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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... 1992 . 4.4 Portion of Daily Diary page , 1994 . 4.5 Map of Fringe venues , 1994 . 4.6 Fringe theater and comedy , 1982–1994 . 4.7 Trends in popular genres , 1982–1994 . 93 94 104 104 TABLES 223 223 224 225 225 4.1 Geographical origin of.
... venue across from the Royal Lyceum Theatre . A Grand Scam proves to be an insightful and self - referential play about the relationship between performance art , criticism , and the public . It is not well attended , but that is ...
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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 |