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This collection includes eighteen essays that introduce the concept of unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey and fan fiction, from Christian Rock and Country to Black Metal, from Steven Seagal to Genesis (Breyer) P-Orridge, from The Simpsons to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies.
John R. Weeks based his study on long-term observations made at the British Armstrong Bank in the UK. Not one person, from the CEOs to the junior clerks had anything good to say about its corporate culture, yet the way things were done never seemed to alter.
Artists working in a variety of western European nations have overturned the dominant traditions of comic book publishing as it has existed since the end of the Second World War, seeking instead to instill the medium with experimental and avant-garde tendencies commonly associated with the visual arts. This book addresses this transformation.
Money is the key to happiness. Work hard, play hard. Look out for number one. Popular culture is full of phrases like these, telling us the best way to live, the right things to buy, the right body shape to have, the right people to hang out with. These messages are everywhere we look, 24 hours a day. But what if there was another way to live? What if we chose to live differently: to stand against injustice, to live life for more than just ourselves, to dare to be unpopular? Guvna B is rebelling against the status quo, and he's calling you to join him. It's time to flip the script, to demonstrate another way to live, to find freedom in going against the grain. It's time for unpopular culture to take the stage.
Popular culture often champions freedom as the fundamentally American way of life and celebrates the virtues of independence and self-reliance. But film and television have also explored the tension between freedom and other core values, such as order and political stability. What may look like healthy, productive, and creative freedom from one point of view may look like chaos, anarchy, and a source of destructive conflict from another. Film and television continually pose the question: Can Americans deal with their problems on their own, or must they rely on political elites to manage their lives? In this groundbreaking work, Paul A. Cantor explores the ways in which television shows such as Star Trek, The X-Files, South Park, and Deadwood and films such as The Aviator and Mars Attacks! have portrayed both top-down and bottom-up models of order. Drawing on the works of John Locke, Adam Smith, Alexis de Tocqueville, and other proponents of freedom, Cantor contrasts the classical liberal vision of America -- particularly its emphasis on the virtues of spontaneous order -- with the Marxist understanding of the "culture industry" and the Hobbesian model of absolute state control. The Invisible Hand in Popular Culture concludes with a discussion of the impact of 9/11 on film and television, and the new anxieties emerging in contemporary alien-invasion narratives: the fear of a global technocracy that seeks to destroy the nuclear family, religious faith, local government, and other traditional bulwarks against the absolute state.
“Smart, fast, clever, and funny (As f*ck!)” (Tiffany Haddish), this collection of side-splitting and illuminating essays by the popular stand-up comedian, alum of Chelsea Lately and The Mindy Project, and host of truTV’s Talk Show the Game Show is perfect for fans of the New York Times bestsellers Why Not Me? by Mindy Kaling and We Are Never Meeting in Real Life by Samantha Irby. From a young age, Guy Branum always felt as if he were on the outside looking in. From a stiflingly boring farm town, he couldn’t relate to his neighbors. While other boys played outside, he stayed indoors reading Greek mythology. And being gay and overweight, he got used to diminishing himself. But little by little, he started learning from all the sad, strange, lonely outcasts in history who had come before him, and he started to feel hope. In this “singular, genuinely ballsy, and essential” (Billy Eichner) collection of personal essays, Guy talks about finding a sense of belonging at Berkeley—and stirring up controversy in a newspaper column that led to a run‑in with the Secret Service. He recounts the pitfalls of being typecast as the “Sassy Gay Friend,” and how, after taking a wrong turn in life (i.e. law school), he found stand‑up comedy and artistic freedom. He analyzes society’s calculated deprivation of personhood from fat people, and how, though it’s taken him a while to accept who he is, he has learned that with a little patience and a lot of humor, self-acceptance is possible. “Keenly observant and intelligent, Branum’s book not only offers uproarious insights into walking paths less traveled, but also into what self-acceptance means in a world still woefully intolerant of difference” (Kirkus Reviews, starred review). My Life as a Goddess is an unforgettable and deeply moving book by one of today’s most endearing and galvanizing voices in comedy.
Offers a lucidly written analysis of the complex and provocative terrain of lesbian literary and cultural theory.
Pop culture shapes our society and our lives. In this series, I'm exploring pop culture icons in an alternate reality that reflects our current society. I hope to help people see things from a new perspective, or at the very least, enjoy nostalgic feelings and a good laugh to brighten their day.
This book details many aspects of Latin American culture as experienced by millions of people living in Central and South America. The author argues that despite early and considerable European influences on the region, indigenous Latin American traditions still characterize much of the social and artistic heritage of the Latin American countries. Several chapters provide detailed accounts of daily life, including descriptions of contemporary dress, mealtime traditions, transportation, and traditional ways of conducting business. Other chapters focus on the cultural significance of the popular music, art, and literature prevalent in each Latin American country. Instructors considering this book for use in a course may request an examination copy here.
Super Black places the appearance of black superheroes alongside broad and sweeping cultural trends in American politics and pop culture, which reveals how black superheroes are not disposable pop products, but rather a fascinating racial phenomenon through which futuristic expressions and fantastic visions of black racial identity and symbolic political meaning are presented. Adilifu Nama sees the value—and finds new avenues for exploring racial identity—in black superheroes who are often dismissed as sidekicks, imitators of established white heroes, or are accused of having no role outside of blaxploitation film contexts. Nama examines seminal black comic book superheroes such as Black Panther, Black Lightning, Storm, Luke Cage, Blade, the Falcon, Nubia, and others, some of whom also appear on the small and large screens, as well as how the imaginary black superhero has come to life in the image of President Barack Obama. Super Black explores how black superheroes are a powerful source of racial meaning, narrative, and imagination in American society that express a myriad of racial assumptions, political perspectives, and fantastic (re)imaginings of black identity. The book also demonstrates how these figures overtly represent or implicitly signify social discourse and accepted wisdom concerning notions of racial reciprocity, equality, forgiveness, and ultimately, racial justice.