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Pop Culture (pop + culture)

Distribution by Scientific Domains
Humanities and Social Sciences80%

Selected Abstracts

Rap's Dirty South: From Subculture to Pop Culture

JOURNAL OF POPULAR MUSIC STUDIES, Issue 2 2004
Matt Miller
[source]

American Pop Culture Invades Germany: Some Love It,Some Don't

THE JOURNAL OF AMERICAN CULTURE, Issue 3-4 2001
Arnold Schuetz
First page of article [source]

Why Games Will Be the Preeminent Art Form of the 21stCentury

COMPUTER GRAPHICS FORUM, Issue 3 2001
Chris Hecker
Computer games share many artistic and technical characteristics with films of the early 1900s. Games' artistic evolution is hampered by the lack of artistic respect from society at large, and the lack of technical standards that would allow artistic innovation. The same problems affected cinema during its birth. During the early 20th century, film managed to find its way from popular diversion to highly respected art form. Will games follow the same course, or will they be stuck forever in the ghetto of pop culture? What technological and artistic changes need to occur in the medium for games to evolve beyond merely shooting aliens and into an art form worthy of association with painting, music, writing, and film? This talk will pose some of those questions, if not attempt to answer them. [source]

Enregistering Modernity, Bluffing Criminality: How Nouchi Speech Reinvented (and Fractured) the Nation

JOURNAL OF LINGUISTIC ANTHROPOLOGY, Issue 2 2009
Sasha Newell
This paper traces processes of the enregisterment of modernity in French and Nouchi (an urban patois) in Côte d'Ivoire, arguing that the struggles to define the indexical values of Nouchi and the performative bluff of urban street life associated with it have played a central role in the production of Ivoirian national identity. Speakers of Nouchi integrate references to American pop culture with local Ivoirian lexical content, which allows Nouchi use ambivalently to index both modernity and autochthony. In so doing they overturn the hierarchical schema of evaluation defined by proximity to the French standard. Nouchi indexes a new pan-ethnic Ivoirian identity based on the alternative modernity of cosmopolitan urban youth. Urban youth reject the Francocentric elitism of the postcolonial state but themselves exclude Northern migrants, whom they qualify as less than modern, from Ivoirian citizenship.,[modernity, enregisterment, French, Nouchi, indexicality, Côte d'Ivoire] [source]

,Erkenntnistheoretische Maschinen': Questions about the Sublime in the Work of Raoul Schrott

GERMAN LIFE AND LETTERS, Issue 2 2002
Karen Leeder
This paper examines a new mode in recent German poetry. Far from the poetry influenced by the recent re-emergence of ,pop' culture, or the ,Alltagssprache' and ,simple Storys' of much recent writing from the former GDR, a number of poets have concerned themselves with modern science, particularly quantum mechanics and optics. These are among some of the most significant young poets of recent years (Thomas Kling, Franz Josef Czernin, Barbara Köhler, Durs Grünbein, Raoul Schrott etc.), figuring something which might be dubbed a contemporary of the ,poeta doctus'. This new discourse is interesting enough in itself, as poetry and science have, in the twentieth century at least, often been thought to be diametrically opposed. However, closer examination of this work, particularly that of Raoul Schrott (b. 1964), an ,emerging' and, paradoxically, already very distinguished writer, reveals that poetry and science can be understood as pro-foundly analogous; particularly in their use of metaphor. Fascinatingly, the contemporary discourse of science is set alongside classical (mythological) models in his work. They are both understood as finally hopeless projects to humanise the vast indifference of the universe: ,ein anderes sich in die leere/sagen'. The poem as ,epistemological machine' is set to interrogate the places where those human maps, models and vocabularies fail. The real territory of Schrott's work is thus revealed , in Hotels (1995), in essays, in four works of recent prose, and especially in Tropen (1998) , to be the boundaries of perception ,sub limes, where the models of human understanding fall away and point beyond themselves to an experience of the ,sublime'. [source]