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What are the components of youth cultures today? This encyclopedia examines the facets of youth cultures and brings them to the forefront. Although issues of youth culture are frequently cited in classrooms and public forums, most encyclopedias of childhood and youth are devoted to history, human development, and society. A limitation on the reference bookshelf is the restriction of youth to pre-adolescence, although issues of youth continue into young adulthood. This encyclopedia addresses an academic audience of professors and students in childhood studies, American studies, and culture studies. The authors span disciplines of psychology, sociology, anthropology, history, and folklore. The Encyclopedia of Youth Cultures in America addresses a need for historical, social, and cultural information on a wide array of youth groups. Such a reference work serves as a corrective to the narrow public view that young people are part of an amalgamated youth group or occupy malicious gangs and satanic cults. Widespread reports of bullying, school violence, dominance of athletics over academics, and changing demographics in the United States has drawn renewed attention to the changing cultural landscape of youth in and out of school to explain social and psychological problems.
In their introduction, "Angels of History, Demons of History," the editors allude to the complex social anxieties projected into concerns about youth. Contributors examine the problems of identity, juvenile delinquency, intergenerational tensions, and downward mobility, as well as more positive aspects of youth culture (art, activism, and cyber-communities)--in the early 20th century, the World War II/postwar era, and the contemporary scene. Annotation copyrighted by Book News, Inc., Portland, OR
Ten essays by British, US, and Canadian academics explore popular books, films, and television shows for clues to the meanings of youth representation in American culture. Drawing on a framework of ideas from cultural and social theory, they consider themes such as race, class, gender, power, and sexuality as well as the ideological nature of youth and its centrality to American popular culture. Originally published in 2000 as The Radiant Hour: Versions of Youth in American Culture (U. of Exeter Press). Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).
A history of comic books from the 1930s to 9/11.
Mike Brake suggests that subcultures develop in response to social problems which a group experiences collectively, and shows how individuals draw on collective identities to define themselves.
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
This two-volume set chronicles how technology, economics, the media and society created the modern concept of youth. Topics explored include hip hop culture, punk culture, social justice movements, video games, political activism, post-feminism, television, race and ethnicity, visual art, sports, drugs, and much more.
Flamboyant zoot suit culture, with its ties to fashion, jazz and swing music, jitterbug and Lindy Hop dancing, unique patterns of speech, and even risqué experimentation with gender and sexuality, captivated the country's youth in the 1940s. The Power of the Zoot is the first book to give national consideration to this famous phenomenon. Providing a new history of youth culture based on rare, in-depth interviews with former zoot-suiters, Luis Alvarez explores race, region, and the politics of culture in urban America during World War II. He argues that Mexican American and African American youths, along with many nisei and white youths, used popular culture to oppose accepted modes of youthful behavior, the dominance of white middle-class norms, and expectations from within their own communities.
Youth and Rock in the Soviet Bloc explores the rise of youth as consumers of popular culture and the globalization of popular music in Russia and Eastern Europe. This collection of essays challenges assumptions that Communist leaders and Western-influenced youth cultures were inimically hostile to one another. While initially banning Western cultural trends like jazz and rock-and-roll, Communist leaders accommodated elements of rock and pop music to develop their own socialist popular music. They promoted organized forms of leisure to turn young people away from excesses of style perceived to be Western. Popular song and officially sponsored rock and pop bands formed a socialist beat that young people listened and danced to. Young people attracted to the music and subcultures of the capitalist West still shared the values and behaviors of their peers in Communist youth organizations. Despite problems providing youth with consumer goods, leaders of Soviet bloc states fostered a socialist alternative to the modernity the capitalist West promised. Underground rock musicians thus shared assumptions about culture that Communist leaders had instilled. Still, competing with influences from the capitalist West had its limits. State-sponsored rock festivals and rock bands encouraged a spirit of rebellion among young people. Official perceptions of what constituted culture limited options for accommodating rock and pop music and Western youth cultures. Youth countercultures that originated in the capitalist West, like hippies and punks, challenged the legitimacy of Communist youth organizations and their sponsors. Government media and police organs wound up creating oppositional identities among youth gangs. Failing to provide enough Western cultural goods to provincial cities helped fuel resentment over the Soviet Union’s capital, Moscow, and encourage support for breakaway nationalist movements that led to the Soviet Union’s collapse in 1991. Despite the Cold War, in both the Soviet bloc and in the capitalist West, political elites responded to perceived threats posed by youth cultures and music in similar manners. Young people participated in a global youth culture while expressing their own local views of the world.