Moves from Beethoven to Buffy to examine the blurred nexus of elite and popular culture in the twenty-first century.
| |||||||||||||||
Book Description
Editorial Reviews
From the Back Cover
What happens when Theodor Adorno, the champion of high, classical artists such as Beethoven, comes into contact with the music of Chuck Berry, the de facto king of rock ’n’ roll? In a series of readings and meditations, Robert Miklitsch investigates the postmodern nexus between elite and popular culture as it occurs in the audiovisual fields of film, music, and television—ranging from Gershwin to gangsta rap, Tarantino to Tongues Untied, Tony Soprano to Buffy the Vampire Slayer, Miklitsch argues that the aim of critical theory in the new century will be to describe and explain these commodities in ever greater phenomenological detail without losing touch with those evaluative criteria that have historically sustained both Kulturkritik and classical aesthetics.
"Robert Miklitsch loves popular music and the movies, and he’s not afraid to theorize about it. This intriguing book makes theorists of the popular accessible at the same time that it makes rock and film even more fascinating." — Krin Gabbard, author of Black Magic: White Hollywood and African American Culture
"The undercutting of the distinction between classical and rock music is one of the great insights of this book. Miklitsch sees how classical music is not really autonomous in the way that someone that Adorno would claim. It, instead, suffers from the same heteronomy that infects rock music. By working to eliminate the barrier between high and low, the author helps to open us up to a whole new way of experiencing the aesthetic, a mode of experiencing that we must adopt in order to exist within contemporary culture." — Todd McGowan, author of The End of Dissatisfaction? Jacques Lacan and the Emerging Society of Enjoyment
About the Author
Robert Miklitsch is Associate Professor of Critical Theory at Ohio University. He is the author of From Hegel to Madonna: Towards a General Economy of "Commodity Fetishism," also published by SUNY Press.
Product Details
Would you like to update product info or give feedback on images?
|
More About the Author
Discover books, learn about writers, read author blogs, and more.
Customer Reviews
|
There are no customer reviews yet.
|
|||
|
Video reviews
|
Inside This Book
(learn more)
First Sentence:
In 1954, one year before Bill Haley and the Comets' "Rock around the Clock"-what Palmer calls the "original white rock 'n' roll" song-became number one on the pop charts, marking a "turning point in the history of popular music," and one year before Elvis covered Little Junior Parker's "Mystery Train" (then signed, under the self-interested tutelage of Colonel Parker, with RCA), IN 1954-the same year the Supreme Court ruled racial segregation unconstitutional-the nineteen-year-old and still very much alive Elvis Presley walked into the Memphis Recording Service and cut Arthur "Big Boy" Crudup's "That's All Right." Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Melrose Place, The Sopranos, Jackie Brown, Chuck Berry, Tongues Untied, Pam Grier, Queen Latifah, New York, Los Angeles, Foxy Brown, Black Sam, United States, Beverly Hills, Billie Holiday, Johnny Boy, Buffy the Vampire Slayer, Pulp Fiction, Tony Soprano, West Coast, Magic Box, Ninth Symphony, African Americans, Big Pussy, Del Arno Mall, Sex Pistols New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
In 1954, one year before Bill Haley and the Comets' "Rock around the Clock"-what Palmer calls the "original white rock 'n' roll" song-became number one on the pop charts, marking a "turning point in the history of popular music," and one year before Elvis covered Little Junior Parker's "Mystery Train" (then signed, under the self-interested tutelage of Colonel Parker, with RCA), IN 1954-the same year the Supreme Court ruled racial segregation unconstitutional-the nineteen-year-old and still very much alive Elvis Presley walked into the Memphis Recording Service and cut Arthur "Big Boy" Crudup's "That's All Right." Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Melrose Place, The Sopranos, Jackie Brown, Chuck Berry, Tongues Untied, Pam Grier, Queen Latifah, New York, Los Angeles, Foxy Brown, Black Sam, United States, Beverly Hills, Billie Holiday, Johnny Boy, Buffy the Vampire Slayer, Pulp Fiction, Tony Soprano, West Coast, Magic Box, Ninth Symphony, African Americans, Big Pussy, Del Arno Mall, Sex Pistols New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
See all 100 books this book cites
- Popular Music: Critical Concepts in Media and Cultural Studies by Simon Frith on 9 pages
- On Record: Rock, Pop and the Written Word by Simon Frith on 7 pages
- Philosophy of Modern Music (Athlone Contemporary European Thinkers) by Theodor Wiesengrund Adorno on 7 pages
- Dancing in Spite of Myself: Essays on Popular Culture by Lawrence Grossberg on 6 pages
- A Clockwork Orange (Hb) by Kubrick Stanley on 5 pages
See all 100 books this book cites
Tag this product(What's this?)Think of a tag as a keyword or label you consider is strongly related to this product.
Tags will help all customers organize and find favorite items. |
Sell a Digital Version of This Book in the Kindle Store
If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store.
Learn more
