Fringe and Fortune: The Role of Critics in High and Popular ArtWhy does the distinction between high and popular art persist in spite of postmodernist predictions that it should vanish? Departing from the conventional view that such distinctions are class-related, Wesley Shrum concentrates instead on the way individuals form opinions about culture through the mediation of critics. He shows that it is the extent to which critics shape the reception of an art form that determines its place in the cultural hierarchy. Those who patronize "lowbrow" art--stand-up comedy, cabaret, movies, and popular music--do not heed critical opinions nearly as much as do those who patronize "highbrow" art--theater, opera, and classical music. Thus the role of critics is crucial to understanding the nature of cultural hierarchy and its persistence. Shrum supports his argument through an inquiry into the performing arts, focusing on the Edinburgh Fringe, the world's largest and most diverse art festival. |
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... involvement of the audiencel2 but it is equally relevant to high cultural genres . Most performing arts critics prefer reviewing with a live audience . Even previews have audiences — they are “ exclusive ” only in the sense that these ...
... involved with the arts and those who are avid consumers are not subject to the same process of critical mediation as the wider public . In the main body of the chapter I predict the size of the audience for shows at the 1988 Fringe and ...
... involved , at least occasionally , in the production of original work . Here it is quite difficult to generate an audience . But in just these same cases where groups are most vulnerable , critical reviews have a greater effect . Lack ...
... involved in decisions to attend particular performances . Discussions about groups and shows are generated by social relationships as well as the media . In both cases the recommendation is often indirect - either by someone who has not ...
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Contents
10 | |
CHAPTER | 25 |
CHAPTER | 42 |
CHAPTER THREE | 63 |
TABLES | 69 |
CHAPTER FOUR | 83 |
Assembly Rooms | 85 |
CHAPTER FIVE | 109 |
CHAPTER SEVEN | 144 |
CHAPTER EIGHT | 165 |
CHAPTER NINE | 181 |
CHAPTER | 193 |
EPILOGUE | 213 |
NOTES | 229 |
BIBLIOGRAPHY | 265 |
CHAPTER | 125 |