Thursday, 10 November 2022
Conclusion: Globalization and the Future of Postcolonial Studies
Wednesday, 9 November 2022
Sunday reading- My Daughter Joined a Cult
Saturday, 5 November 2022
Assignment 205: Cultural Studies
Popular Culture
Name – Jheel Barad
Roll No.: 12
Enrollment No.: 4069206420210003
Paper no: 205 (A)
Paper code: 22410
Paper name: Cultural Studies
Sem.: 3 (Batch 2021- 2023)
Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University
E-mail- jheelbarad@gmail.com
There was a time before the 1960s when popular culture was not studied by academics- when it was, well, just popular culture. But within American Studies programs at first and then later in many disciplines, including semiotics, rhetoric, literary criticism, film studies, anthropology, history, women's studies, ethnic studies, and psychoanalytic approaches, critics examine such cultural media as pulp fiction, comic books, television, film, advertising, popular music, and computer cyberculture. They assess how such factors as ethnicity, race, gender, class, age, region, and sexuality are shaped by and reshaped in popular culture.
Popular culture accounts for the taste of the common people. Often called low culture, the popular culture defines itself through the blatant disregard of the Elite class. popular culture is commonly associated with television, internet and comic books. In addition to the elite culture, popular culture is generally considered the antithesis of folk culture and working- class culture. The centerpiece of popular culture is the middle class which constitutes the maturity of society. popular culture is considered the mainstream culture of a society at any given point of time. it is amalgamation of the trends of that particular time period. Movies, music, and video games play a vital role in creating and propagating popular culture. It is generally considered more accessible for common people and suit their taste
The popular culture has origins in 19th Century England when it was considered the inferior culture of the common folk as opposed to the official culture of the common folk of the educated elite. After the rise of industrialization, the common people became more educated and spent more money on entertainment. This resulted in the emergence of entertainment that satisfied the needs of these newly formed middle class. With the education afford to the middle class being markedly different from that of the elite, the forms of entertainment of the middle class was also different. instead of complex plays and poems the educated middle class were much more interested in the newly emerged entertainment mode cinema. through popular music, cinema and comic books the popular culture became a platform of mass consumption.
We can take an example of Fitzgerald's Novel ‘The Great Gatsby’ to understand the difference between the elite class and new working class and their growing culture. Jay Gatsby in the novel is a new rich person and so everything for him is new and he follows a popular culture like he throws parties and follows Jazz music which is not liked by the elite class society.
The advent of popular culture has paved the way to the rise of popular culture studies. At the core of what we know as popular culture studies today is the work of Scholars associated with or influenced by the Birmingham Center of Contemporary Cultural Studies. popular culture itself and intellectual interest in its risks and possibilities, however, long predate this moment. Earlier in the 20th century, members of the Frankfurt School took an active interest in what was then referred to as ‘mass culture’ or the culture industry.
Semiotics, emerging in the latter half of twentieth century as an exciting new methodology of cultural analysis, turned to popular culture for many of its objects as it redefined textuality, reading, and meaning. The works of Roland Barthes and Umberto Eco are exemplary in this regard.
There have been many subsequent approaches to popular culture studies. important among these are feminist approaches to popular culture exemplified by work on Hollywood cinema and women's melodrama in particular, the study of images and representations through a Mass Communication approach , and ethnographic studies of readers of popular romances and television audiences. a minor, theoretically weak tradition of popular cultural studies initiated by Ray Browne parallelly in the United States may also be mentioned. More recently Slavojzizek has introduced new ways of drawing popular cultural text into philosophical debates. If all these can be taken together as constituting what is generally referred to as popular cultural studies today, it is still limited to the 20th century.
Popular culture has always faced fierce criticism from supporters of traditional, upper-class culture. in Britain Matthew Arnold and in his wake F.R. Leavis Ada undertook this task as they sought to insulate ‘the best of what was thought and said’ - essentially the upper class culture from the debasing influence of the commercial press and mass culture in general. but the history of popular culture as an object of Investigation and social concern goes further back still to the 19th and 18th centuries, the period of the rise and spread of mass literature, boosted by the rise of working class readership.
Aside from precursors such as Umberto Eco and R. Barthes, popular culture studies as we know them today were developed in the late 70s and 80s. The first influential works were generally politically left wing and rejected the aristocratic view. However, they also criticized the pessimism of the Frankfurt School: contemporary studies on mass culture accept that popular culture forms do respond to widespread needs of the public. They also emphasize the capacity of the consumers to resist indoctrination and passive reception. Finally, they avoid any monolithic concept of mass culture. Instead they tried to describe culture as whole as a complex formation of discourses which correspond to particular interests, and which can be dominated by specific groups, but which also always are dialectically related to the producers and consumers.
An example of this tendency is Andrew Ross’s ‘No respect: Intellectual and Popular Culture (1989). His chapter on the history of Jazz, Blues and rock does not present a linear narrative opposing the authentic popular music to the commercial record industry, but shows how popular music in the US from the twenties until today, evolved out of complexity.
There are four main types of popular culture analyses:
production analysis,
textual analysis,
audience analysis, and
historical analysis.
These analyses seek to get beneath the surface (denotative) meanings and examine more implicit (connotative) social meanings. These approaches view culture as a narrative or story-telling process in which particular texts or cultural artifacts (i.e., a hit song or a television program) consciously or unconsciously link themselves to larger stories at play in the society. A key here is how texts create subject positions or identities for those who use them.
Postmodernists tend to speak more of subject positions rather than the humanist notion of independent individuals.
Production analysis asks the following kinds of questions: Who owns the media? Who creates texts and why? Under what constraints? How democratic or elitist is the production of popular culture? What about works written only for money?
Textual analysis examines how specific works of popular culture create meanings.
Audience analysis asks how different groups of popular culture consumers, or users, make similar or different sense of the same texts.
Historical analysis investigates how these other three dimensions change over time.
Chetan Bhagat (born 22 April 1974) is an Indian author, columnist and youtuber. He was included in Time magazine's list of World’s 100 Most Influential People in 2010. Chetan Bhagat writes in very Indian language, it has no great quality like the professional writer who wins the booker prize etc. but he is read a lot by many people and loved too. But he is trolled for writing in the local language by many readers. He plays a great role in Popular culture and its reading.
Popular culture is the totality of distinct memes, ideas, perspectives, and attitudes that are deemed preferred per an informal consensus within the mainstream of a given culture. heavily influenced by mass media and perpetuated by that culture’s vernacular language, this collection of Ideas permeates the everyday lives of the society. Popular culture is often viewed as being trivial and dumped down in order to find consensual acceptance throughout the mainstream. as a result of this perception, it comes under heavy criticism from various scientific and non main- stream sources which deem it superficial, consumerist, sensationalist and corrupted
It is manifested in preference and acceptance or rejection by features in such various subjects as cooking, clothing, consumption, and the many facets of entertainment such as sports, film, music and literature.
Popular culture is what we have made out of products and practices of mass produced culture. popular culture is an expensive content that is produced and consumed. It is light entertainment that is delivered through the channels of mass media and finally absorbed voluntarily, to be observed by the individual who receives it. Popular culture consists of the many facets of music, fashion, slang, and entertainment and the newer forms of media like the internet.
Advertising promotes more than a product in our popular culture. images used in advertising are often idolized; they eventually set the standard which we in turn feel we must live up to. Advertisements serve to show us that the ideal image is, and further tell us how to obtain it. Advertisers essentially have the power to promote positive images or negative messages. This in turn affects our culture.
For example the cosmetics and fashion Industries keep telling people that they will improve their self image with their cosmetics for fashion.
Works Cited
What Is Pop Culture? | Mr. Pop Culture, https://mrpopculture.com/what-is-pop-culture/. Accessed 5 November 2022.
gowda, sukesh, and Nadeem Siddiqui. “Advertising and culture.” SlideShare, 27 April 2011, https://www.slideshare.net/sukeshgowda/advertising-and-culture. Accessed 5 November 2022.
Hayes, E. Bruce. Rabelais's Radical Farce: Late Medieval Comic Theater and Its Function in Rabelais. Taylor & Francis, 2016. Accessed 5 November 2022.
Kaushal, Sweta. “Chetan Bhagat, please stop writing books, concentrate on Bollywood instead.” Hindustan Times, 2014, https://www.hindustantimes.com/books/chetan-bhagat-please-stop-writing-books-concentrate-on-bollywood-instead/story-WQG3VzHs9oFjSXwLVQ5X8H.html.
“Popular Culture & Globalization: Teacher Candidates' Attitudes & Perceptions of Cultural & Ethnic Stereotypes.” ERIC, https://files.eric.ed.gov/fulltext/EJ1090398.pdf. Accessed 5 November 2022.
Venugopal, Rajitha, et al. What about theory? Bodhi Tree Books, 2019.
Assignment 204: Contemporary Western Theories and Film Studies
Name – Jheel Barad
Roll No.: 12
Enrollment No.: 4069206420210003
Paper no: 204
Paper code: 22409
Paper name: Contemporary Western Theories and Film Studies
Sem.: 3 (Batch 2021- 2023)
Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University
E-mail- jheelbarad@gmail.com
Digital Humanities
Digital humanities promotes understanding of culture through digital technology. The perspective that stands out most prominently in digital Humanities is the interest of the theorist in hypertext. researchers have shown the convergence of hypertext and poststructuralist theories. For example; George P. Landow in the book ‘Hypertext;: the Convergence of Contemporary Critical Theory and Technology’ (1992) makes a very insightful and exhaustive study of this kind. it is therefore worth knowing the parallels between hypertext and postmodern/ poststructuralist ideas
Introduction to Stuart Moulthrop’s ‘You Say You Want a Revolution? Hypertext and the Laws of Media’
Stuart Moulthrop, in his essay offers an insightful account of the history, nature and function of hypertext. He discusses the convergence of hypertext and contemporary critical theory in particular.
The first part of his present is the history of hypertext.
The second part of a balanced view of the role and utility of hypertext and
The last part discusses the relation of hypertext to contemporary critical theory.
Unlike many supporters of hypertext and hypermedia, Mouthrop does not expect hypertext to bring any Revolutionary change in human culture.
Origin of Hypertext:
The concept of hypertext originated with Vannevar Bush in 1945. He was science advisor to President Roosevelt and an Electrical engineer who designed an early computer. He wanted to build a machine called ‘Memex’ to help researchers organize disparate sources of knowledge. His project did not succeed but the appearance of electronic computers on the academic scene proved that his predictions were right and practically viable. The next development in this direction was the creation of an animation game called ‘Adventure’ by artificial intelligence researchers in the early 1960s. This was the first hypertextual narrative. Around this time, Theodor Holm Nelson, an American philosopher, sociologist and expert in information technology coined the term hypertext. His dream project was to create a worldwide network of information he called this project ‘Xanadu’. one of the noted computer scientists Douglas Engelbart, one of the pioneers of the user interface design, entered into the collaboration with Nelson. They prepared a hypertext system called FRESS (file retrieval and editing system) around University in the early 1970. Nelson saw hypertext as a dynamic computing system in which readers could both use and change the textual corpus.
Relation of Hypertext to Humanities:
"non-sequential writing -- text that branches and allows choices to the reader, best read at an interactive screen. As popularly conceived, this is a series of text chunks connected by links which offer the reader different pathways"
-Ted Nelson
Moulthrop mentions some critics and their works that finally took note of hypertext and its utility in the study of humanities. Jay David Bolter’s ‘Writing Space’ (1991) offers a historic view historical view of hypertext; Ted Nelson’s ‘Literary Machines’ presents for the first time the study of hypertext in hypertextual form; George Landow’s ‘Hypertext’ (1992) discusses the hypertext within the context of both the poststructuralist and postmodern theory. Moutthrop refers to the datedness of the technology that we use and the human tendency to look for the new. he agrees with objection that hypertext has not fully lived up to its promises in the sense that it has not caused the expected revolution to materialize by replacing the old information order with the new one. but he argues that such expectations in the postmodern context do not make much sense.
Jean Baurillard proposed his theory of simulation. He argued that in the postmodern condition representation is replaced by simulation and therefore there is no reality but hyperreality.
Jean- Francios Lyotard French philosopher and the literary theorist rejected all traditional literary and cultural narratives as a grand narrative and their consequent failure in explaining the complexity of the postmodern condition.
Donna Harraway, an American feminist critique has carried out interdisciplinary studies of technology and gender. Her approach to science, gender, nature and humanity has challenged the common sense and assumptions of and about this field.
By referring to these theorists with many different pursuits, Mouthrop brings out the parallel between hypertext and electronic medium.
Necessity and distinctiveness of Hypertext:
Moulthrop Argues that it should not be dismissed as a local movement and as a preserve of a few in the technological elite. In order to prove this he relates and compares hypertext to the postmodern notion of simulation. simulation is a postmodern Theory proposed by Baudrillard which states that there is nothing real and primary in the original and pure sense in the world. The other connection of hypertext is to the vision in a dream seen by S.T. Coleridge as described in his famous poem ‘Kubla Khan’. Moulthrop sees no problem with revising Coleridge’s dream in a new post modern context when the line of distinction between reality and dream is blurred and the concept of originality is complicated. Through computation this dream becomes a reconstruction of text not as a fixed series of symbols but a variable access database in which the reader/ writer can forge new links. Ted Nelson’s project xanadu is one such reconstruction of this dream.
In his discussion of the usefulness of hypertext more does not disregard the troubles that the concept of populism may cause, he mentions two problems-
The first is that such social/ textual order will give benefits to only a few and that those benefited will not understand the responsibility of distributing accept Among many
The second problem is that information has virtually become equivalent to capital. textuality shapes information, but this could be appropriated by the capitalist system to their benefit.
Moulthrop proceeds to explain the projected function or role of hypertext in creating a social/ cultural order based of populism. he offered his explanation in the framework of the four questions provided by Marshall Mcluhan in his work on media and Technology which word posthumously published as ‘The Laws of Media: The New Science’ in (1988), formulas four basic questions that can be asked about any invention. Moulthrop applies these four questions and interprets hypertext accordingly.
Here are the four question and answers in brief:
McLuhan first question- What does hypertext enhance or intensify?
The answer: Hypertext enhances our sensitivity.
The second question- What does hypertext displays or render obsolete?
The answer: Hypertext displaces ‘post- literacy’ in the age of television and revives typographical culture.
The third question- What does hypertext retrieve that was previously Obsolete?
The answer: hypertext retrieves literacy
The fourth question- What does hypertext become when taken to its limit?
The answer: When taken to its limit hypertext becomes a new cultural space.
Features of Hypertext-
Hypertext is an electronic text that contains links to other texts. It is a form of textuality composed of blocks of words and links that opens several other reading links. it is not limited to text but includes Graphics, images, videos and sound. it is open to change and accessible to all. it is not based on any absolute and it remakes and is remade constantly.
Hypertext is not linear and compact. It is multilinear in the sense that it draws from several discrete sources and actively encourages users/ researchers to explore other media and fields of thought by making several further other links available within the body of the text.
Users/ readers can customize the hypertext to the form and appearance they find best suited to their utility, purpose and Desire.
Electronic links provided within the hypertext reconfigure text and create an ever- multiplying and ever- changing chain. This history of reconfiguration moves text, readers and writers into a new writing space.
The multiple reading links shift the power balance between reader and writer. Reconfiguration of the author and the authorial real property constantly takes place as the reader and the role of the author reconfigures his text.
Hypertext is a network of connection to other texts. thiscan as well be understood as connections of knowledge which are distributed throughout the network. it is neither localized nor restricted to a particular electronic space or memory.
Networking leads to democratization of the entire process of knowledge creation and distribution. Separations like main text or original text at annotation create hierarchical distinctions. But hypertext removes such distinctions.
Moulthrop offers a balanced, impartial and insightful assessment of hypertext and convincingly claims that electronic media has the potential to create a new social cultural order.
Patterns of Hypertext
Hypertext presents itself as a multi-dimensional cognitive environment where linguistic, graphic, visual and audio elements intersect in a network structure. Digital writing is transitory, changeable, open, infinitely reproducible, and mostly online.
The dimensions of the text are distributed from centralized to distributed.
Patterns of hypertext texts
The vector with side branches
E.g.: Inanimate Alice
Complete Graph
Network
E.g.: My Body - a Wunderkammer
Tree
E.g.: The Incipit
Maze
Flowchart
Works Cited
Inanimate Alice - Inanimate Alice, https://inanimatealice.com/. Accessed 5 November 2022.
“Come funziona.” THe iNCIPIT, https://theincipit.com/come-funziona/. Accessed 5 November 2022.
Kulkarni, Anand B. An Introduction to Literary Theory and Criticism. Orient BlackSwan, 2016.
McDaid, John, and Arthur Newkirk. “Bernstein: Patterns of Hypertext.” Eastgate Systems, https://www.eastgate.com/patterns/Print.html. Accessed 5 November 2022.
“'my body' - a Wunderkammer & (Shelley Jackson).” Electronic Literature Collection, https://collection.eliterature.org/1/works/jackson__my_body_a_wunderkammer/index.html. Accessed 5 November 2022.
Ryan, Marie-Laure. Narrative as Virtual Reality 2: Revisiting Immersion and Interactivity in Literature and Electronic Media. Johns Hopkins University Press, 2015.
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