ΠΑΝΕΠΙΣΤΗΜΙΟ ΙΩΑΝΝΙΝΩΝ ΑΝΟΙΚΤΑ ΑΚΑΔΗΜΑΪΚΑ ΜΑΘΗΜΑΤΑ

Παρουσίαση με θέμα: "ΠΑΝΕΠΙΣΤΗΜΙΟ ΙΩΑΝΝΙΝΩΝ ΑΝΟΙΚΤΑ ΑΚΑΔΗΜΑΪΚΑ ΜΑΘΗΜΑΤΑ"— Μεταγράφημα παρουσίασης:

1 ΠΑΝΕΠΙΣΤΗΜΙΟ ΙΩΑΝΝΙΝΩΝ ΑΝΟΙΚΤΑ ΑΚΑΔΗΜΑΪΚΑ ΜΑΘΗΜΑΤΑ
Εισαγωγή στην Ανθρωπολογία της Τέχνης Υψηλή και μαζική τέχνη (High Low Mass culture) Διδάσκων: Καθηγητής Χρήστος Α. Δερμεντζόπουλος

2 Άδειες Χρήσης Το παρόν εκπαιδευτικό υλικό υπόκειται σε άδειες χρήσης Creative Commons. Για εκπαιδευτικό υλικό, όπως εικόνες, που υπόκειται σε άλλου τύπου άδειας χρήσης, η άδεια χρήσης αναφέρεται ρητώς.

3 Mass culture

4 High culture At least since the Renaissance there has been a concern among intellectuals over the ‘quality’ of cultural artifacts and of the overall social production of cultural materials. The belief has been that exposure to and, eventually, appreciation for fine art, literature, music, and so on would elevate the tastes, and moral and intellectual character of humankind. In practice, the access to “high culture” was mostly limited to the elite.

5 High culture Because of the expense of production, and the inability to distribute exposure widely (people had to attend a performance, access an original manuscript (or a rare, expensive copy) or travel to where a piece of art was kept (most of which was not available to the public) in order to be exposed to high culture.

6 Finance Most art, music, etc. was financed by the wealthy through ‘patronage’ of artists Michelangelo. Mozart. Some work for hire Portraits. Lessons for the children of the wealthy.

7 Finance One area where a more free-market system was developed is in the book market, which exploded after the development of the press by Gutenberg Vast expansion of literate middle class. Started with religious manuscripts but soon expanded to philosophy, religion, classics.

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18 Low culture Throughout time it appears that common people, in the course of their lives, created artifacts, music, stories, jokes, and so on as a form of amusement, moral training, communion, etc. ‘folk culture’. Religion is an important part of this culture.

19 Folk culture The source of most tales of this sort is lost in antiquity Often ‘oral culture’ (stories passed from generation to generation without being written down). Original authors are unknown Authorship not that important. Works evolve over time, so that the original may not closely resemble the current version. Passing on the stories, music, art styles, etc. is part of the role of the elders of the community. Children learn, as part of their education, the ‘ways’ of the group, which include its folk culture.

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33 Folk culture A number of authors, etc. have attempted to capture folk culture Brothers Grimm. Canterbury Tales.

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35 Mass culture 1/5 With the coming of technologies of mechanical reproduction, the possibility of wide distribution of cultural artifacts at low cost was realized Book trade first. Wide distribution of music sheets, scripts for plays, etc. Recording of music. Motion pictures. Broadcast.

36 Mass culture 2/5 With each expansion of the mechanical ability to reach wider, and poorer, audiences, the hope among the social reformers was that aesthetic taste, literacy, reason and moral enlightenment could be expanded to the lower classes. Mass culture would be an ‘uplifting’ force in society.

37 Mass culture 3/5 The belief was that as education spread, and therefore the demand for poetry, opera, and so on, these forms of high culture would be made available to everyone through mass media. Alexander Graham Bell first envisioned the phone as a means for people to receive musical performances or poetry readings.

38 Mass culture 4/5 Though not nearly so reflective of the wishes of the social reformers and intellectuals, folk culture also found a means of spreading widely through the media. Burlesque and popular music Popular magazines and paperbacks Wild West stories transferred to the movie screen

39 Mass culture 5/5 With the burgeoning mass media industries, a new form of culture was emerging that was not simply a mechanical extension of the other two—mass culture Mass culture is culture as commodity Produced for sale rather than as an expression of spiritual or communal feelings. No interest in education/taste improvement of the public. Treated as a business, like any other, where investment must turn a profit or the business will be closed down and capital shipped somewhere else.

40 Mass culture critics Horkheimer and Adorno Displaced neo-Marxists.
Attacked popular culture for being formulaic, repetitive, repetitive Support authoritarian mindset, fascism. Focused on popular culture of the time, big-band jazz.

41 More recent leftist critique
Continues to see mass culture as having little intrinsic value. Helps to cultivate complacency. Uses up hard-earned leisure in mindless activity. Cultivates an attitude of spectatorship Nation of spectators rather than actors, citizens.

42 Mass culture is: Cheap. Disposable. Sensational/sleazy. Forgettable.
Based on excitation that lasts for only a short time. Devoid of real meaning.

43 Mass culture lacks: Authenticity. Emotional attachment by its creator.
Moral impact. Ability to provide community. Aesthetic quality. Complexity.

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60 Post-modernist thought
Popular (mass) culture not in any way inferior to elite culture Camille Paglia. Topics and presentations chosen by poor and working class. Appeals to sensations, emotions privileging the rational/intellectual was always mistaken. Brings pleasure to viewer—entirely appropriate goal.

61 Society of the spectacle. Disconnected, decontextualized content.
The image has become more important than the thing itself People will deny the real when confronted with it if it does not conform to the image presented in popular culture. Leaders who present appropriate spectacles rather than engage in wise and thoughtful policy development are preferred (and are better rulers) than less visually and emotionally eloquent but wise rulers.

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64 Τέλος Ενότητας

65 Χρηματοδότηση Το παρόν εκπαιδευτικό υλικό έχει αναπτυχθεί στα πλαίσια του εκπαιδευτικού έργου του διδάσκοντα. Το έργο «Ανοικτά Ακαδημαϊκά Μαθήματα στο Πανεπιστήμιο Ιωαννίνων» έχει χρηματοδοτήσει μόνο τη αναδιαμόρφωση του εκπαιδευτικού υλικού. Το έργο υλοποιείται στο πλαίσιο του Επιχειρησιακού Προγράμματος «Εκπαίδευση και Δια Βίου Μάθηση» και συγχρηματοδοτείται από την Ευρωπαϊκή Ένωση (Ευρωπαϊκό Κοινωνικό Ταμείο) και από εθνικούς πόρους.

66 Σημειώματα

67 Σημείωμα Ιστορικού Εκδόσεων Έργου
Το παρόν έργο αποτελεί την έκδοση 1.0. Έχουν προηγηθεί οι κάτωθι εκδόσεις: Έκδοση 1.0 διαθέσιμη εδώ.

68 Σημείωμα Αναφοράς Copyright Πανεπιστήμιο Ιωαννίνων, Διδάσκων: Καθηγητής Χρήστος Α. Δερμεντζόπουλος. «Εισαγωγή στην Ανθρωπολογία της Τέχνης. Υψηλή και μαζική τέχνη, High Low Mass culture». Έκδοση: 1.0. Ιωάννινα Διαθέσιμο από τη δικτυακή διεύθυνση:

69 Σημείωμα Αδειοδότησης
Το παρόν υλικό διατίθεται με τους όρους της άδειας χρήσης Creative Commons Αναφορά Δημιουργού - Παρόμοια Διανομή, Διεθνής Έκδοση 4.0 [1] ή μεταγενέστερη. [1]