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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The Role of Critics in High and Popular Art Wesley Monroe Shrum Jr. Since I do not address the issue in the chapters that follow , it is worth mentioning here that during the years of my study the full - time staff of the Fringe office ...
The Role of Critics in High and Popular Art Wesley Monroe Shrum Jr. A CRITIC'S NEW CLOTHES A T THE 1989 Edinburgh Festival Fringe a new play opens in a small venue across from the Royal Lyceum Theatre . A Grand Scam proves to be an ...
The Role of Critics in High and Popular Art Wesley Monroe Shrum Jr. To our utter surprise , Art King loves it — though it is never clear whether Tristram's bawling is a genuine outpouring of emotion , or simply the second act of his ...
The Role of Critics in High and Popular Art Wesley Monroe Shrum Jr. perhaps expressing his own fantasy that he alone sets the standards . Whether or not there were nudists in the crowd , sincere in their enthusiasm , we are not told ...
The Role of Critics in High and Popular Art Wesley Monroe Shrum Jr. THE PROBLEM Why does the distinction between high and popular art persist in spite of postmodern predictions that it should vanish ? This fundamental question forms the ...
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 |