High Theory/Low Culture by M. Brottman

By M. Brottman

In excessive Theory/Low tradition , Brottman makes use of the instruments of 'high' cultural conception to envision many parts of contemporary pop culture, together with variety magazines, game, purchasing, tabloid newspapers, horror video clips and pornography. In doing so, she not just demonstrates the sensible use of 'high' thought because it pertains to our daily global, yet she additionally investigates the types of 'low' tradition which are on a regular basis brushed aside via educational students. via a detailed exam of those cultural types, Brottman unearths how the categories of pop culture that we frequently take with no consideration are, in truth, way more complicated and complex than is generally assumed.

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This internal system of ritual order allows fight songs to be adaptable, and popular, pre-accepted songs are used in the creation of new and more immediately relevant ones. ” Like their lyrics, the tunes to fight songs tend to be interchangeable. These traditional, popular, and widely known tunes are well-established in the way they influence feeling and emotion by “taking over” and performing disorganized excitement, emotions, and an electric atmosphere in a way that is perhaps impossible in noncarnivalized, nonperformance speech.

The argument that the behavior of football fans can best be understood as an example of the Bakhtinian carnivalesque necessarily excludes other rhetorical methods. It also excludes other methods of cultural performance study, such as social drama analysis, that might seem appropriate inroads of access to this fascinating area of popular culture. It seems to me, however, that Bakhtin’s method is the most effective—not only because it pays special attention to the foregrounding of laughter, humor, irony, and elements of self-parody, but also because there are some very obvious connections between Bakhtinian carnival, as described in “Discourse in the Novel,” and the nature of competitive football.

And yet things are in a way even worse than that. For each point of view is described as an interested point of view: it embodies not just a perspective but a set of values or desires (20). By referring to an interested point of view, however, it seems more likely that Bakhtin is suggesting an unconscious, ideological worldview rather than the active political aims Hirschkop and Shepherd suggest in their use of evaluative terms like worse. In “Discourse in the Novel,” a similar point is made: “all languages .

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