial marketplace. At the same time, as the campaign's reception history shows, the spirit of linguistic play and innovation at the core of Burma‐Shave's poetry unintentionally distracted consumers' attention away from the commercial message and toward the creative forces of reading and writing poetry. A striking example of popular reading practices at work, this history shows how poetry created even in the most commercial contexts might resist the commodification that many twentieth‐century poets and critics feared. (MC)

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Roberts, Garyn G. "The Guide to United States Popular Culture by Ray B. Browne and Pat Browne, Editors." Journal of American Culture 34, no. 1 (January 2011): 98–99. http://dx.doi.org/10.1111/j.1542-734x.2011.00766_6.x.

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Rouleau, Brian. "How the West Was Fun: Children’s Literature and Frontier Mythmaking toward the Turn of the Twentieth Century." Western Historical Quarterly 51, no. 1 (December 5, 2019): 49–74. http://dx.doi.org/10.1093/whq/whz099.

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Abstract This article discusses the important role that juvenile literature played in creating America’s frontier mythos. It argues that children were a crucial audience for adult authors seeking to justify and normalize settler colonial policies. But, more importantly, young people themselves were active participants in the perpetuation of a popular culture that glorified westward expansion and the eradication of Indigenous peoples. In acknowledging as much, we arrive at a richer understanding of the important intersections between western history and the history of childhood in the United States.

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Gripentrog, John. "Power and Culture." Pacific Historical Review 84, no. 4 (November 1, 2015): 478–516. http://dx.doi.org/10.1525/phr.2015.84.4.478.

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This study explores how the Japanese government endeavored to shape American public opinion through the promotion of Japanese aesthetics in the several years following the Manchurian crisis—and, importantly, how this “cultural diplomacy” was received by Americans. At the center of Japan’s state-sponsored cultural initiative was the Society for International Cultural Relations (Kokusai Bunka Shinkōkai, or KBS). By drawing attention to Japan’s historically esteemed cultural traditions, Japan’s leaders hoped to improve the nation’s image and leverage international power. Critical American reviews and general-interest articles on KBS programs proffered images of a society imbued with a profound sense of artistic sophistication. To this end, the KBS’s cultural diplomacy tended to reinforce a popular assumption among Americans that Japan’s body politic in the 1930s was meaningfully divided between “moderates” and “militarists.” Japan’s cultural diplomacy, however, was undermined from the start by an irreconcilable tension: to simultaneously legitimize regional expansionism and advance internationalist cooperation. After the outbreak of the Sino-Japanese War in the summer of 1937 and subsequent proclamations that presumed Japanese hegemony in Asia, naked aggression rendered any lighthearted cultural exchange increasingly irrelevant. Indeed, KBS activities in the United States dwindled—a point that made clear the limits of cultural diplomacy.

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Jacobs, Aaron. "Qualified Immunity: State Power, Vigilantism and the History of Racial Violence." Journal of the Gilded Age and Progressive Era 20, no. 4 (October 2021): 553–57. http://dx.doi.org/10.1017/s1537781421000426.

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Since the historic uprisings sparked by the murder of George Floyd, growing calls to defund the police have upended mainstream political discourse in the United States. Outrage at appalling evidence of rampant police brutality and an entrenched culture of impunity have moved to the very center of public debate what were until recently dismissed as radical demands. This dramatic shift has, among other things, opened up space for discussion of the history of policing and the prison-industrial complex more broadly. In particular, abolitionists have urged examination of the deep roots of our contemporary situation. As the organizer and educator Mariame Kaba argued in an editorial published in The New York Times, “There is not a single era in United States history in which the police were not a force of violence against black people.”1 That a statement like this would appear in the paper of record reflects a paradigm shift in popular understandings of the history of the criminal legal system.

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Feltmate, David. "Cowards, Critics, and Catholics." Bulletin for the Study of Religion 42, no. 3 (September 27, 2013): 2–11. http://dx.doi.org/10.1558/bsor.v42i3.2.

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Throughout its history South Park has had a contentious relationship with Catholicism, frequently using Catholic doctrine, rituals, and popular practices as a foil for humor. This article examines the way that a Catholic parachurch organization, the Catholic League for Religious and Civil Rights, has criticized South Park and its creators Trey Parker and Matt Stone as cowardly and not the satirical mavericks they are frequently portrayed as in popular media. Using the sociologies of religion, humor, and culture, this article demonstrates that this conflict reflects deeper conflicts over the limits of free speech, the place of Catholics in American culture, and the importance of humor in criticizing and controlling religious traditions in the United States.

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Torchon, Jeffrey. "Cuban Cha-Cha-Chá: Applications for Music Education in the United States." Music Educators Journal 104, no. 4 (June 2018): 25–31. http://dx.doi.org/10.1177/0027432118766407.

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One of the most distinctive musical genres that originated in Cuba over the past century is cha-cha-chá, which is attributed to Enrique Jorrín during the 1950s. The popularity of this music has grown considerably since its genesis, as evidenced by the vast array of repertoire, the multitude of bands performing it, and its prevalence in popular culture. This article explores the history of cha-cha-chá, its musical elements, Enrique Jorrín’s influence on the creation and performance of the genre, and the importance of cha-cha-chá in music education in the United States. Due to its musical significance and social impact, it is important to understand cha-cha-chá’s place in modern Cuba, how it has been preserved over time, and how it can be taught in music classrooms at all levels.

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Backer, Samuel E. "The Informational Economy of Vaudeville and the Business of American Entertainment." Business History Review 95, no. 3 (2021): 423–46. http://dx.doi.org/10.1017/s0007680521000489.

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In the early twentieth century, vaudeville was the most popular theatrical form in the United States. Operating before the rise of mechanically reproduced entertainment, its centralized booking offices moved tens of thousands of performers across hundreds of stages to an audience of millions. Designed to gather and analyze data about both audiences and performers, these offices created a complex informational economy that defined the genre—an internal market that sought to transform culture into a commodity. By reconstructing the concrete details of these business practices, it is possible to develop a new understanding of both the success of the vaudeville industry and its influence on the evolution of American mass culture.

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Madden, David. "The Civil War as a Model for the Scope of Popular Culture, or the United States Civil War Center and the Popular Culture Association: Myriadminded Interdisciplinarians." Journal of American Culture 23, no. 1 (March 2000): 1–9. http://dx.doi.org/10.1111/j.1537-4726.2000.2301_1.x.

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Casimir, Enver M. "Contours of Transnational Contact: Kid Chocolate, Cuba, and the United States in the 1920s and 1930s." Journal of Sport History 39, no. 3 (October 1, 2012): 487–506. http://dx.doi.org/10.5406/jsporthistory.39.3.487.

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Abstract Boxer Kid Chocolate was one of the most prominent and popular athletes in Cuba in the 1920s and 1930s. An analysis of his career and the reasons for his popularity in Cuba shed light on the cultural dimensions of U.S.-Cuban relations during this time. Appreciation of the career of Kid Chocolate in both the U.S. and Cuba suggests that Cubans and Americans shared a cultural world that centered on the appreciation of sport in general and was characterized by extensive Cuban consumption of North American sporting culture. But Cubans were not simply passive consumers of this culture. Instead they infused their own meaning into the career of Kid Chocolate, subtly invoking it as a challenge to North American hegemony in Cuba while also critiquing North American racism.

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Staurowsky, Ellen J., and Allen L. Sack. "Reconsidering the Use of the Term Student-Athlete in Academic Research." Journal of Sport Management 19, no. 2 (April 2005): 103–16. http://dx.doi.org/10.1123/jsm.19.2.103.

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Although the termstudent-athletedoes not appear in any standard English dictionary, it is routinely used in the United States in reference to athletes who participate in secondary and post-secondary school sport programs. Popular usage of the termstudent-athletesuggests widespread agreement in the culture and among academics that it is a term with either a favorable meaning or, at the very least, a benign or neutral one. In recent years, however, scholars who have explored the evolution and etymology of the term report that its introduction into the language of sport in the United States was an NCAA tactic in the 1950s to counter negative publicity and political pressure created by its newly instituted athletic scholarship policy. The focus of this research perspective is on the history of the termstudent-athlete,the propaganda mechanism used to encourage and perpetuate acceptance of the term in the United States, and the reasons why scholars might wish to avoid its use when writing about college and high school sport.

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Marler-Kennedy, Kara. "Immortelles: Literary, Botanical, and National Memories." Articles, no. 53 (May 12, 2009): 0. http://dx.doi.org/10.7202/029897ar.

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Abstract This article examines the history of the popular immortelle flower and its role in aesthetic and material culture from the period of 1780–1930 in England and the United States. The flower was often used and referred to in funerary and literary productions as a symbol of longevity, resurrection, and, of course, immortality (as its name suggests). Exploring the flower’s once far-reaching span reveals a rich memorializing tendency during this period that sought to challenge the anxieties of modernity.

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Farmelo, Allen. "Another history of bluegrass: The segregation of popular music in the United States, 1820–1900." Popular Music and Society 25, no. 1-2 (March 2001): 179–203. http://dx.doi.org/10.1080/03007760108591792.

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Bukowczyk, John J. "The Transforming Power of the Machine: Popular Religion, Ideology, and Secularization among Polish Immigrant Workers in the United States, 1880–1940." International Labor and Working-Class History 34 (1988): 22–38. http://dx.doi.org/10.1017/s0147547900005019.

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In the last fifteen years or so, a generation of European social historians, armed with an integrated understanding of society, class, culture, and politics, has demystified the history of religion. In particular, they have probed the complicated relationship between institutional and popular belief in the time when Roman Catholicism formed the ideological mainstay of landed power in the precapitalist European countryside. Even apart from the Reformation, they have shown that orthodox religion faced a raft of powerful popular challenges. Superstition, magic, and other “pagan”—or folk—carryovers still survived. Even when accepted, orthodox religion often underwent subversive transmutation at the hands of supposedly docile and devout underclasses who reinvested its practices with new meanings, reappropriated its symbols for their own ends, and sometimes thereby used it as a resource against the predations of society's rulers. In the process, they transformed the Church's own religion from a theology of subjugation into an arena for popular struggle, resistance, expression, and assertion.

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Cohen, Michael. "“Cartooning Capitalism”: Radical Cartooning and the Making of American Popular Radicalism in the Early Twentieth Century." International Review of Social History 52, S15 (November 21, 2007): 35–58. http://dx.doi.org/10.1017/s0020859007003112.

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During the first two decades of the twentieth century, a mass culture of popular radicalism – consisting of various socialist, industrial unionist, anarchist, Progressive, feminist, black radical and other movements – arose to challenge the legitimacy of corporate capitalism in the United States. This article considers the role of radical cartoonists in propagandizing for, and forging unity within, this culture of popular radicalism. By articulating a common set of anti-capitalist values and providing a recognizable series of icons and enemies, radical cartoonists worked to generate a class politics of laugher that was at once entertaining and didactic. Through a discussion of the works of Art Young for The Masses, Ryan Walker's cartoons for the socialist newspaper, Appeal to Reason, and the proletarian humor of Joe Hill and the IWW, this article argues that radical cartooning did not merely provide comic relief for the movements, but was an active force in framing socialist ideology and goals in a revolutionary age.

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Downey, Dennis B. "Introduction." Pennsylvania History: A Journal of Mid-Atlantic Studies 89, no. 3 (2022): 325–28. http://dx.doi.org/10.5325/pennhistory.89.3.0325.

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ABSTRACT Pennsylvania and the mid-Atlantic region have played a crucial role in the history and lived experience of individuals with a disability. From the colonial era to the present, disability as an individual and social phenomenon has strongly influenced a sense of self-identity, as well as public policy, medical science, public health, and popular attitudes toward the proverbial “other.” Disability Studies is an interdisciplinary field of academic inquiry that is wide-ranging, complex, and often contested. The very word “disability” has sparked a fierce debate about language, culture, and vernacular usage, but it should not distract historians from the crucial importance of research in the rich resources and archival collections now found in repositories throughout the Commonwealth and neighboring states. The challenge invites a more inclusive and complete narrative of Pennsylvania’s contribution to United States and global history.

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Trukhacheva, Elena Andreevna, and Karina Vramovna Vartanova. "French Musical: history and specificity of the genre." Философия и культура, no. 8 (August 2021): 21–35. http://dx.doi.org/10.7256/2454-0757.2021.8.36651.

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French Musical is “younger” than the Broadway, popular; however, there is yet no serious scientific approach towards its examination. The subject of this research is nationalization of the French Musical in historical and genre contexts. The goal is to disclose role of French Musical as a relatively young genre on the theoretical level. The article employs the interdisciplinary approach, which involves the scientific theories and concepts from other fields; historical-culturological approach, which reveals the factors contributing to assimilation of French culture with the traditions of other cultures; systemic approach aimed at examination of professional performance in French Musical as a result of development of the genre in late XX – early XXI centuries. The scientific novelty consists in introduction of the previously missing biographical materials and new information on the establishment and development of the genre of French Musical and its national specificity. The theoretical significance lies in characterization of the concepts of “French Musical”, “popular culture”, “interpretation of classical music”, “musical performance” in the context of art history knowledge, as well as methodology of science. The practical significance lies in broader understanding of the role of establishment and proliferation of French Musical, comparison of the use of chanson and jazz in the Musicals of France and the United States. The main result consists the statement that French Musical contains the key to understanding the French people, their thought pattern, and tastes. This genre allows them to express and defend their values and uniqueness.

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WITHAM, NICK. "POPULAR HISTORY, POST-WAR LIBERALISM, AND THE ROLE OF THE PUBLIC INTELLECTUAL IN RICHARD HOFSTADTER'S THE AMERICAN POLITICAL TRADITION (1948)." Historical Journal 59, no. 4 (June 16, 2016): 1133–55. http://dx.doi.org/10.1017/s0018246x1500045x.

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ABSTRACTThis article examines the status of Richard Hofstadter's classic work The American political tradition (1948) as a ‘popular history’. It uses documents drawn from Hofstadter's personal papers, those of his publisher Alfred A. Knopf, Inc., as well as several of his contemporaries, to pursue a detailed reconstruction of the manner in which the book was written, edited, and reviewed, and to demonstrate how it circulated within, and was defined by, the literary culture of the 1940s and 1950s. The article explores Hofstadter's early career conception of himself as a scholar writing for audiences outside of the academy, reframes the significance of so-called ‘middlebrow’ literature, and, in doing so, offers a fresh appraisal of the links between popular historical writing, liberal politics, and the role of public intellectuals in the post-war United States.

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Chireau, Yvonne. "Looking for Black Religions in 20th Century Comics, 1931–1993." Religions 10, no. 6 (June 25, 2019): 400. http://dx.doi.org/10.3390/rel10060400.

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Relationships between religion and comics are generally unexplored in the academic literature. This article provides a brief history of Black religions in comic books, cartoons, animation, and newspaper strips, looking at African American Christianity, Islam, Africana (African diaspora) religions, and folk traditions such as Hoodoo and Conjure in the 20th century. Even though the treatment of Black religions in the comics was informed by stereotypical depictions of race and religion in United States (US) popular culture, African American comics creators contested these by offering alternatives in their treatment of Black religion themes.

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Mart, Michelle. "The “Christianization” of Israel and Jews in 1950s America." Religion and American Culture: A Journal of Interpretation 14, no. 1 (2004): 109–46. http://dx.doi.org/10.1525/rac.2004.14.1.109.

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AbstractIn the 1950s, the United States experienced a domestic religious revival that offered postwar Americans a framework to interpret the world and its unsettling international political problems. Moreover, the religious message of the cold war that saw the God-fearing West against atheistic communists encouraged an unprecedented ecumenism in American history. Jews, formerly objects of indifference if not disdain and hatred in the United States, were swept up in the ecumenical tide of “Judeo-Christian” values and identity and, essentially, “Christianized” in popular and political culture. Not surprisingly, these cultural trends affected images of the recently formed State of Israel. In the popular and political imagination, Israel was formed by the “Chosen People” and populated by prophets, warriors, and simple folk like those in Bible stories. The popular celebration of Israel also romanticized its people at the expense of their Arab (mainly Muslim) neighbors. Battling foes outside of the Judeo-Christian family, Israelis seemed just like Americans. Americans treated the political problems of the Middle East differently than those in other parts of the world because of the religious significance of the “Holy Land.” A man such as Secretary of State John Foster Dulles, who combined views of hard-nosed “realpolitik” with religious piety, acknowledged the special status of the Middle East by virtue of the religions based there. Judaism, part of the “Judeo-Christian civilization,” benefitted from this religious consciousness, while Islam remained a religion and a culture apart. This article examines how the American image of Jews, Israelis, and Middle Eastern politics was re-framed in the early 1950s to reflect popular ideas of religious identity. These images were found in fiction, the press, and the speeches and writings of social critics and policymakers. The article explores the role of the 1950s religious revival in the identification of Americans with Jews and Israelis and discusses the rise of the popular understanding that “Judeo-Christian” values shaped American culture and politics.

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Gardiner, Judith Kegan. "Buddies, Comrades, Couples, and Exes: Men’s Friendships with Women." Men and Masculinities 22, no. 1 (March 12, 2019): 92–97. http://dx.doi.org/10.1177/1097184x18805556.

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Although popular culture contrasts men and women as opposites, cross-gender friendships between the sexes are thriving. I agree with other scholars that men’s friendships with women are increasing in number, value, and social acceptability in the United States. I argue that we should expand our contexts for understanding cross-gender friendships from dyads or paid bonds to include men and women comrades, coworkers, in-laws, exes, and members of other mixed groups.

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Lacy, Tim. "Dreams of a Democratic Culture: Revising the Origins of the Great Books Idea, 1869-1921." Journal of the Gilded Age and Progressive Era 7, no. 4 (October 2008): 397–441. http://dx.doi.org/10.1017/s1537781400000840.

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British and American intellectuals began to formulate ideas about so-called great books from the mid-1800s to 1920. English critic Matthew Arnold's writings served as the fountainhead of ideas about the “best” books. But rather than simply buttress the opinions of highbrow cultural elites, he also inspired those with dreams of a democratized culture. From Arnold and from efforts such as Sir John Lubbock's “100 Best Books,” the pursuit of the “best” in books spread in both Victorian Britain and the United States. The phrase “great books” gained currency in the midst of profound technical, cultural, educational, and philosophical changes. Victorian-era literature professors in America rooted the idea in both education and popular culture through their encouragements to read. Finally, the idea explicitly took hold on college campuses, first with Charles Mills Gayley at the University of California at Berkeley and then John Erskine's General Honors seminar at Columbia University.

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Rubio Pobes, Coro. "Traitorous Republic or Friendly Nation. Images of the United States, Patriotic Mobilizations and Nationalisms in the Basque Country in 1898." Culture & History Digital Journal 9, no. 2 (December 30, 2020): e018. http://dx.doi.org/10.3989/chdj.2020.018.

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The Spanish-American War of 1898 produced a wave of Anti-Americanism in all Spain, very closely associated with a heated Spanishist rhetoric. It was also expressed in the Basque Country, but at the same time triggered the discovery by Basque nationalism of the United States as a “friendly nation” (an interpretation present in Basque nationalism throughout all its history). Both Spanish and Basque nationalisms, that existed then in this territory, reacted differently to the outbreak of the war and built opposite ideas of the symbolic meaning of the United States: a traitorous republic or a freeing referent. The aim of this article is to explain, through the Basque press of the period, divergent points of view, as well as the patriotic rhetoric and the popular mobilizations –expression of informal sociability– against the United States raised by the war.

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Gumbert, Heather. "The Deutschland Series: Cold War Nostalgia for Transnational Audiences." Central European History 54, no. 2 (June 2021): 352–60. http://dx.doi.org/10.1017/s0008938921000480.

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How do you explain the Cold War to a generation who did not live through it? For Jörg and Anna Winger, co-creators and showrunners of the Deutschland series, you bring it to life on television. Part pop culture reference, part spy thriller, and part existential crisis, the Wingers’ Cold War is a fun, fast-paced story, “sunny and slick and full of twenty-something eye candy.” A coproduction of Germany's UFA Fiction and Sundance TV in the United States, the show premiered at the 2015 Berlinale before appearing on American and German television screens later that year. Especially popular in the United Kingdom, it sold widely on the transnational market. It has been touted as a game-changer for the German television industry for breaking new ground for the German television industry abroad and expanding the possibilities of dramatic storytelling in Germany, and is credited with unleashing a new wave of German (historical) dramas including Babylon Berlin, Dark, and a new production of Das Boot.

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Smith, Kai Alexis. "Popular culture as a tool for critical information literacy and social justice education: Hip hop and Get Out on campus." College & Research Libraries News 79, no. 5 (May 4, 2018): 234. http://dx.doi.org/10.5860/crln.79.5.234.

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We live in a politically polarizing climate and at a time when there is great economic and social unrest in the United States. Our current moment brings to my mind other periods in our nation’s history. First, the 1857 Dred Scott decision, when the Supreme Court decided that slaves were not U.S. citizens and could not sue for their freedom. So that even if a slave escaped to the North, he or she was still considered the property of the slave owner and must be returned.1 The second is in the 1960s, when the antiwar and civil rights movements occurred.2,3

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Price, Erica. "The Sellers of Catan: The Impact of the Settlers of Catan on the United States Leisure and Business Landscape, 1995-2019." Board Game Studies Journal 14, no. 1 (October 1, 2020): 61–82. http://dx.doi.org/10.2478/bgs-2020-0004.

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Abstract While Monopoly is still one of the best-known board games in the United States today, increasing attention is paid to The Settlers of Catan, a mid-1990s German immigrant to the United States and a mid to late 2010s staple in popular culture and on store shelves. However, the one place where Catan has seen a drop in popularity over the past decade is in its first world, that of hobby board games. With so many new and innovative games and mechanics flooding the hobby market each year, Catan struggles to find a place. This struggle is due in part to its lack of innovation, attempt to keep pace with game trends, and seemingly, a reluctance to buy into the popularity of app-supported games (though solely mobile versions of Catan exist), crowdfunding, and new mechanics. This research explores Catan’s history in the United States to illustrate the paradox of its growing popularity with the general public while also experiencing a downturn in accolades from within the hobby, all while functioning as a barometer against which we can measure trends in the selling and playing of hobby board games.

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Schieder, Chelsea Szendi. "To Catch a Tiger by Its Toe." Journal of American-East Asian Relations 23, no. 2 (June 17, 2016): 144–69. http://dx.doi.org/10.1163/18765610-02302007.

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This article discusses a global theatrical spectacle that Moral Re-Armament (mra), a spiritual movement originating in the United States, produced in 1961. mra used contemporary protests in Japan, and actors ostensibly involved in them, as a strategy to bolster its authority in the context of U.S. Cold War policy in East Asia. How it claimed to represent Japan to the world and attempted to transform itself into the spokesman for the “Free World” offers insight into the symbolic position of East Asia in the United States and the areas it sought to influence during the early 1960s, a key moment in the intensifying U.S. involvement in East Asia, and offers a case through which to explore Christina Klein's model of “Cold War Orientalism.” mra tapped into this more inclusive discourse and also exploited ignorance in the United States about Japan to bolster widespread misconceptions about demonstrations in Tokyo. While introducing mra’s history, this essay teases out a gap between the reality and representation of Japanese politics and protest in the case of The Tiger, which reflects the historical context in which popular culture excluded real knowledge about how U.S. foreign policy affected, and often threatened, local political autonomy.

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Shaw, Tony, and Denise J. Youngblood. "Cold War Sport, Film, and Propaganda: A Comparative Analysis of the Superpowers." Journal of Cold War Studies 19, no. 1 (January 2017): 160–92. http://dx.doi.org/10.1162/jcws_a_00721.

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Films and sports played central roles in Cold War popular culture. Each helped set ideological agendas domestically and internationally while serving as powerful substitutes for direct superpower conflict. This article brings film and sport together by offering the first comparative analysis of how U.S. and Soviet cinema used sport as an instrument of propaganda during the Cold War. The article explores the different propaganda styles that U.S. and Soviet sports films adopted and pinpoints the political functions they performed. It considers what Cold War sports cinema can tell us about political culture in the United States and the Soviet Union after 1945 and about the complex battle for hearts and minds that was so important to the East-West conflict.

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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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GARCIA, JAY. "Stuart Hall's Discursive Turn." Journal of American Studies 53, no. 2 (May 2019): 556–63. http://dx.doi.org/10.1017/s002187581900029x.

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Recalling his work as cofounder and contributor toUniversities and Left Review, or the ULR group, in the lead-up to the founding of cultural studies during the 1950s, Stuart Hall noted that much of that work had to do with the United States. “In geopolitical terms we were of course neutralists, hostile to the politics emanating from the State Department in Washington,” Hall wrote, “but culturally we were nonetheless attracted by the vitality of American popular life, indeed to the domain of mass culture itself.” If the ULR group and similar collectives shared an “anxiety about the stupendous power of the booming consumer capitalism of post-war America,” they were also united by an appreciation for the ways the “vitality and raucousness of American culture certainly loosened England's tight-lipped, hierarchical class cultures and carried inside it possibilities – or the collective dream? – for a better future, which we felt was a serious political loss to deny.” Not unrelatedly, by the 1960s and 1970s, cultural studies and certain quarters of American intellectual life were proceeding along comparable tracks. Many American scholars and at least some working in cultural studies moved toward social history that emphasized the “hidden experiences of subordinated groups and classes.” Undertaken in concert with the new social movements of the 1960s and 1970s, this version of social history would ramify widely, furnishing the very questions and analytic habits of many fields, not least American studies.

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Terzian, Sevan G. "Rebecca Onion . Innocent Experiments: Childhood and the Culture of Popular Science in the United States. Chapel Hill: University of North Carolina Press, 2016. 226 pp." History of Education Quarterly 57, no. 3 (July 19, 2017): 444–46. http://dx.doi.org/10.1017/heq.2017.24.

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DE MORAES FARIAS, P. F. "AFROCENTRISM: BETWEEN CROSSCULTURAL GRAND NARRATIVE AND CULTURAL RELATIVISM History in Black: African-Americans in Search of an Ancient Past. By YAACOV SHAVIT. London: Frank Cass, 2001. Pp. xxii+422. £45 (ISBN 0-7146-5062-5); £19.50, paperback (ISBN 0-7146-8126-0). Afrocentrismes: l'histoire des Africains entre Egypte et Amérique. Edited by FRANÇOIS-XAVIER FAUVELLE-AYMAR, JEAN-PIERRE CHRÉTIEN and CLAUDE-HÉLÈNE PERROT. Paris: Karthala, 2000. Pp. 402. No price given (ISBN 2-84586-008-0). The Painful Demise of Eurocentrism: An Afrocentric Response to Critics. By MOLEFI KETE ASANTE. Trenton NJ and Asmara, Eritrea: Africa World Press, 1999. Pp. xvii+128. No price given (ISBN 0-86543-742-4); £13.99, paperback (ISBN 0-86543-743-2). We Can't Go Home Again: An Argument about Afrocentrism. By CLARENCE E. WALKER. Oxford: Oxford University Press, 2001. Pp. xxxv+172. £18.99; $25 (ISBN 0-19-509571-5)." Journal of African History 44, no. 2 (July 2003): 327–40. http://dx.doi.org/10.1017/s002185370200840x.

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A balanced approach to the subject of these books may be constructed from some of the points made by the African American historian W. J. Moses, in his erudite and insightful study of folk historiography. First, though there have been attempts to provide single definitions of it, ‘Afrocentrism’ is not a monolithic doctrine, but a label covering a range of opinions and themes (not all of which are discussed by the four works listed above). In the United States (and now elsewhere, too), the label extends over aspects of popular culture as well as stances taken by individual academics and by some university departments. And desktop publishing and the internet have created new opportunities for the diffusion and ramification of Afrocentric ideas. Second, it is no wonder that the sheer irrationality of white racism generated, in return, writings that can be ‘sometimes quaint, sometimes fantastic’. Third, arguments for the blackness of the Ancient Egyptians were lent topicality by prejudiced assumptions that, by definition, black Africans could not be creators of ‘civilization’ either in the past or in the present day. In the United States, moreover, such arguments were taken up ‘at a time when “one drop of Negro blood” was enough to make even the whitest person a Negro’. None the less racial classifications of, say, nineteenth-century America cannot be transferred to ‘Neolithic Egyptians or Ethiopians’. Fourth, the body of ideas now labelled ‘Afrocentric’ has a long and complex genealogy, in which white (often Jewish, like Franz Boas and Melville J. Herskovits) and black (and ‘mulatto’) scholars have all participated. Finally, that body of ideas famously includes traditions that reconcile assimilation to Western culture with separation from it in seemingly paradoxical ways.

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WALDEN, JOSHUA S. "“The Hora Staccato in Swing!”: Jascha Heifetz's Musical Eclecticism and the Adaptation of Violin Miniatures." Journal of the Society for American Music 6, no. 4 (November 2012): 405–31. http://dx.doi.org/10.1017/s175219631200034x.

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AbstractJascha Heifetz (1901–87) promoted a modern brand of musical eclecticism, recording, performing, and editing adaptations of folk and popular songs while remaining dedicated to the standard violin repertoire and the compositions of his contemporaries. This essay examines the complex influences of his displacement from Eastern Europe and assimilation to the culture of the United States on both the hybridity of his repertoire and the critical reception he received in his new home. It takes as its case study Heifetz's composition of the virtuosic showpiece “Hora Staccato,” based on a Romany violin performance he heard in Bucharest, and his later adaptation of the music into an American swing hit he titled “Hora Swing-cato.” Finally, the essay turns to the field of popular song to consider how two of the works Heifetz performed most frequently were adapted for New York Yiddish radio as Tin Pan Alley–style songs whose lyrics narrate the early twentieth-century immigrant experience. The performance and arrangement history of many of Heifetz's miniatures reveals the multivalent ways in which works in his repertoire, and for some listeners Heifetz himself, were reinterpreted, adapted, and assimilated into American culture.

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Aksakal, Mustafa. "INTRODUCTION." International Journal of Middle East Studies 46, no. 4 (October 9, 2014): 653–56. http://dx.doi.org/10.1017/s0020743814000993.

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Scholars of the Middle East and North Africa are only too familiar with the momentous changes set in motion by the events of World War I. Given the number of new states and political movements that emerged in the war's aftermath, it seems only fair to describe it as “the single most important political event in the history of the modern Middle East.” Elizabeth F. Thompson recently likened the war's impact on the Middle East to that of the Civil War in the United States. To be sure, the passing of a century hardly proved sufficient for coming to terms with the legacy of either war. In fact, analyses and discussions of World War I in the Middle East have remained highly politicized, in school curricula, in academia, and in popular culture and the arena of public memory. History and historical interpretations are always contested, of course, and there is little reason to believe that accounts of World War I in the Middle East and North Africa will become less so anytime soon.

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Dee, David. "“Personality and Color into Everything He Does”: Henry Rose (1899-1958)—Journalist, Celebrity, and the Forgotten Man of the Munich Disaster." Journal of Sport History 41, no. 3 (October 1, 2014): 425–45. http://dx.doi.org/10.5406/jsporthistory.41.3.425.

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Abstract This article analyzes the life, career, and death of British-Jewish sports journalist Henry Rose (1899-1958), killed in the Munich air disaster of 1958 alongside Manchester United football club officials, players, and several other passengers. Rose may well be the “forgotten” man of the disaster, yet his story illuminates a great deal about contemporary British sport, society, and culture. He was a celebrity of his time, primarily due to his being at the vanguard of a revolution in British sports reporting that saw a more sensationalist and opinionated style successfully imported from the United States into the British press. His achievements were all the more remarkable considering significant levels of anti-Semitism that existed in British society at that time. Rose’s death in 1958 and subsequent disappearance from popular memory, which contrasts starkly with the manner in which Munich has been more actively memorialized in other quarters, is also examined.

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Longley, Kyle. "Peaceful Costa Rica, The First Battleground: The United States and the Costa Rican Revolution of 1948." Americas 50, no. 2 (October 1993): 149–75. http://dx.doi.org/10.2307/1007137.

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In February 1948 a spirited presidential race sparked a political powderkeg in normally tranquil Costa Rica. The opposition candidate, Otilio Ulate, unexpectedly defeated former president Rafael Angel Calderón. Calderón's National Republican Party, the Communist Partido Vanguardia Popular (Vanguard), along with incumbent President Teodoro Picado immediately overturned the results. The opposition responded by launching an armed struggle to install Ulate in power. Led by José Figueres, the rebels defeated the government army and its auxiliaries composed primarily of calderonista and vanguardista militiamen. In late April Figueres victoriously entered San José and established a revolutionary junta that ruled the country for eighteen months. At the end of this period, he stepped down and allowed Ulate to serve his full four-year term.

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Bergeron, Paul H., and John Lauritz Larson. "Internal Improvement: National Public Works and the Promise of Popular Government in the Early United States." Journal of the Early Republic 21, no. 3 (2001): 531. http://dx.doi.org/10.2307/3125282.

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NEKOLA, ANNA, and BILL KIRKPATRICK. "Cultural Policy in American Music History: Sammy Davis, Jr., vs. Juvenile Delinquency." Journal of the Society for American Music 4, no. 1 (January 14, 2010): 33–58. http://dx.doi.org/10.1017/s1752196309990824.

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AbstractIn 1956 entertainer Sammy Davis, Jr., attempted to organize the music industry in a campaign against juvenile delinquency, using musical public service announcements to encourage teens to stay on the right side of the law. Although popular with the public and some industry insiders, Davis's idea failed, officially because of opposition from the Recording Industry Association of America. Although Davis's campaign went nowhere, we argue that this episode provides an important illustration of the need to broaden our understanding of cultural policy studies in the context of American music history. Specifically, we argue for an approach to policy analysis that draws on poststructuralist historiography to capture the forms that cultural policy takes in the United States, including the specific factors of race, intra-industry struggles, and the persona of Sammy Davis, Jr., himself, a pivotal figure who has been largely neglected by music historians despite embodying many of the key cultural tensions of postwar U.S. society. By examining the case of Sammy Davis, Jr., vs. Juvenile Delinquency, we can achieve a better understanding of how U.S. music, U.S. culture, and cultural policy intersect.

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May, Glenn Anthony. "Father Frank Lynch and the Shaping of Philippine Social Science." Itinerario 22, no. 3 (November 1998): 99–121. http://dx.doi.org/10.1017/s0165115300009621.

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Although the United States granted the Philippines formal independence in 1946, American influence in the former colony did not disappear overnight. In the decades following independence, American policymakers continued to play key roles in Philippine politics; American businessmen, presidents, legislators, and bureaucrats and US-based international money lending agencies continued to have a considerable impact on the Philippine economy; and American popular culture continued to penetrate Philippine society and culture (as it did elsewhere). But perhaps no sector of Philippine society was as profoundly influenced by Americans as the academic one, and no subdivision of the Philippine academy bore the American imprint as visibly as Philippine social science. This paper examines the academic career, writings, institution-building efforts, and scholarly agenda of the US-born scholar who arguably had the greatest impact on post-war Philip- pine social science: Father Frank Lynch, a Jesuit professor of anthropology and sociology at Ateneo de Manila University.

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Kim, Jina E. "Broadcasting Solidarity across the Pacific: Reimagining the Tongp'o in Take Me Home and the Free Chol Soo Lee Movement." Journal of Asian Studies 79, no. 4 (July 24, 2020): 891–910. http://dx.doi.org/10.1017/s0021911820001278.

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The South Korean radio docudrama and adapted novel Take Me Home (1978) were based on the real-life case of Chol Soo Lee, who in 1974 was wrongly convicted of murder and sentenced to life imprisonment in the United States. Lee was later acquitted following a series of investigative reports and amid an emerging social movement calling for his release that spanned South Korea and the United States. Influenced by both the American civil rights movement and the Korean progressive minjung ideology, Take Me Home is among several popular radio programs and novels that helped spark this transpacific movement by critiquing US hegemony and Korean state nationalism and by reimagining the figure of the tongp'o in the context of a nascent pan-Korean consciousness. This article traces how the tongp'o is foregrounded, constructed, and ultimately saved in Take Me Home and argues that the radio novel's sonic imagination played a crucial role in broadcasting solidarity across the Pacific.

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Petrzela, Natalia Mehlman. "“The Siren Song of Yoga”." Pacific Historical Review 89, no. 3 (2020): 379–401. http://dx.doi.org/10.1525/phr.2020.89.3.379.

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Yoga writ large helps illuminate the nature and the limits of evolving countercultures. Yoga in the 1960s and 1970s United States operated as a crucial vehicle for expressing critiques of patriarchy and sexual repression. Expressive forms of sexuality became pervasive in yoga culture, symptoms of the increased discursive and physical openness of the sexual revolutions. The broad-ranging spirituality associated with yoga often challenged rigid religiosity, frequently by pitting Eastern against Western belief systems, often oversimplifying this duality. The American encounter with yoga has been a vehicle for the rise of a capacious spirituality, often defined as “New Age” and more recently subsumed within the “spiritual-but-not-religious” movement, which today over 30 percent of Americans reportedly embrace. Yoga has been a crucial vehicle for expressing how Americans see themselves as spiritual, sexual, and physical beings, and the 1960s and 1970s represent a period in which these identities were articulated, if not always enacted, as distinctly countercultural. At the same time, this famously experimental era paradoxically corresponded to the incorporation of yoga into a popular mainstream fitness culture. The mainstreaming of yoga at times sapped this spiritual practice of a significant measure of radicalism and at others merely expressed that radicalism differently.

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Schultz, William. "The Chemical Imbalance Hypothesis: An Evaluation of the Evidence." Ethical Human Psychology and Psychiatry 17, no. 1 (2015): 60–75. http://dx.doi.org/10.1891/1559-4343.17.1.60.

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Powered by philosophic argument, scientific evidence, and multibillion dollar pharmaceutical companies sponsoring multimillion dollar advertising campaigns, the chemical imbalance hypothesis has saturated our academic and popular culture. This saturation is, at least partially, responsible for the more than 10 billion dollars annually spent on antidepressant medication in the United States. But what is the “chemical imbalance” hypothesis? And what evidence supports it? This article will provide an account of the chemical imbalance hypothesis, a history of its development, and the evidence provided for its justification. This article will show that the evidence for the chemical imbalance hypothesis is unconvincing. It will discuss why, despite the unconvincing evidence, the hypothesis lingers. And, finally, it will suggest an alternative approach to mental illness that avoids some of the pitfalls of a biological reductionistic account of mind.

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Moreno, E. Mark. "Popular Narratives and Mestizo Horsemen: Creating a Racial Ideal in Nineteenth-Century Mexico, 1844–1896." Mexican Studies/Estudios Mexicanos 35, no. 3 (2019): 352–81. http://dx.doi.org/10.1525/msem.2019.35.3.352.

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Between 1844 and 1896, two archetypal figures on horseback known as rancheros and chinacos were disseminated through print publications. As war with the United States loomed in 1844, a relatively obscure Mexican writer depicted the ranchero as a “true national type” in a popular magazine. Eighteen years later another archetype on horseback, the chinaco, appeared in newspaper propaganda designed to provoke resistance against an imminent French advance into the Mexican interior. Later writers, such as Justo Sierra and Antonio García Cubas, imbued such figures with racialized mestizo qualities and heroic martial traits, equating mestizo blood with strength and martial capabilities that could build a more advanced Mexican state. The depiction of both figures as of mixed-race origins was a popular perception that carried over into the Porfirian years. This article traces the origins of these figures in popular reading during the years in which Mexico dealt with war with the United States, a civil war, and finally the French Intervention. Through an analysis of popular reading and intellectual commentaries, supplemented by archival research, mestizaje as a foundational concept of Mexican nationhood is traced to these early depictions. Entre 1844 y 1896, las publicaciones impresas de México difundieron dos figuras arquetípicas a caballo, conocidas como rancheros y chinacos. Cuando se avecinaba la guerra con Estados Unidos, un oscuro escritor mexicano describió al ranchero como un “verdadero tipo nacional” en una revista popular. Dieciocho años más tarde, otro arquetipo a caballo, el chinaco, apareció en la propaganda periodística diseñada para incitar a la resistencia contra un inminente avance francés hacia el interior de México. Más adelante, escritores como Justo Sierra y Antonio García Cubas infundieron tales figuras con las cualidades racializadas del mestizo y los rasgos marciales heroicos, equiparando la sangre mestiza con la fuerza y las capacidades marciales necesarias para construir un Estado mexicano más avanzado. La representación de ambas figuras como mezcla de razas constituyó una percepción popular que se mantuvo durante los años del Porfiriato. El presente artículo rastrea los orígenes de estos dos arquetipos en las lecturas populares durante los años en que México libró una guerra contra Estados Unidos, una guerra civil y, finalmente, lidió con la intervención francesa. A través de un análisis de las lecturas populares y los comentarios intelectuales, complementado con una investigación de archivo, se rastrea el origen del mestizaje en cuanto concepto fundacional de la idea de nación mexicana hasta estas representaciones.

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Yang, Mina. "Yellow Skin, White Masks." Daedalus 142, no. 4 (October 2013): 24–37. http://dx.doi.org/10.1162/daed_a_00232.

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Ethnic studies scholars have long bemoaned the near absence of Asians on the big and small screens and popular music charts in the United States, rendering them as outsiders vis-à-vis the American public sphere. In the last few years, however, Asians have sprung up on shows like “Glee” and “America's Best Dance Crew” in disproportionately large numbers, challenging entrenched stereotypes and creating new audiovisual associations with Asianness. This essay considers how emerging Asian American hiphop dancers and musicians negotiate their self-representation in different contexts and what their strategies reveal about the postmillennial Asian youth's relationship to American and transpacific culture and the outer limits of American music.

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Evans, Stephanie Y. "African American Women Scholars and International Research: Dr. Anna Julia Cooper’s Legacy of Study Abroad." Frontiers: The Interdisciplinary Journal of Study Abroad 18, no. 1 (August 15, 2009): 77–100. http://dx.doi.org/10.36366/frontiers.v18i1.255.

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In this article, a little-known but detailed history of Black women’s tradition of study abroad is presented. Specifically, the story of Dr. Anna Julia Cooper is situated within the landscape of historic African American students who studied in Japan, Germany, Jamaica, England, Italy, Haiti, India, West Africa, and Thailand, in addition to France. The story of Cooper’s intellectual production is especially intriguing because, at a time when Black women were just beginning to pursue doctorates in the United States, Anna Cooper chose to earn her Ph.D. from the Sorbonne in Paris. In this article, it is demonstrated that her research agenda and institutional choice reflected a popular trend of Black academics to construct their scholarly identities with an international foundation. The intersection of race, gender, nationality, language, and culture are critical areas of inquiry from which to study higher education.

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Journal articles on the topic 'Popular culture – United States – History'

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