Статті в журналах: "Pleasure in popular culture"

1

Rafailović, Sanja. "Popular culture: Pinter's drama characters in the culture of body and pleasure." Drustveni horizonti 2, no. 3 (2022): 87–103. http://dx.doi.org/10.5937/drushor2203087r.

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The topic of this paper is defining the concept of popular culture and determining its influence on the attitude and behavior of Harold Pinter's drama characters in the culture of body and pleasure. The first part of the paper relies on the theories of eminent sociologists regarding the conceptualization of popular culture, with a special focus on the element of popular pleasures and body. The body is viewed from a physical, class and gender perspective of popular culture which differs from the ruling ideology, while the performance of popular pleasures is seen through John Fiske's explication, which supports the view that subordinate social groups create their own meanings of content and develop popular pleasures in contrast to the hegemonic pleasures. Also, the paper studies the culture of pleasure and body from the point of view of Roland Barthes' division of the respective into jouissance and plaisir, as well as from the point of view of carnivalization of Mikhail Bakhtin. In the second part of the paper, the behavior of Harold Pinter's drama characters in the dramas Dumb Waiter, Birthday Party, Caretaker, Homecoming, No Man's Land, and Betrayal, is defined and explained by the comparative method, from the perspective of enjoying pleasures. More precisely, the thinking and acting of Pinter's protagonists are classified as manifestation of popular pleasures of jouissance and plaisir. The aim of the paper is to determine how Harold Pinter's drama characters behave in the culture of body, how they enjoy popular pleasures and to what extent popular pleasures affect their life course.

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2

Gainer, Jesse. "Social Critique and Pleasure: Critical Media Literacy with Popular Culture Texts." Language Arts 85, no. 2 (November 1, 2007): 106–14. http://dx.doi.org/10.58680/la20076169.

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This article addresses the importance of opening space for young people to engage in critical media literacy learning using popular culture texts. Children’s background knowledge includes a wide-variety of texts that are often ignored or excluded from school curriculum. The author shows how popular music, for example, can offer powerful opportunities for dialogically teachable moments and engagement in literacy learning that is critical but does not come at the expense of children’s pleasure in such texts. The author introduces the concept of a pleasure-critique nexus to demonstrate how social critique and pleasurable experiences are not at odds with each other. Furthermore, in this conceptual space pleasure can be derived from engaging in social critique.

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3

Wilkinson, Eleanor. "Perverting Visual Pleasure: Representing Sadomasochism." Sexualities 12, no. 2 (March 24, 2009): 181–98. http://dx.doi.org/10.1177/1363460708100918.

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In this article I examine representations of sadomasochism in visual culture. Increasingly sadomasochistic imagery is becoming prominent and widespread in popular culture. I will ask which forms of sadomasochism are permitted and which are excluded or marginalized. The changing media regimes of visual representation will be addressed, arguing that cyberspace may provide a public forum for sadomasochists to challenge dominant stereotypical representations. Finally I will examine the impact of the current UK legislation to prosecute the viewers of `extreme' pornographic material. This legislation reveals that certain intimate images are still denied the right to exist in visual culture.

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4

Giroux, Henry A., and Roger I. Simon. "Schooling, Popular Culture, and a Pedagogy of Possibility." Journal of Education 170, no. 1 (January 1988): 9–26. http://dx.doi.org/10.1177/002205748817000103.

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In this paper, the authors analyze the importance of critical pedagogy by examining its potentially transformative relations with the sphere of popular culture. Popular culture is viewed not only as a site of contradiction and struggle but also as a significant pedagogical terrain that raises important questions regarding such issues as the relevance of everyday life, the importance of student voice, the significance of both meaning and pleasure in the learning process, and the relationship between knowledge and power in the curriculum. In the end of the piece, the authors raise a number of questions that suggest important inquiries that need to be analyzed regarding how teachers and others can further develop the notion of critical pedagogy as a form of cultural politics.

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5

Epstein, Jonathon S. ":Disturbing Pleasures: Learning Popular Culture." Symbolic Interaction 18, no. 1 (February 1995): 93–94. http://dx.doi.org/10.1525/si.1995.18.1.93.

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6

Giroux, Henry A. "Disturbing Pleasures: Learning Popular Culture." College Composition and Communication 46, no. 1 (February 1995): 124. http://dx.doi.org/10.2307/358882.

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7

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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Soleh, Muhammad Soleh. "YOUTH, RELIGION, AND POP CULTURE: MODERNITAS DALAM GAYA HIDUP HEDONISME REMAJA DAN BUDAYA POPULER VERSUS EKSISTENSI AGAMA JAMAN NOW." SEMAR : Jurnal Sosial dan Pengabdian Masyarakat 1, no. 02 (June 30, 2023): 35–44. http://dx.doi.org/10.59966/semar.v1i02.303.

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This research discusses the role of modernity in influencing the hedonistic lifestyle of teenagers and popular culture's impact on the existence of religion in the present time. Contemporary society is often confronted with cultural and value changes brought about by technological advancements and globalization. In this context, teenagers face complex challenges in navigating between the demands of popular culture that support pleasure and hedonism, and the more traditional values and teachings of religion. This study adopts a qualitative approach with interview techniques and observational data collection to understand teenagers' perceptions and experiences regarding religion and popular culture. The findings indicate that popular culture, such as social media, music, and entertainment, tends to promote a hedonistic lifestyle that emphasizes instant gratification and material pleasure. Meanwhile, religious values often appear marginalized and lose relevance for some teenagers. However, the research also discovered that some teenagers still hold onto their religious beliefs and try to integrate religious values with existing popular culture. Some religious groups also make efforts to leverage social media and other forms of popular culture as tools to spread religious teachings and maintain their presence in the modern world. In conclusion, teenagers in the present time face a conflict between the hedonistic lifestyle and the existence of religion, which can influence how they perceive and practice religion. It is essential for society and religious leaders to understand these dynamics and seek relevant and inclusive ways to interact with the younger generation so that religious values can remain relevant and beneficial in shaping the character and ethics of today's teenagers.

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9

Alam, Sohaib, Farhan Ahmad, Sadaf Khalid, and Shubhi. "Mapping out Liberating Traces of the Fun of Undisciplined Play: A Search for an Alternative Aesthetic in Graffiti." Journal of Education Culture and Society 13, no. 2 (September 27, 2022): 549–64. http://dx.doi.org/10.15503/jecs2022.2.549.564.

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Aim. The present study primarily engages with graffiti as a tactic of the weak who find pleasure in scandalising the dominant discourse. The prime focus here will be on the pleasure as resistance, on the construction of an alternative space into the dominant space, and on the multiple forms of evasive and resisting techniques through which the subordinate asserts their power. Thus, Graffiti can be read as a popular text, a signifying construct of potential meanings and pleasures for the subordinate. Concept. Conceptualised as the undisciplined play of the subordinate people that resists or evades hegemonic forces and a radical reimagining of the neo-liberal spaces, Graffiti has become a major expression of popular culture in recent times. The paper uses many such stances where the lateral thinking of the power helps to challenge the disciplinary discourses of the dominant. Results and Conclusion. The paper offers a popular reading of graffiti that opens up the way to escape control, scandalise top-down power and to assert bottom-up power at the micro-level. The real pleasure lies in scandalising the dominant discourse. Graffiti is read here as self-assertion of the marginalised who acquire public visibility and power through graffiti creation. Originality. The originality of the study depends on reviewing the manipulative actions of people in everyday lives and how this undisciplined play provides them with the opportunity to subvert the system and to escape social control. It supports the idea that the subordinate possesses transgressive deviation in relation to the everyday continuum.

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10

Rijal, Syamsul. "Consuming and Disputing Aisha Song: The Quest for Pleasure & Islamic Romance in Contemporary Indonesia." Indonesian Journal of Islam and Muslim Societies 12, no. 1 (June 4, 2022): 1–29. http://dx.doi.org/10.18326/ijims.v12i1.1-29.

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Abstract The increasing consumption of Islamic popular culture in Indonesia has marked the deepening Islamisation among the Muslim majority. Some scholars have observed the interplay between Islam and popular culture among Indonesian Muslim youths. However, only a few scholars have studied how a particular religious product has been debated and contested within a Muslim society. This article examines the conflicting responses over an Islamic song that describes romantic expression between the Prophet and His wife, Aisha. It focuses on three groups: popular preachers, progressive writers, and YouTube audience. This study found that while some Muslim preachers and progressive writers have criticized the song’s lyrics, most Muslim audience keep consuming the song and regard it as an ideal model of Islamic romance as expressed by the Prophet and His wife, Aisha. The various responses from the three groups represent the diversity of Indonesian Muslims with regards to Islam and popular culture. It also suggests that the Muslim consumers do not always follow the opinions of popular religious elites. The popularity of the song has resonated with the increasing aspiration among pious young Muslims who seek the basis of Islamic romance through the lives of the Prophet and His wife.

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11

Perrin, Tom. "Critique, Tweaked." American Literary History 31, no. 3 (2019): 530–39. http://dx.doi.org/10.1093/alh/ajz021.

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Abstract Four recent monographs argue, in various ways, that the paradigm of critique is still a useful one for scholars to inhabit. Taken as a group, these authors broadly address the issues of how, and with what results, popular culture upholds hegemonic ideologies, and, by extension, whether the consumption of popular culture ought still to count as a guilty pleasure. Such questions are clearly related to the scholarly practice of studying popular culture by critiquing its ideological axioms. While these books all engage the problems with critique that have given rise to a contemporary postcritique movement, all ultimately conclude that key elements of critique remain useful as keystones of the study of literature and culture.

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12

Raditya, Ardhie. "MADURA POPULER: SUARA ANAK MUDA PULAU KAMBING." JURNAL SOSIAL Jurnal Penelitian Ilmu-Ilmu Sosial 22, no. 2 (January 6, 2022): 63–78. http://dx.doi.org/10.33319/sos.v22i2.86.

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Abstract â€“ The islanders who are geographically separated from the mainland island of Madura have long been absent from the attention of popular culture. They tend to be considered alienated people and left behind from the high culture of the Madurese people. In fact, the popular culture brought and spread by the popular class of Madurese is a clue to their openness to the outside world or the development of the times. Madura's popular class consists of young people, either individuals or collectives, who are passionate about a variety of popular cultural products and practices. This research will be concentrated on the popular class in Kambing Island, Sampang regency, Madura. The research methods used collaborate between cultural studies and case study. The main data sources come from informal conversations, the experience of walking around the location, and participant observations with Kambing island youngsters. Based on field work analysis shows the pleasure of goat island young people towards popular culture refers to fandom or idolization culture, mobile phone use, and fashion style. The popular culture of the young people of Kambing Island is formed because of the political power of friendship and the rhythmic world of their everyday life.Â Â

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13

Valencialaw, Natasya, and Lusia Savitri Setyo Utami. "K-Pop dan Perilaku Konsumtif Menonton Konser." Koneksi 7, no. 1 (March 29, 2023): 112–19. http://dx.doi.org/10.24912/kn.v7i1.21301.

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South Korean popular culture or K-Pop has managed to become the center of attention throughout the world, including Indonesia. Indonesia is a target for the South Korean entertainment industry market due to the large number of existing K-Pop fans. It is the intervention of the existence of communication and the mass media as a bridge connecting all information about popular culture. Popular culture also brings K-Pop along with other activities, namely music concerts. The existence of this background can lead to a consumptive behavior. The purpose of this study is to describe the process of developing Korean popular culture and the formation of consumptive behavior towards fans in watching music concerts. The discussion uses mass communication, new media, social media, popular culture, consumptive behavior and fans. To explore existing research phenomena, a qualitative research approach is used with phenomenological methods. The results can describe the development of popular culture through mass communication and mass media, this can be seen from the presence of K-Pop popular culture that enters and expands through the involvement of social media such as Youtube and Twitter. The author also describes the existence of consumptive behavior carried out by fans with aspects of being wasteful and seeking pleasure in watching concerts. Budaya populer Korea Selatan atau K-Pop berhasil menjadi pusat perhatian seluruh dunia tidak terkecuali di Indonesia. Indonesia merupakan sasaran dari pasar industri hiburan Korea Selatan karena banyaknya penggemar K-Pop yang ada. Hal itu merupakan campur tangan dari adanya komunikasi dan media massa sebagai jembatan penghubung masuknya semua informasi mengenai budaya populer. Budaya populer turut membawa K-Pop masuk bersama dengan kegiatan lainnya yakni konser musik. Adanya latar belakang tersebut dapat menyebabkan suatu perilaku yang konsumtif. Tujuan penelitian ini untuk mendeskripsikan proses budaya populer Korea yang berkembang dan adanya pembentukan perilaku konsumtif terhadap penggemar dalam menonton konser musik. Dalam pembahasannya menggunakan komunikasi massa, media baru, media sosial, budaya populer, perilaku konsumtif dan penggemar. Untuk mendalami fenomena penelitian yang ada, digunakan pendekatan penelitian kualitatif dengan metode fenomenologi. Hasil yang di dapat mendeskripsikan adanya perkembangan budaya popular melalui komunikasi massa dan media massa, hal tersebut dapat dilihat dari adanya budaya popular K-Pop yang masuk dan meluas melalui keterlibatan media social seperti Youtube dan Twitter. Penulis turut mendeskripsikan adanya perilaku konsumtif yang dilakukan oleh penggemar dengan aspek pemborosan dan mencari kesenangan dalam kegiatan menonton konser.

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14

Letsiou, Maria. "Reseña de "Popular Pleasures, an Introduction to the Aesthetics of Popular Visual Culture”. Libro de Paul Duncum." Communiars. Revista de Imagen, Artes y Educación Crítica y Social, no. 11 (2024): 106–10. http://dx.doi.org/10.12795/communiars.2024.i11.06.

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15

Salter, Michael. "Toys for the Boys? Drones, Pleasure and Popular Culture in the Militarisation of Policing." Critical Criminology 22, no. 2 (September 6, 2013): 163–77. http://dx.doi.org/10.1007/s10612-013-9213-4.

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16

Azeri Matin, Alireza. "Turkish Soaps: Understanding Pleasure Among Iranians and the Underlying Political Economy." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (June 30, 2021): 19–36. http://dx.doi.org/10.17576/jkmjc-2021-3702-02.

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This article examines how young urban audiences in Iran derive pleasure from transnationally broadcasted Turkish soaps. Since the early 1990s, the furtherance of developments in communication technologies and the emergence of the new forces in the global television market have resulted in a profusion of free-to-air satellite TV programmes, transforming the television in Iranians' living rooms from a local and monotonous medium into a vibrant and abundant one. Flooded with a cornucopia of tele-viewing choices, Iranian audiences have particularly been enthralled by Turkish soap operas in recent years. Such popularity, especially among younger audiences, is remarkable considering the general prohibition of satellite TV in Iran and authorities' specific censure of Turkish soaps for having corrupting effects on Iranian culture. While soaps have historically been regarded as pleasurable texts primarily aimed towards women, the consumption of non-local forms of such popular cultural programmes both by male and female Iranian audiences raises questions about the kind of pleasures derived according to their gender-specificity. Through an analysis of the data drawn from a series of focus group discussions with 25-35 years old participants in Tehran, this study explores the diverse ways in which these individuals derive pleasure from watching Turkish soaps. Ultimately, the findings challenge the extrapolation of the traditional theories of political economy, which regards Turkish soaps as global purveyors of predetermined pleasure circumscribed by forces of international markets, and instead suggests that the kinds of pleasure can only be ascertained at the local level of consumption. Keywords: Satellite TV, Iranian audiences, Turkish soaps, pleasure, political economy.

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Ibrahim, Yasmin. "The vernacular of photobombing: The aesthetics of transgression." Convergence: The International Journal of Research into New Media Technologies 25, no. 5-6 (November 27, 2017): 1111–22. http://dx.doi.org/10.1177/1354856517743666.

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The banal imaging of ourselves and our environments has led to new aesthetic modes where the conventions of imaging, subject–object relationships and what is pleasurable or popular often draw on the ludic, the unexpected or the surprise element. One such image genre is photobombing, where a transgressive object or entity within a conventional image setting subverts it, adding popular appeal through its ability to reconfigure its aesthetic conventions, opening it up for public pleasure and consumption and inscribing it with a possibility of going viral. Photobombing as an image genre online reflects our aesthetic modes and the age of distraction, where the unexpected remains a mode of ocular appeal underscoring the convergence of popular culture and the fluidity of Web 2.0’s convergence architecture. As such, people’s aesthetic modes of the popular can be invented, renewed and subverted with new formats. The phenomenon of photobombing equally affirms the spectacular as a liminal site where pleasure is experienced with the breaking down of norms and the conjoining of a communal gaze through the aesthetics of transgression.

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18

GRIFFIN, EMMA. "POPULAR CULTURE IN INDUSTRIALIZING ENGLAND." Historical Journal 45, no. 3 (September 2002): 619–35. http://dx.doi.org/10.1017/s0018246x02002571.

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This review traces historians' use of the concept of popular culture, since its entry into the discipline in the 1970s. ‘Popular culture’ was initially loosely understood as the values, pleasures, and pastimes of the poor, and research in the field was heavily influenced by both Marxism and cultural anthropology. By the 1990s, earlier conceptions of popular culture appeared crudely reductionist, and heterogeneity, diversity, and ‘appropriation’ were firmly established as key terms and concerns for the historian of popular culture. But in the search for social and cultural complexity, the role of politics and the simple force of power and social inequality have been neglected. I argue here that wealth and power have long been key determinants shaping the character of popular cultural practice, and that their operation needs to be incorporated into our analyses. In this way, the study of popular culture offers the promise of research that is both of intrinsic interest and of broader historical significance.

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19

Pilkevych, Andrii. "«Multigenre Convention» Through a Prism of US Popular Culture." Ethnic History of European Nations, no. 67 (2022): 136–41. http://dx.doi.org/10.17721/2518-1270.2022.67.18.

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The article gives a brief description of the most famous festivals and conventions of popular culture in the United States, which include Comic-Con International: San Diego, New York Comic Con, Wizard World Chicago Comic Con, AggieCon, Alamo City Comic Con, All-Con, ApolloCon, Archon, Big Apple Comic Con, Blerdcon, CarnageCon, Chattacon, Chicago Comic & Entertainment Expo, ClexaCon, CoastCon, ConCoction, ConGlomeration, ConnectiCon, CONvergence, Dragon Con, Emerald City Comic Con, Fan Expo Boston, Fan Expo Dallas, FanX, Florida Supercon, Genericon, Heroes Convention, LA Comic Con, MidSouthCon, MOBICON, MomoCon, Motor City Comic Con, Pacific Media Expo, Pensacon, Phoenix Fan Fusion, Sci-Fi Valley Con, Silicon Valley Comic Con, WonderCon, Zenkaikon. The most common thematic areas that fill the main structure of convention programs, in particular presentation of rare and latest examples of the comic’s industry, popularization of the idea of the value of collecting, providing space for novice artists to disseminate their work in the alley of artists. At the same time, with the growing dominance of the video game industry, board and card games, as well as themed collectible toys, remain widely popular. Most festivals feature cosplay competitions that reward the winners, autograph zones with invited celebrities, large-scale panels for exhibitions, where in addition to purely visual pleasure you can join workshops, thematic lectures and seminars. Events include Film Festival, cosplay and costume contests, dances, also the option of game playing. Programs include opportunities to preview the latest film industry news, anime, video game testing and sketches of leading artists from companies specializing in comic book content, exhibition panels with authentic material from the set of popular film franchises and interactions.

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20

Ohmann, Richard. "Teaching Note: Reading the Romance; Women, Patriarchy, and Popular Literature." Radical Teacher 123 (July 13, 2022): 26–27. http://dx.doi.org/10.5195/rt.2022.1039.

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The phenomenal success of romances has naturally stirred the contempt of high culture critics, and more recently the concern of feminists, who have generally understood these narratives as promoting a kind of false consciousness, coating patriarchal values with a frosting of fantasy. The "Smithton women" appropriated romances as a pleasure strictly theirs, an antidote to the endless claims made on them by husbands and children, and a defense of "female" values like emotional sharing and (more or less) egalitarian marriage. [...]for many, regular reading of these books fed a kind of proto-feminism that made for real gains in their lives, within the limits patriarchy sets for women.

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Gerstle, C. Andrew. "Pleasure in Profit: Popular Prose in Seventeenth-Century Japan." Seventeenth Century 36, no. 5 (July 1, 2021): 855–56. http://dx.doi.org/10.1080/0268117x.2021.1945797.

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Mpetsi, Ntebaleng, and Toks Oyedemi. "Global hip-hop culture and the scopophilic spectacle of women in South African hip-hop music videos." Communicare: Journal for Communication Studies in Africa 37, no. 2 (October 11, 2022): 92–106. http://dx.doi.org/10.36615/jcsa.v37i2.1555.

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In many hip-hop music videos, women’s value is reduced to sensuous display of sexuality. Asa result visual pleasure is created through the representation of women as eager and willingsexual objects. This article assesses the techniques and ways women are sexualised in SouthAfrican hip-hop music videos, and how their representation attempts to create visual pleasurefor those that consume these videos. Four critical elements are adopted from Laura Mulvey’sseminal theoretical discourse about the positioning of women in narrative cinema, to study thegender representation and sexual presentation of women in two popular South African hip-hopmusic videos. The analysis reveals that appealing to the male gaze, processes of objectification,gender division of labour and camera techniques are ways of presenting a sexualised spectacleof women for the visual pleasure of male characters and audiences of the videos.

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Screech, Timon. "Pleasure in Profit: Popular Prose in Seventeenth Century Japan." Sungkyun Journal of East Asian Studies 22, no. 1 (May 1, 2022): 129–31. http://dx.doi.org/10.1215/15982661-9767232.

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Screech, Timon. "Pleasure in Profit: Popular Prose in Seventeenth Century Japan." Sungkyun Journal of East Asian Studies 22, no. 1 (May 1, 2022): 129–31. http://dx.doi.org/10.1215/15982661-9767232.

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Shapinskaya, Ekaterina N. "Soviet retro in narratiology of digital age." Yaroslavl Pedagogical Bulletin 1, no. 124 (2022): 202–9. http://dx.doi.org/10.20323/1813-145x-2022-1-124-202-209.

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The paper examines Soviet theme in narrative forms of contemporary culture. Narratives based on Soviet retro images are present in all spheres of today’s culture and in different genres of media production are a popular form of representing Soviet past. In spite of transformation of many cultural forms in digital epoch, of spreading of intermediality which joins different forms in a singular mediaspace, their semantic centre is often preserved. Narrative turn is regarded as a feature of postmodern culture typical of postmodern cultural texts, which use images of history in their «fantastic historiography». It is noted that narrative forms have started attracting attention of researchers in the XX century, in connection with emergence of structuralism and growing attention to the problem of text. Two factors have been singled out among the reasons of popularity and attraction of narratives: archetypal narrative structures and the pleasure principle as the basis of many stories of the past and the present. Soviet retro is examined from the point of view of preserving narrative structures and at the same time of changing their meaning under the influence of today’scultural context. As an example the genre of Soviet retro detective has been examined, which is popular in the form of serials, preserving their traditional form. The cases of retro detectives are regarded as preserving stable basic narrative schemes with variations depending on cultural dynamics, and based both on archetypal structures and the pleasure principle.

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Bruev, A. A. "Development of gaming practices in popular science text." Bibliosphere, no. 4 (November 8, 2021): 15–21. http://dx.doi.org/10.20913/1815-3186-2021-4-15-21.

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The popular science text is described by the author in the context of competition with other media products: films, TV series, video games. Under these conditions, a popular science text acquires new communication characteristics, one of which is a play. The concept of play is viewed through the prism of Johan Huizinga’s work «Homo Ludens, a Study of the Play Element in Culture». The work highlights the main features of play. There are four such characteristics: a play brings pleasure, provides for the presence of special (play) behavior and establishes order, and is also characterized through the tension that arises in the process of playing activity. The play brings pleasure to the player, which in a popular science text is realized through the comprehension of new knowledge, as well as through the awareness of the abundance of sences and interpretations of the text, «flickering of meanings», realized with the help of metaphors. Play behavior is a «play with the addressee»: the use of professional vocabulary allows a reader to identify himself with a researcher. A special playful order is achieved through the use of special narrative schemes that makes it possible to avoid automatism in perception and help to assimilate the content of the text in the most productive way. The tension inherent to any play is interpreted as an intellectual tension associated with the comprehension of new sences, and as an emotional tension, which is achieved via the use of means of artistic expression and strengthens the reader’s emotional involvement in the events described in the text. Each statement is illustrated by examples from popular science works presented in the Russian book market. The author comes to the conclusion that modern popular science texts demonstrate a new property – a playful beginning.

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Kraska, Mariusz. "Intertekstualność. Wersja pop." Literatura i Kultura Popularna 26 (September 14, 2021): 17–29. http://dx.doi.org/10.19195/0867-7441.26.2.

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The concept of intertextuality used in the field of literary theory for the first time by Julia Kristeva seems to be (nowadays) a well-recognised category, though understood in different ways. Numerous interpretations of contemporary cultural phenomena testify to its attractiveness. However, the author of the article argues that in relation to popular literature and culture, a more theoretical approach to the place and status of this category is lacking. He argues that in this context intertextuality should be understood simultaneously as a strategy for producing texts and a specific model of reading. In this sense, it is an indication of formation based on the pleasure principle of a community of cultural representations, experiences and interpretations. However, this heterogeneous universe demonstrates that popular culture is agonist by nature, where the issue of emotional participation and recognition plays a key function.

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Pauthier Moghaddassi, Fanny. "L’ailleurs dans les Voyages de Mandeville (XIVe siècle) : entre rêverie populaire et réflexion savante." Recherches anglaises et nord-américaines 39, no. 1 (2006): 9–20. http://dx.doi.org/10.3406/ranam.2006.1755.

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Mandeville’s Travels, a fourteenth-century narrative, questions the link between learned and popular culture in medieval travel books. Indeed, the large amount of sources which the author used to depict the world reveals his encyclopedic ambitions. Moreover, Mandeville takes part in the intellectual and scientific reflections of his time. Nevertheless, his narrative is also characterized by a taste for the marvelous, for the pleasures of telling stories and staging sensual pleasures. Now these themes are usually associated with popular culture. A certain tension seems to exist within the book between learned and popular cultures. The unity of the book is nonetheless achieved through a criticism of medieval Christendom which aims at stirring consciences in all levels of society.

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Dyson, Anne Haas. "On Reframing Children’s Words: The Perils, Promises, and Pleasures of Writing Children." Research in the Teaching of English 34, no. 3 (February 1, 2000): 352–67. http://dx.doi.org/10.58680/rte20001695.

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Considers the importance of materials from popular culture in children’s literate activities. Emphasizes the dynamic ways in which children adapt symbols from popular culture for their own academic and social purposes. Argues for the need to view popular culture more respectfully.

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Ivashkevich, Olga. "Review of Popular Pleasures: An Introduction to Aesthetics of Popular Visual Culture." Studies in Art Education 63, no. 4 (October 2, 2022): 362–67. http://dx.doi.org/10.1080/00393541.2022.2127347.

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Leyda, Julia, and Maria Sulimma. "Pop/Poetry: Dickinson as Remix." Arts 12, no. 2 (March 22, 2023): 62. http://dx.doi.org/10.3390/arts12020062.

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In its meticulous, freewheeling adaptation of the life and work of celebrated poet Emily Dickinson, the television series Dickinson (Apple TV+, 2019–2021) manifests a twenty-first-century disruption of high and low culture afforded by digital media, including streaming video and music platforms. This article argues that the fanciful series models a mixed-media, multimodal aesthetic form that invites a diverse range of viewers to find pleasure in Dickinson’s poetry itself and in the foibles of its author, regardless of their familiarity with the literary or cultural histories of the US American 19th century. Dickinson showcases creator Alena Smith’s well-researched knowledge of the poet and her work, while simultaneously mocking popular (mis)conceptions about her life and that of other literary figures such as Walt Whitman and Sylvia Plath, all set to a contemporary soundtrack. This analysis of Dickinson proposes to bring into conversation shifting boundaries of high and low culture across generations and engage with critical debates about the utility of the popular (and of studies of the popular) in literary and cultural studies in particular.

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Stratton, Jon. "Coming to the fore: the audibility of women's sexual pleasure in popular music and the sexual revolution." Popular Music 33, no. 1 (January 2014): 109–28. http://dx.doi.org/10.1017/s026114301300055x.

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AbstractThis paper examines the genre of tracks centred around the mid-1960s to the mid-1970s which include aural representations of female sexual pleasure. The two most important tracks, and the ones on which this paper focuses, are Jane Birkin and Serge Gainsbourg ‘Je t'aime … moi non plus’ and Donna Summer ‘Love To Love You Baby’. The paper argues that this new audibility of female sexual pleasure related to the transformation in the understanding of female orgasm associated with Alfred Kinsey and with William Masters and Virginia Johnson, the American sexologists who radically changed Western understandings of sexual behaviour in the 1950s and 1960s. More broadly, the paper argues for a link between the so-called sexual revolution of the late 1960s and 1970s and the popularity of tracks in which sounds identified as female sexual pleasure were upfront in the musical mix.

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Stokrocki, Mary. "Popular Pleasures: An Introduction to the Aesthetics of Popular Visual Culture, Paul Duncum (2021)." International Journal of Education Through Art 18, no. 3 (September 1, 2022): 439–41. http://dx.doi.org/10.1386/eta_00112_5.

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Vanderlan, R. "Consuming Pleasures: Intellectuals and Popular Culture in the Postwar World." Journal of American History 99, no. 4 (February 15, 2013): 1298–99. http://dx.doi.org/10.1093/jahist/jas596.

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Hurova, Inna. "Anglo-American Fan Studies and Their Impact on the Development of Popular Culture in the Twenty-First Century." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 29–39. http://dx.doi.org/10.31866/2410-1915.24.2023.287656.

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The aim of the article is to reveal the main stages of the research of fans in fan studies discourse and analyse the evolution of fan culture development that took place in the 21st century. Results. The article demonstrates that a separate scientific direction is dedicated to the study of fan communities in the Anglo-American academic environment — fan studies, which went through three distinct periods in their development: deviation, resistance (20th century), and mainstream (21st century). In the cultural aspect, the concepts of “fanatic/fanaticism” and “fan/ fandom” are distinguished. It is shown that Anglo-American fan studies define fan culture as an expressive lifestyle of fans of a certain cultural phenomenon or of a bearer of a certain cultural tradition, and in the last two decades, the fan studies direction, where fan culture is connected with fandom, has been intensively developing. It is stated that fandom is a self-organised community built around shared pleasure from a certain product of cultural industries in the digital media environment, and a fan is considered as a person who invests his time, energy, and money in interaction with a media product that is the object of his interests. The scientific novelty consists in determining the methodological status of the concept of “fan culture”, revealing the role of fan communities in the creation of popular culture in the 21st century. Conclusions. Fans began to play an active role in the processes of cultural creation, thanks to their creative work, there was a transition from passive consumption of mass culture products to active production of works of popular culture. Fan culture as a special community and environment of joint creative work among fans of literary works, television series, comics, and computer games, blurs the difference between consumption and production, becoming a vivid phenomenon of popular culture.

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Bieńko, Mariola. "Promotion of sexual health among seniors in the self-help media realm of popular culture." Anthropological Review 78, no. 3 (December 1, 2015): 251–57. http://dx.doi.org/10.1515/anre-2015-0020.

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Abstract The issue of seniors’ sexuality, especially the aspect of sexual activity undertaken by people considered “old” is usually met with silence or even condemned. The stereotypical assumptions are that with age a person’s needs associated with feeling and realizing their own sexuality dissipate, and seniors are perceived as asexual beings. Only in the last decades of the XX century did this area of “taboo” become the subject of in-depth scientific interest and research. The average life span is increasing, and as research shows, so is the number of people who are sexually active and satisfied with intercourse at an elderly age. For hundreds of years, in Western culture, sexual health was equated with reproductive ability. The contemporary concept of health emphasizes that it is a value which allows a person to realize aspirations regardless of age. This article focuses on the content of guides which bring up the importance of seniors’ sexual health. The aestheticization characteristic of the late modern period forces a deconstruction of the concept of old age. In the rhetoric of the everyday and the narcissistic style of the realm of experts, experiencing old age simultaneously becomes a source of pleasure, as well as frustration on the road to an individual’s self-realization and self-creation.

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Zhu, Jing. "Empire and Visual Pleasure: Reinterpreting the Miao Albums of Yunnan and Guizhou." British Journal of Chinese Studies 8, no. 2 (February 14, 2019): 29–62. http://dx.doi.org/10.51661/bjocs.v8i2.2.

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Traditional scholarship has emphasised the intimate link between the Miao album, a genre of illustration to emerge from colonial expansion in southwest China, and political control. Through a careful reading of evidence collected from prefaces, poems, novels, travel accounts and local gazetteers, this paper argues that these albums were also popularised in the marketplace and viewed for pleasure by consumers who included a far wider section of the population than local government officials alone. Divided into three main sections, it firstly brings the pleasure and curiosity dimensions of Miao albums to the fore; it then argues for a diversity of consumers of these albums than has hitherto been acknowledged, and finally, by probing the process of how and by whom Miao albums were produced, it highlights the participation of professional artists and the widespread practice of copying. Through the decentralisation of the political function of Miao albums, this paper offers new ways of viewing Chinese imperial images within the context of popular culture.

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Reifová, Irena. "The pleasure of continuity: Re-reading post-socialist nostalgia." International Journal of Cultural Studies 21, no. 6 (November 15, 2017): 587–602. http://dx.doi.org/10.1177/1367877917741693.

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This article explores uses and modalities of the concept of post-socialist nostalgia in the still emerging field of cultural studies focused on the region of Central and Eastern Europe. It encapsulates both the cultural and socio-political forms of post-socialist nostalgia, defined as tinkering with the remnants of the socialist popular culture, television, fashion or design and reminiscing about social welfare under Communist Party rule. The main aim of this theoretical article is to demonstrate the anti-hegemonic dimension of post-socialist nostalgia, which disturbed the official memory politics that promoted discontinuity with the socialist past in the early post-transformation period of the 1990s. The dynamics in Czechoslovakia/Czech Republic in this period are presented to illuminate how discontinuity in memory politics was embedded in retroactive justice, legislation, the economy, etc. In contrast to these elitist discourses reducing the memory of socialism to its crimes, the pop-cultural post-socialist nostalgia (the lowbrow discourse less strictly policed for discontinuity) served as the venue through which continuity with socialism was redeemed. Reunion with one’s own past and reclaiming the right to remember the past fully is presented as a source of cultural pleasure, the backbone of both types of post-socialist nostalgia.

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Kimbrough, R. Keller. "Pleasure in Profit: Popular Prose in Seventeenth-Century Japan by Laura Moretti." Monumenta Nipponica 76, no. 2 (2021): 375–78. http://dx.doi.org/10.1353/mni.2022.0006.

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Zibrak, Arielle. "The Woman Who Hated Sex: Undine Spragg and the Trouble with “Bother”." Edith Wharton Review 32, no. 1-2 (November 1, 2016): 1–19. http://dx.doi.org/10.5325/editwharrevi.32.1-2.1.

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Abstract Edith Wharton has long been associated with misogyny and prudishness, both by scholars and by popular critics. This article examines Wharton's 1913 novel The Custom of the Country alongside contemporary feminist criticism such as Ariel Levy's 2005 Female Chauvinist Pigs to argue that Wharton's acid-tongued portrayal of The Custom of the Country's antiheroine Undine Spragg is evidence of her forward-thinking critique of the replacement of authentic female sexual experience with the consumer-driven publicity. In Zibrak's reading, The Custom of the Country emerges as a prescient portrait of a culture saturated in sexual imagery but devoid of sexual pleasure.

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Rianto, Puji. "Women Reading Popular Press: an Analysis of Merapi and Pos Kota readers." Asian Journal of Media and Communication 2, no. 2 (January 3, 2019): 1–4. http://dx.doi.org/10.20885/asjmc.vol2.iss2.art1.

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This research examines how women read the popular press. The main question of this research is to what extent the popular press has relevance and functional values for women readers? The study was conducted on the readers of two popular newspapers in Indonesia, Merapi in Yogyakarta and Pos Kota in Jakarta. Through in-depth interviews, the study found that women have a pleasure of reading popular press because of its relevance and functionality. Although most of the news tells about crime and violence, those themes are relevant and functional for their daily life. The informants read almost all the criminal news. According to them, the criminal news provide information about what is happening in their environment so that they can always be careful, mainly related to the supervision of their children. In contrast, women do not particularly like political news because it is irrelevant to their life. In this case, political news is considered as male domain. The cultural factors also provide relevance for women readers, especially Merapi. The women who read Merapi very enjoy reading mystery stories, Jagad Lelembut, which is closely related to their local culture contexts.Keywords: popular press; women readers; Pos Kota; Merapi; relevance; functionality.

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Duncum, Paul. "Toward a Playful Pedagogy: Popular Culture and the Pleasures of Transgression." Studies in Art Education 50, no. 3 (April 2009): 232–44. http://dx.doi.org/10.1080/00393541.2009.11518770.

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Gundry, David J. "Pleasure in Profit: Popular Prose in Seventeenth-Century Japan by Laura Moretti." Journal of Japanese Studies 48, no. 2 (June 2022): 500–505. http://dx.doi.org/10.1353/jjs.2022.0063.

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Cong, Rong. "Analysis of the Flourish of RPS in China." Communications in Humanities Research 4, no. 1 (May 17, 2023): 225–30. http://dx.doi.org/10.54254/2753-7064/4/20220451.

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Recently, natural person slash(RPS) has become popular in China. RPS is female fans form homoerotic fantasies based on two real men. They are regarded as a kind of fujoshi who gain their pleasure through derivative works. It does not have a long history but has a significant social influence in todays China. The study aims to analyze the flourishing of RPS in China, mainly focusing on consumer society and the symbolic exchange theory and how they are connected with the flourishing of RPS fan culture. The study also analyzes the rebellion of the culture industry and the mainstream. The relationship between RPS fans and gender inequality is also explored in the study. The author suggests that the government pay attention to the RPS fans situation and help them gain more rights and live freer instead of escaping reality through RPS.

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Kristi, Kristi. "Sinetron Leads to Negotiation of Identity: Christian Identity and the Representation of Religion in Indonesian Popular Culture." Al-Albab 7, no. 2 (January 13, 2019): 137. http://dx.doi.org/10.24260/alalbab.v7i2.1024.

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Having Pancasila as its ideology, with its first pillar of Ketuhanan yang Maha Esa (the belief in one deity), Indonesia is neither based on a certain religion, nor giving a privilege to a certain religion. In the context of the resurgence of religion, Islam obviously becomes the only normative in everyday life, including in popular culture. This paper analyzes the way Indonesian Christians see the representation of religion in sinetron, the television soap opera tat is considered the predominant form of popular culture in Indonesia, and negotiate their identity as religious minority. The work is based on a research project conducted in Gereja Kristen Jawa (GKJ/Christian Church of Java) Gondokusuman in Yogyakarta. A random survey about sinetron titles watched by the embers of the congregation show that eight titles are popular. A more intensive questionnaire is distributed to the church council as the representation of Christians who are active in church activities. It is also intended to show the most-watched sinetron in 2017. From the survey, there are two most watched sinetron: “Tukang Ojek Pengkolan” (TOP/Motorcycle-taxi Driver on the Corner) and “Dunia Terbalik” (DT/Upside-down World). Eighteen people who watch both TOP and DT then were interviewed. Using the framework of first generation of reception study, the work finds that Christians’ reception on the representation of religion in sinetron can be categorized into three patterns: mirror of reality, watching for pleasure, and religion is necessary. Those three patterns show that Christians’ reception is in negotiation position.

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Thompson, Wendy M. "Weird/Black/Play: Turning Racial Authenticity and Professorial Performance on its Head in the Black Studies Classroom." Radical Teacher 122 (April 28, 2022): 74–83. http://dx.doi.org/10.5195/rt.2022.821.

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This essay examines the expectations placed on black faculty to act as conduits of authentic blackness and black knowing even as they are undermined and undervalued in the classroom and other institutional settings. Paying special attention to the way that racial performance, engaged learning, and the role of the black instructor converge in the black studies classroom, I offer the black/weird as a framework (departure/positioning) from which students can engage in black/weird/play, a remedy that interrupts students’ desire for a particular hegemonic racial performance from black faculty while stimulating critical collective inquiry about black history, experience, culture, and the self. As black/weird/play engages possibility, pleasure, and play while taking cues from black nerd and black popular cultures, students learn to grapple with concepts, structures, subjecthood, and everything else, from the mundane to the fantastic, as they building knowledge and connections alongside and with black faculty who must constantly maneuver the already contested grounds of teaching while black.

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Matt, Susan J. "Daniel Horowitz. Consuming Pleasures: Intellectuals and Popular Culture in the Postwar World." American Historical Review 119, no. 5 (December 2014): 1736–37. http://dx.doi.org/10.1093/ahr/119.5.1736.

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Sturma, Michael, and Richard Waterhouse. "Private Pleasures, Public Leisure: A History of Australian Popular Culture since 1788." Labour History, no. 72 (1997): 239. http://dx.doi.org/10.2307/27516488.

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Díaz, María Elena. "The Satiric Penny Press for Workers in Mexico, 1900–1910: A Case Study in the Politicisation of Popular Culture." Journal of Latin American Studies 22, no. 3 (October 1990): 497–526. http://dx.doi.org/10.1017/s0022216x00020939.

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In 1908 an editorial in El Diablito Rojo, itself a penny journal, made some disparaging, yet revealing, remarks regarding the impact of the penny press of the time on Mexican workers:There is hardly a worker in Mexico [today] who every morning does not bring to his workshop or leave at home the paper of the day in addition to the small papers dedicated to workers which he acquires with real pleasure. In the big paper [the worker] looks for the daily news… in the small weekly he looks for a joke, a caricature, an anecdote; something that can distract or instruct him…But is that small press useful to its readers?… No: the journals constituting the small press all call themselves defenders of the worker and preach a dangerous gospel: hate of the bourgeois… [so that today] The worker already sees the bourgeois as an ogre…The small press does not… demonstrate to the worker the evils brought about by rebellion or violence, instead it tries to flatter the proletariat, indeed defending it in its own way when it is victimised, but only by fomenting in him a bad attitude towards his work.1

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Murphy, Sherra. "‘Many attend chiefly in search of pleasure’: the Great National Horse Show at the Royal Dublin Society, 1868–80." Irish Historical Studies 47, no. 171 (May 2023): 112–29. http://dx.doi.org/10.1017/ihs.2023.7.

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AbstractThis paper explores the foundation of the Dublin Horse Show from 1868–80, when it was held at the Royal Dublin Society's (R.D.S.) headquarters on Merrion Square. Early iterations were intended to address the depletion of the equine population in the mid-nineteenth century, a matter of concern for agriculture and industry, but also for those with an interest in sport and horses as opportunities for leisure. Horse shows arose nearly simultaneously in Ireland and England as intersections between associational culture, agricultural improvement and a burgeoning middle-class leisure sphere established animal shows as instruments for improving breeding, but also as forms of entertainment. The popular success of horse shows fostered the development of economic clusters, as local businesses began to depend on them as reliable sources of annual income. They also reflected equestrian sport's migration from largely elite pursuits into popular recreation, including competitions that would eventually lead to the modern sport of showjumping. The events established at the early R.D.S. Horse Show are still recognisable today in their combination of improvement and leisure based in the promotion of Irish horses as exemplars of sporting excellence.

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