By George Lipsitz
"Time Passages is a far-reaching-and might be permanent-contribution to cultural studies." San Francisco assessment of Books "This excessive tackle 'low' tradition examines the advanced net of well known narratives that come up from and create the yank collective reminiscence. learning the interval from the top of worldwide warfare II to the current, Lipsitz . . . inventively explores the preferred canon, turning variously to tv, rock tune, movie, novels, and the Mardi Gras Indians of recent Orleans." Publishers Weekly "What particularly separates Lipsitz from prior critics of pop culture is that he received his rock degree from the high-school gymnasium, no longer the Frankfurt college. Lipsitz understands the colour of the labels, the B-sides, the canopy versions." Boston Phoenix Literary part "In a sequence of provocative and finely crafted essays on movie, rock 'n' roll, early tv, well known novels, New Orleans Mardi Gras celebrations, and different features of pop culture, Lipsitz argues that pop culture has been, and continues to be, an area of wish, hazard, feedback, or even resistance for thousands of standard people." American stories George Lipsitz is professor of ethnic reviews on the college of California, San Diego, the place he serves as director of the Thurgood Marshall Institute. he's the writer of many books, together with Time Passages (see right), The Possessive funding in Whiteness: How White humans make the most of id Politics (1998), and unsafe Crossroads: well known song, Postmodernism, and the Poetics of position (1997).
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Sample text
They do not call for a reinvigoration of historical writing and teaching so much as they mandate censorship of the most interesting and most effective research methods developed within the historical profession over the past two decades. Given the depth of their dissatisfaction with students and teachers, the neo-conservative critics make surprisingly few affirmative suggestions about how to improve the discipline. Ravitch and Finn offer a few common-sense "proposals" that merely codify the way history is already being taught.
Jackson's speech constructed his audience on both the margins of society and at the center. His narrative about the past neglected the history of the state and claims about "the inevitable trajectory of progress" in favor of the ingenuity and effort of his grandmother. Rather than uniting his listeners in fictive identification with a unified past that they did not share, he contended that their very historical diversity and fragmentation united them in mutual interdependence. At first glance it may appear as if Reagan's speech drew upon history while Jackson's relied on myth.
Even if we could safely dismiss every program on television as artistically worthless, we would still need to understand the ways in which television presents the illusion of intimacy, how it intervenes in family relations, how it serves the consumer economy, and how its hold on the viewing audience relates to the disintegration of public resources, the aggravations of work, and the fragility of interpersonal relations that characterize our lives. Furthermore, to function as a mechanism of escape, television and other forms of popular culture often recuperate the very history that their content appears to erase.