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Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America - Levine, Lawrence W.
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ISBN: 9780674390775

ID: 2463219

In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow--enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between "serious" and "popular," between "high" and "low" culture came to dominate America's expressive arts. "If there is a tragedy in this development," Levine comments, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period--and many have still not regained--their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit." In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America Levine, Lawrence W., Harvard University Press

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Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America - Lawrence Levine
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ISBN: 9780674390775

ID: 978067439077

In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are.For most of the nineteenth century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow--enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between serious and popular, between high and low culture came to dominate America''s expressive arts.If there is a tragedy in this development, Levine comments, it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period--and many have still not regained--their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit.In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society. Lawrence Levine, Books, History, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America Books>History, Harvard

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Highbrow-Lowbrow
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Highbrow-Lowbrow - neues Buch

ISBN: 9780674390775

ID: 6272853

In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms-Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow-enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America-housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy-now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between serious and popular, between high and low culture came to dominate America's expressive arts. If there is a tragedy in this development, Levine comments, it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult. Books, History and Transport~~History~~Regional & National History, Highbrow-Lowbrow~~Book~~9780674390775~~Lawrence W. Levine, , , , , , , , , ,, [PU: Harvard University Press]

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Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (The William E. Massey Sr. Lectures in the History of American Civilization - Lawrence Levine
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Lawrence Levine:
Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (The William E. Massey Sr. Lectures in the History of American Civilization - gebrauchtes Buch

ISBN: 0674390776

ID: 2267080

In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow--enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in co 19th century,20th century,americas,civilization and culture,class,history,humanities,modern (16th-21st centuries),politics and social sciences,social sciences Humanities, Harvard University Press

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Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America
Autor:

Levine, Lawrence W.

Titel:

Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America

ISBN-Nummer:

0674390776

'Provides just the kind of balanced, historically informed assessment that can be of immediate value at a time when appeals to eternal truth fly thick and fast.'

Detailangaben zum Buch - Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America


EAN (ISBN-13): 9780674390775
ISBN (ISBN-10): 0674390776
Taschenbuch
Erscheinungsjahr: 1990
Herausgeber: HARVARD UNIV PR
320 Seiten
Gewicht: 0,417 kg
Sprache: eng/Englisch

Buch in der Datenbank seit 12.07.2007 23:01:26
Buch zuletzt gefunden am 13.01.2017 11:01:57
ISBN/EAN: 0674390776

ISBN - alternative Schreibweisen:
0-674-39077-6, 978-0-674-39077-5

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