New life: Cultural studies and the problem of the 'popular'

Textual Practice

Volumn 12, Issue 1, 1998, Pages 23-47

  Shershow, Scott Cutler ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249568587     PISSN: 0950236X     EISSN: None     Source Type: Journal    
DOI: 10.1080/09502369808582298     Document Type: Article

References (42)

1. John Fiske, 'British cultural studies and television', in Channels of Discourse: Television and Contemporary Criticism, ed. Robert C. Allen (Chapel Hill and London: University of North Carolina Press, 1987), p. 254.
2. 'Objectivism' itself, of course, would soon be called into question by anthropologists, perhaps in part to counter the appropriation of their field's key concepts by the upstart new field. See Rosaldo, Culture and Truth: The Remaking of Social Analysis (Boston: Beacon Press, 1989).
3. Lawrence Grossberg, Cary Nelson and Paula A. Treichler (ed.), Cultural Studies (New York and London: Routledge, 1992), p. 4.
4. Antonio Gramsci, Selections from the Prison Notebooks, trans. Quintin Hoare and Geoffrey Nowell Smith (New York: International Publishers, 1971), p.8.
5. Theodor W. Adorno, The Culture Industry: Selected Essays on Mass Culture, trans, and ed. J.M. Bernstein (London: Routledge, 1991), p.34.
6. The most famous treatment of this process is, of course, E.P. Thompson, The Making of the English Working Class (1963; New York: Vintage, 1966);
7. see also Scott Cutler Shershow, Puppets and Popular' Culture (Ithaca, New York: Cornell University Press, 1995).
8. Grossberg et al, Cultural Studies, p. 7.
9. See, for example, the essays collected in Mass Culture: The Popular Arts in America, ed. Bernard Rosenberg and David Manning White (New York: Free Press, 1957).
10. Simon During, Introduction, The Cultural Studies Reader (London and New York: Routledge, 1993), p. 30.
11. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkeley and London: University of California Press, 1984), p. 3.
12. Roger Chartier, 'Culture as appropriation: popular cultural uses in early modern France', in Understanding Popular Culture: Europe from the Middle Ages to the Nineteenth Century, ed. Stephen L. Kaplan (Berlin and New York: Mouton, 1984), p. 233.
13. Chartier, Cultural History, pp. 40-1.
14. Fredric Jameson, 'On "cultural studies" ', Social Text, 34 (1992), p. 33.
15. Fredric Jameson, The Political Unconscious (Ithaca, New York: Cornell University Press, 1981), p. 86.
16. Fredric Jameson, 'Actually existing Marxism', Polygraph, 6 (1993), p. 173.
17. Jameson, The Political Unconscious, pp. 85-6.
18. L. C. Knights, Drama and Society in the Age of Jonson (1937; rpt. New York: Norton, 1968), p. 12.
19. S. L. Bethel], Shakespeare and the Popular Dramatic Tradition (1944; rpt. New York: Octagon, 1970), pp. 10, 20.
20. Peter Burke, Popular Culture in Early Modern Europe (New York: New York University Press, 1978), pp. 9, 21-2.
21. Robert Weimann, Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function, ed. Robert Schwartz (Baltimore and London: Johns Hopkins University Press, 1978), p. 241.
22. Alfred Harbage, Shakespeare and the Rival Traditions (1951; rpt. Bloomington and London: Indiana University Press, 1970).
23. Ann Jennalie Cook, The Privileged Playgoers of Shakespeare's London (Princeton, NJ: Princeton University Press, 1981), p. 9.
24. Martin Butler, Theatre and Crisis 16342-1642 (Cambridge: Cambridge University Press, 1984), p. 206;
25. see also Andrew Gurr, Playgoing in Shakespeare's London, 3rd edn (Cambridge and New York: Cambridge University Press, 1987).
26. Cook, Privileged Playgoers, pp. 4, 274.
27. Gurr, Playgoing in Shakespeare's London, pp. 31, 53.
28. Ben Jonson, Volpone, prologue lines, 22-3, in Ben Jonson, ed. C. H. Hereford and Percy Simpson (Oxford: Clarendon, 1925-63).
29. Thomas Dekker, The Gull's Hornbook, Proemium, in The Non-dramatic Works of Thomas Dekker, ed. Alexander B. Grosart (New York: Russell & Russell, 1962), 2: 203;
30. cf. his reference to the 'Peny Stinkards' in Worke for Armourers, Non-dramatic Works, 4. 96. These and many other contemporary references to theatre-going are conveniently collected in the Appendix to Gurr's Playgoing in Shakespeare's London.
31. John Marston, Jack Drum's Entertainment, 5.3, in The Plays of John Marston, ed. H. Harvey Wood (Edinburgh and London: Oliver and Boyd, 1939).
32. Harbage, Shakespeare and the Rival Traditions, p. 50.
33. Francis Beaumont and John Fletcher, The Dramatic Works in the Beaumont and Fletcher Canon, ed. Fredson Bowers (Cambridge: Cambridge University Press, 1966).
34. Kirk Varnedoe and Adam Gopnik, High & Low: Modern Art and Popular Culture (New York: Harry N. Abrams, 1990), pp. 49-50.
35. Andrew Ross, No Respect: Intellectuals and Popular Culture (New York and London: Routledge, 1989), p.3.
36. Susan Bordo, Unbearable Weight: Feminism, Western Culture, and the Body (Berkeley, CA: University of California Press, 1993), p. 261.
37. John Fiske, Understanding Popular Culture (Boston: Unwin Hyman, 1989), pp. 20-1.
38. Fiske, Reading the Popular, p. 45.
39. Cindy Patton, 'Embodying subaltern memory: kinesthesia and the problem- atics of gender and race', in The Madonna Connection: Representational Politics, Subcultural Identities, and Cultural Theory, ed. Cathy Schwichtenberg (Boulder, CO: Westview Press, 1993), p. 84.
40. Bell hooks, Black Looks: Race and Representation (Boston, MA: South End Press, 1992), p. 149.
41. Patton, 'Embodying subaltern memory', p. 85.
42. E.P. Thompson, Customs in Common (New York: New Press, 1993), p. 7.