Fringe and Fortune: The Role of Critics in High and Popular Art
Why 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 m...
Gespeichert in:
1. Verfasser: | |
---|---|
Format: | Elektronisch E-Book |
Sprache: | English |
Veröffentlicht: |
Princeton, NJ
Princeton University Press
[2022]
|
Schlagworte: | |
Online-Zugang: | DE-1046 DE-1043 DE-858 DE-859 DE-860 DE-739 DE-473 URL des Erstveröffentlichers |
Zusammenfassung: | Why 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. Beginning with eighteenth-century London playhouses and print media, where performance art criticism flourished, Shrum examines the triangle of mediation involving critics, spectators, and performers. The Fringe is shown to parallel modern art worlds, where choices proliferate along with the demand for guidance. Using interviews with critics and performers, analysis of audiences, and published reviews as well as dramatic vignettes, Shrum reveals the impact of critics on high art forms and explores the "status bargain" in which consumers are influenced by experts in return for prestige |
Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Apr 2022) |
Beschreibung: | 1 Online-Ressource (315 pages) 14 halftones 1 map 6 line illus. 11 tables |
ISBN: | 9780691227634 |
DOI: | 10.1515/9780691227634 |
Internformat
MARC
LEADER | 00000nam a2200000zc 4500 | ||
---|---|---|---|
001 | BV048194865 | ||
003 | DE-604 | ||
007 | cr|uuu---uuuuu | ||
008 | 220503s2022 xx ab|| o|||| 00||| eng d | ||
020 | |a 9780691227634 |9 978-0-691-22763-4 | ||
035 | |a (ZDB-23-DGG)9780691227634 | ||
035 | |a (OCoLC)1314909211 | ||
035 | |a (DE-599)BVBBV048194865 | ||
040 | |a DE-604 |b ger |e rda | ||
041 | 0 | |a eng | |
049 | |a DE-1043 |a DE-1046 |a DE-858 |a DE-859 |a DE-860 |a DE-473 |a DE-739 | ||
082 | 0 | |a 700/.1/03 |2 20 | |
100 | 1 | |a Shrum, Wesley Monroe |e Verfasser |4 aut | |
245 | 1 | 0 | |a Fringe and Fortune |b The Role of Critics in High and Popular Art |c Wesley Monroe Shrum |
264 | 1 | |a Princeton, NJ |b Princeton University Press |c [2022] | |
264 | 4 | |c © 1996 | |
300 | |a 1 Online-Ressource (315 pages) |b 14 halftones 1 map 6 line illus. 11 tables | ||
336 | |b txt |2 rdacontent | ||
337 | |b c |2 rdamedia | ||
338 | |b cr |2 rdacarrier | ||
500 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Apr 2022) | ||
520 | |a Why 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. Beginning with eighteenth-century London playhouses and print media, where performance art criticism flourished, Shrum examines the triangle of mediation involving critics, spectators, and performers. The Fringe is shown to parallel modern art worlds, where choices proliferate along with the demand for guidance. Using interviews with critics and performers, analysis of audiences, and published reviews as well as dramatic vignettes, Shrum reveals the impact of critics on high art forms and explores the "status bargain" in which consumers are influenced by experts in return for prestige | ||
546 | |a In English | ||
650 | 7 | |a PERFORMING ARTS / Theater / History & Criticism |2 bisacsh | |
650 | 4 | |a Art and society | |
650 | 4 | |a Art criticism | |
650 | 4 | |a Popular culture | |
650 | 4 | |a Social classes | |
856 | 4 | 0 | |u https://doi.org/10.1515/9780691227634 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
912 | |a ZDB-23-DGG | ||
943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-033575987 | |
966 | e | |u https://doi.org/10.1515/9780691227634?locatt=mode:legacy |l DE-1046 |p ZDB-23-DGG |q FAW_PDA_DGG |x Verlag |3 Volltext | |
966 | e | |u https://doi.org/10.1515/9780691227634?locatt=mode:legacy |l DE-1043 |p ZDB-23-DGG |q FAB_PDA_DGG |x Verlag |3 Volltext | |
966 | e | |u https://doi.org/10.1515/9780691227634?locatt=mode:legacy |l DE-858 |p ZDB-23-DGG |q FCO_PDA_DGG |x Verlag |3 Volltext | |
966 | e | |u https://doi.org/10.1515/9780691227634?locatt=mode:legacy |l DE-859 |p ZDB-23-DGG |q FKE_PDA_DGG |x Verlag |3 Volltext | |
966 | e | |u https://doi.org/10.1515/9780691227634?locatt=mode:legacy |l DE-860 |p ZDB-23-DGG |q FLA_PDA_DGG |x Verlag |3 Volltext | |
966 | e | |u https://doi.org/10.1515/9780691227634?locatt=mode:legacy |l DE-739 |p ZDB-23-DGG |q UPA_PDA_DGG |x Verlag |3 Volltext | |
966 | e | |u https://doi.org/10.1515/9780691227634?locatt=mode:legacy |l DE-473 |p ZDB-23-DGG |q UBG_PDA_DGG |x Verlag |3 Volltext |
Datensatz im Suchindex
_version_ | 1824508066830221312 |
---|---|
adam_text | |
adam_txt | |
any_adam_object | |
any_adam_object_boolean | |
author | Shrum, Wesley Monroe |
author_facet | Shrum, Wesley Monroe |
author_role | aut |
author_sort | Shrum, Wesley Monroe |
author_variant | w m s wm wms |
building | Verbundindex |
bvnumber | BV048194865 |
collection | ZDB-23-DGG |
ctrlnum | (ZDB-23-DGG)9780691227634 (OCoLC)1314909211 (DE-599)BVBBV048194865 |
dewey-full | 700/.1/03 |
dewey-hundreds | 700 - The arts |
dewey-ones | 700 - The arts |
dewey-raw | 700/.1/03 |
dewey-search | 700/.1/03 |
dewey-sort | 3700 11 13 |
dewey-tens | 700 - The arts |
discipline | Kunstgeschichte |
discipline_str_mv | Kunstgeschichte |
doi_str_mv | 10.1515/9780691227634 |
format | Electronic eBook |
fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nam a2200000zc 4500</leader><controlfield tag="001">BV048194865</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">220503s2022 xx ab|| o|||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780691227634</subfield><subfield code="9">978-0-691-22763-4</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9780691227634</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1314909211</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV048194865</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-1043</subfield><subfield code="a">DE-1046</subfield><subfield code="a">DE-858</subfield><subfield code="a">DE-859</subfield><subfield code="a">DE-860</subfield><subfield code="a">DE-473</subfield><subfield code="a">DE-739</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">700/.1/03</subfield><subfield code="2">20</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Shrum, Wesley Monroe</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Fringe and Fortune</subfield><subfield code="b">The Role of Critics in High and Popular Art</subfield><subfield code="c">Wesley Monroe Shrum</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Princeton, NJ</subfield><subfield code="b">Princeton University Press</subfield><subfield code="c">[2022]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 1996</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 Online-Ressource (315 pages)</subfield><subfield code="b">14 halftones 1 map 6 line illus. 11 tables</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Apr 2022)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Why 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. Beginning with eighteenth-century London playhouses and print media, where performance art criticism flourished, Shrum examines the triangle of mediation involving critics, spectators, and performers. The Fringe is shown to parallel modern art worlds, where choices proliferate along with the demand for guidance. Using interviews with critics and performers, analysis of audiences, and published reviews as well as dramatic vignettes, Shrum reveals the impact of critics on high art forms and explores the "status bargain" in which consumers are influenced by experts in return for prestige</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / Theater / History & Criticism</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Art and society</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Art criticism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Popular culture</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Social classes</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9780691227634</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-033575987</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691227634?locatt=mode:legacy</subfield><subfield code="l">DE-1046</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAW_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691227634?locatt=mode:legacy</subfield><subfield code="l">DE-1043</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAB_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691227634?locatt=mode:legacy</subfield><subfield code="l">DE-858</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FCO_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691227634?locatt=mode:legacy</subfield><subfield code="l">DE-859</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FKE_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691227634?locatt=mode:legacy</subfield><subfield code="l">DE-860</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FLA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691227634?locatt=mode:legacy</subfield><subfield code="l">DE-739</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UPA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691227634?locatt=mode:legacy</subfield><subfield code="l">DE-473</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBG_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
id | DE-604.BV048194865 |
illustrated | Illustrated |
index_date | 2024-07-03T19:45:09Z |
indexdate | 2025-02-19T17:34:43Z |
institution | BVB |
isbn | 9780691227634 |
language | English |
oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033575987 |
oclc_num | 1314909211 |
open_access_boolean | |
owner | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
owner_facet | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
physical | 1 Online-Ressource (315 pages) 14 halftones 1 map 6 line illus. 11 tables |
psigel | ZDB-23-DGG ZDB-23-DGG FAW_PDA_DGG ZDB-23-DGG FAB_PDA_DGG ZDB-23-DGG FCO_PDA_DGG ZDB-23-DGG FKE_PDA_DGG ZDB-23-DGG FLA_PDA_DGG ZDB-23-DGG UPA_PDA_DGG ZDB-23-DGG UBG_PDA_DGG |
publishDate | 2022 |
publishDateSearch | 2022 |
publishDateSort | 2022 |
publisher | Princeton University Press |
record_format | marc |
spelling | Shrum, Wesley Monroe Verfasser aut Fringe and Fortune The Role of Critics in High and Popular Art Wesley Monroe Shrum Princeton, NJ Princeton University Press [2022] © 1996 1 Online-Ressource (315 pages) 14 halftones 1 map 6 line illus. 11 tables txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Apr 2022) Why 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. Beginning with eighteenth-century London playhouses and print media, where performance art criticism flourished, Shrum examines the triangle of mediation involving critics, spectators, and performers. The Fringe is shown to parallel modern art worlds, where choices proliferate along with the demand for guidance. Using interviews with critics and performers, analysis of audiences, and published reviews as well as dramatic vignettes, Shrum reveals the impact of critics on high art forms and explores the "status bargain" in which consumers are influenced by experts in return for prestige In English PERFORMING ARTS / Theater / History & Criticism bisacsh Art and society Art criticism Popular culture Social classes https://doi.org/10.1515/9780691227634 Verlag URL des Erstveröffentlichers Volltext |
spellingShingle | Shrum, Wesley Monroe Fringe and Fortune The Role of Critics in High and Popular Art PERFORMING ARTS / Theater / History & Criticism bisacsh Art and society Art criticism Popular culture Social classes |
title | Fringe and Fortune The Role of Critics in High and Popular Art |
title_auth | Fringe and Fortune The Role of Critics in High and Popular Art |
title_exact_search | Fringe and Fortune The Role of Critics in High and Popular Art |
title_exact_search_txtP | Fringe and Fortune The Role of Critics in High and Popular Art |
title_full | Fringe and Fortune The Role of Critics in High and Popular Art Wesley Monroe Shrum |
title_fullStr | Fringe and Fortune The Role of Critics in High and Popular Art Wesley Monroe Shrum |
title_full_unstemmed | Fringe and Fortune The Role of Critics in High and Popular Art Wesley Monroe Shrum |
title_short | Fringe and Fortune |
title_sort | fringe and fortune the role of critics in high and popular art |
title_sub | The Role of Critics in High and Popular Art |
topic | PERFORMING ARTS / Theater / History & Criticism bisacsh Art and society Art criticism Popular culture Social classes |
topic_facet | PERFORMING ARTS / Theater / History & Criticism Art and society Art criticism Popular culture Social classes |
url | https://doi.org/10.1515/9780691227634 |
work_keys_str_mv | AT shrumwesleymonroe fringeandfortunetheroleofcriticsinhighandpopularart |