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The Culture: Hip Hop & Contemporary Art in the 21st Century
A sweeping survey of hip hop’s resounding impact on contemporary art and culture across the past 20-plus yearsAccompanying a groundbreaking exhibition originating at the Baltimore Museum of Art, this book captures the extraordinary influence of hip hop, which has driven innovations in music, visual and performing arts, fashion, and technology and grown into a global phenomenon since its emergence in the 1970s.It features approximately 70 objects by both established and emerging artists, design houses, streetwear icons and musicians working in a wide range of mediums to demonstrate hip hop’s proliferation from the street to the runway, the studio to the museum gallery, and countless sites in between.The exhibition also explores how hip hop has and continues to challenge structures of power, dominant cultural narratives, and political and social systems of oppression. This fully illustrated monograph documents the exhibition and contains texts and interviews from more than 30 artists and scholars. Artists include: Nina Chanel Abney, Dionne Alexander, Maxwell Alexandre, Devin Allen, Alvaro Barrington, Jean-Michel Basquiat, Grace Wales Bonner, Mark Bradford, Jordan Casteel, Willy Chavarria, Caitlin Cherry, Troy Chew II, William Cordova, Carl Jones, Stan Douglas, John Edmonds, Gajin Fujita, Monica Ikegwu, Shabez Jamal, Kahlil Joseph, Nia June, LA II, Deana Lawson, Eric N.Mack, Emmanuel Massillon, Julie Mehretu, Murjoni Merriweather, Jayson Musson, Rashaad Newsome, Yvonne Osei, Zéh Palito, Gordon Parks, Adam Pendleton, Robert Pruitt, Rammellzee, Sheila Rashid, Rozeal, Joyce J.Scott, Tschabalala Self, Tariku Shiferaw, Devan Shimoyama, Hank Willis Thomas, Carrie Mae Weems, Vivienne Westwood and Malcolm McLaren, Abbey Williams, Pharrell Williams and Wilmer Wilson IV. Authors include: Ebony Haynes, Todd Boyd, Lester Spence, Jordana Moore Saggese, Greg Tate, Misa Hylton, Elena Romero, Ekow Eshun, Devin Allen, Michael Holman, Simone White, Salome Asega, Alphonse Pierre, David A.M.Goldberg and Tahir Hemphill, Jacolby Satterwhite, Wendel Patrick, Simon Reynolds, Seph Rodney, Jesse McCarthy, Danez Smith, Noriko Manabe, Lindsay Knight and Charity Marsh, Shaheem Sanchez, Jeffrey Q.McCune, Jr., Sekou Cooke, Jessica N. Pabón-Colón, Martha Cooper, Skeme, Alex de Mora and Lawrence Burney.
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Encyclopedia of Contemporary British Culture
Boasting more than 970 alphabetically-arranged entries, the Encyclopedia of Contemporary British Culture surveys British cultural practices and icons in the latter half of the twentieth century.It examines high and popular culture and encompasses both institutional and alternative aspects of British culture.It provides insight into the whole spectrum of British contemporary life.Topics covered include: architecture, pubs, film, internet and current takes on the monarchy.Cross-referencing and a thematic contents list enable readers to identify related articles.The entries range from short biographical synopses to longer overview essays on key issues.This Encyclopedia is essential reading for anyone interested in British culture.It also provides a cultural context for students of English, Modern History and Comparative European Studies.
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Neoliberalism and Contemporary Literary Culture
Neoliberalism has been a buzzword in literary studies for well over a decade, but its meaning remains ambiguous and its salience contentious.In Neoliberalism and Contemporary Literary Culture, Mitchum Huehls and Rachel Greenwald Smith offer a wide-ranging exploration of contemporary literature through the lens of neoliberalism's economic, social, and cultural ascendance.Bringing together accessible and provocative essays from top literary scholars, this innovative collection examines neoliberalism's influence on literary theory and methodology, literary form, literary representation, and literary institutions.A four-phase approach to the historical emergence of neoliberalism from the early 1970s to the present helps to clarify the complexity of the relationship between neoliberalism and literary culture. Layering that history over the diverse changes in a US-Anglo literary field that has moved away from postmodern forms and sensibilities, the book argues that many literary developments-including the return to realism, the rise of the memoir, the embrace of New Materialist theory, and the pursuit of aesthetic autonomy-make more coherent sense when viewed in light of neoliberalism's ever-increasing expansion into the cultural sphere. The essays gathered here engage a diverse range of theorists, including Michel Foucault, Wendy Brown, Giorgio Agamben, Bruno Latour, Maurice Merleau-Ponty, Gary Becker, and Eve Sedgwick to address the reciprocal relationship between neoliberalism and conceptual fields such as biopolitics, affect, phenomenology, ecology, and new materialist ontology.These theoretical perspectives are complemented by innovative readings of contemporary works of literature by writers such as Jennifer Egan, Ben Lerner, Gillian Flynn, Teju Cole, Jonathan Franzen, Chimamanda Ngozi Adichie, Salvador Plascencia, E.L. James, Lisa Robertson, Kenneth Goldsmith, and many others. Neoliberalism and Contemporary Literary Culture is essential reading for anyone invested in the ever-changing state of literary culture.
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Studies in Eighteenth-Century Culture
The latest groundbreaking work in eighteenth-century studies. The essays in Volume 54 of Studies in Eighteenth-Century Culture demonstrate a renewed interest in the variety of ways in which emotions interact with artistic, cultural, literary, and scholarly conventions. The volume opens with three essays that linger on the affective experiences both occluded and afforded by genre.Chloe Summers Edmondson traces the posthumous reception of Madame de Sévigné's letters and finds that they established a style of "seeming sincerity." Robert Stearn follows by uncovering the relationships between household labor and emotional experiences in the diary of the Manchester wigmaker Edmund Harrold. And Joani Etskovitz examines how the slow narrative style of Charlotte Smith's writings for young people aimed to imbue adolescent girls with a spirit of curiosity that could forestall the perils of a hasty marriage. Robert W. Jones and Fauve Vandenberghe next take up the political and affective resonances of queer performance.For Jones, cross-dressed casting in a 1786 production of Richard Coeur de Lion constituted a sexualized means of opposition to the royalist politics of its French source; for Vandenberghe, the figure of the spinster in popular periodicals offered a mode of resistance to the genre's otherwise heteronormative impulses. Wendy Wassyng Roworth's Presidential Address, "Close Encounters and Stranger Things: Angelica's Kauffman's First Years in London," documents two critical years in the painter's career, paying particular attention to the scandal caused by her secret marriage to a man pretending to be a Swedish Count.Brontë Hebdon's essay uncovers the appeals to antiquity and the beau ideal that characterized civil uniform designs in Revolutionary France.Yan Che concludes this section with a careful reading of the small accumulations of money and recognition that fail to add up in Olaudah Equiano's Interesting Narrative. Allison Y. Gibeily initiates a trio of essays on empire in the long eighteenth century.Focusing on an anonymous travelogue included in Thomas Sprat's The History of the Royal Society of London, Gibeily thinks carefully about archival silences and the Indigenous control of knowledge.Sanjay Subrahmanyam's Clifford Lecture, "The Question of I'tisam ud-Din: An Indian Traveler in Eighteenth-Century Europe," recovers the writings and experiences of Shaikh I'tisam-ud-Din, one of the earliest South Asian authors to compose a first-person account of the West.Vincent Pham's essay concludes this section with a study of the imperial conflicts registered by a late eighteenth-century musical automaton depicting a tiger in the act of devouring a European. Nan Goodman's essay concludes the volume by suggesting that the principle of neutrality in early American domestic and foreign policy helped create forms of conspiratorial thinking that continue to vex and polarize us today. Contributors: Yan Che, Chloe Summers Edmondson, Joani Etskovitz, Allison Y.Gibeily, Nan Goodman, Brontë Hebdon, Robert W. Jones, Vincent Pham, Wendy Wassyng Roworth, Robert Stearn, Sanjay Subrahmanyam, Fauve Vandenberghe
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"Am I hardly interested in modern culture anymore?"
It's possible that you are feeling less interested in modern culture due to a variety of reasons such as feeling disconnected from current trends, finding modern culture to be overwhelming, or simply evolving interests. It's important to explore the reasons behind your decreased interest and consider if there are aspects of modern culture that still resonate with you. It's also okay to shift your focus towards other interests that bring you fulfillment and joy.
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What impact does high culture have on modern Egypt?
High culture in Egypt, including art, literature, and music, plays a significant role in shaping the country's identity and influencing its society. It serves as a source of national pride and heritage, connecting Egyptians to their rich history and traditions. High culture also contributes to the country's economy through tourism and international recognition, showcasing Egypt's artistic talents on a global stage. Additionally, high culture can inspire social change and promote dialogue on important issues, serving as a platform for expressing diverse perspectives and fostering creativity and innovation in modern Egypt.
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What are event culture and time culture?
Event culture refers to the way in which events, such as festivals, concerts, and sporting events, shape and influence a society's values, beliefs, and behaviors. Time culture, on the other hand, refers to the way in which a society perceives and organizes time, including concepts of punctuality, scheduling, and the pace of life. Both event culture and time culture play a significant role in shaping social interactions, traditions, and overall societal norms.
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Which culture is the best culture in the world?
It is not appropriate to label any one culture as the "best" in the world as every culture has its own unique strengths and values. Each culture contributes to the diversity and richness of the world, and it is important to respect and appreciate the differences among them. Instead of comparing cultures, it is more valuable to learn from and celebrate the diversity of cultures around the world.
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Contemporary Clay and Museum Culture
This groundbreaking book is the first to provide a critical overview of the relationship between contemporary ceramics and curatorial practice in museum culture. Ceramic objects form a major part of museum collections, with connections to anthropology, archaeology and other disciplines that engage with the cultural and social history of humankind.In recent years museums have provided the impetus for cutting-edge artistic practice, either as a response to particular collections, or as part of exhibitions.But the question of how museums have staged contemporary ceramics and how ceramic artists respond to museum collections has not been the subject of published research to date.This book examines how ceramic artists have, over the last decade, begun to animate museum collections in new ways, and reflects on the impact that these new initiatives have had in the broad context of visual culture. Ceramics in the Expanded Field is the culmination of a three-year AHRC funded project, and reflects its major findings.It brings together leading international voices in the field of ceramics, research undertaken throughout the project and papers delivered at the concluding conference.By examining the benefits and constraints of interventions and the dialogue between ceramics and museological practice, this book will bring focus to an area of museology that has not yet been theorized, and will contribute to policy debates and art practice.
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Death in Contemporary Popular Culture
With intense and violent portrayals of death becoming ever more common on television and in cinema and the growth of death-centric movies, series, texts, songs, and video clips attracting a wide and enthusiastic global reception, we might well ask whether death has ceased to be a taboo.What makes thanatic themes so desirable in popular culture?Do representations of the macabre and gore perpetuate or sublimate violent desires?Has contemporary popular culture removed our unease with death?Can social media help us cope with our mortality, or can music and art present death as an aesthetic phenomenon?This volume adopts an interdisciplinary approach to the discussion of the social, cultural, aesthetic, and theoretical aspects of the ways in which popular culture understands, represents, and manages death, bringing together contributions from around the world focused on television, cinema, popular literature, social media and the internet, art, music, and advertising.
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Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London
Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London explores Giardini’s influence on British musical life through his multifaceted career as performer, teacher, composer, concert promoter and opera impresario.The crux of the study is a detailed account of Giardini’s partnership with the music seller/publisher John Cox during the 1750s, presented using new biographical information which contextualizes their business dealings and subsequent disaccord.The resulting litigation, the details of which have only recently come to light, is explored here via a complex set of archival materials.The findings offer new information about the economics of professional music culture at the time, including detailed figures for performers’ fees, the printing and binding of music scores, the charges arising from the administration of concerts and operas, the sale, hire and repair of various instruments and the cost of what today we would call intellectual property rights.This is a fascinating study for musicologists and followers of Giardini, as well as for readers with an interest in classical music, social history and legal history.
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Early Modern Court Culture
Through a thematic overview of court culture that connects the cultural with the political, confessional, spatial, material and performative, this volume introduces the dynamics of power and culture in the early modern European court. Exploring the period from 1500 to 1750, Early Modern Court Culture is cross-cultural and interdisciplinary, providing insights into aspects of both community and continuity at courts as well as individual identity, change and difference.Culture is presented as not merely a vehicle for court propaganda in promoting the monarch and the dynasty, but as a site for a complex range of meanings that conferred status and virtue on the patron, maker, court and the wider community of elites.The essays show that the court provided an arena for virtue and virtuosity, intellectual and social play, demonstration of moral authority and performance of social, gendered, confessional and dynastic identity. Early Modern Court Culture moves from political structures and political players to architectural forms and spatial geographies; ceremonial and ritual observances; visual and material culture; entertainment and knowledge.With 35 contributions on subjects including gardens, dress, scent, dance and tapestries, this volume is a necessary resource for all students and scholars interested in the court in early modern Europe.
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Why is Turkish culture often confused with Arab culture?
Turkish culture is often confused with Arab culture due to several factors. Firstly, both cultures are located in the Middle East and share some similarities in language, religion, and traditional customs. Additionally, there is a historical connection between the two regions through the Ottoman Empire, which had a significant influence on Arab countries. Furthermore, the media and popular culture often portray a homogenized view of the Middle East, leading to misconceptions and generalizations about the diverse cultures within the region. However, it is important to recognize and appreciate the distinct differences and unique aspects of Turkish and Arab cultures.
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Is culture important?
Yes, culture is important because it shapes our identity, beliefs, values, and behaviors. It provides a sense of belonging and connection to others within a community. Culture also influences how we communicate, express ourselves, and understand the world around us. Embracing and respecting different cultures can lead to greater understanding, empathy, and cooperation among diverse groups of people.
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What thing is romanticized in modern culture nowadays but shouldn't be?
One thing that is often romanticized in modern culture but shouldn't be is toxic relationships. Movies, TV shows, and social media often portray intense, tumultuous relationships as passionate and desirable, when in reality, they can be harmful and damaging. Romanticizing toxic relationships can lead people to believe that jealousy, control, and manipulation are normal aspects of love, when in fact, healthy relationships are built on trust, respect, and communication. It's important to recognize the difference between a passionate relationship and one that is unhealthy and harmful.
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What thing is romanticized in modern culture today but shouldn't be?
One thing that is often romanticized in modern culture today but shouldn't be is toxic relationships. Movies, TV shows, and social media often portray toxic behavior as passionate and intense love, which can lead people to believe that unhealthy dynamics are normal or even desirable. In reality, toxic relationships can be harmful and damaging to individuals involved, and it's important to recognize the signs of toxicity and prioritize healthy, respectful relationships instead.
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