The popular culture and philosophy (PCP) book publishing movement has always been about serving the public. The idea for Seinfeld and Philosophy was to explain a broad range of philosophy and philosophers in a way that anyone could understand because the examples came from a popular television show. Plenty of professors were referencing Seinfeld in the classroom to help students connect with big ideas. Seinfeld and Philosophy would spur some readers to pick up (...) Plato or enroll in a philosophy course. By applying philosophy to pop culture, authors deliver a truly novel philosophical insight into the artwork. There has never been complete uniformity in the genre of PCP, but for the most part motivations have been pedagogical. The Blackwell Philosophy and Pop Culture Series have a website with a blog that is open to submissions. The value of public philosophy in general, and PCP in particular, remains an open question at many institutions. (shrink)

The exploration of popular culture topics by academic philosophers for non-academic audiences has given rise to a distinctive genre of philosophical writing. Edited volumes with titles such as Black Sabbath and Philosophy or Buffy the Vampire Slayer and Philosophy contain chapters by multiple philosophical authors that attempt to bring philosophy to popular audiences. Two dominant models have emerged in the genre. On the pedagogical model, authors use popular culture examples to teach the (...) reader philosophy. The end is to promote philosophical literacy, defined as acquaintance with the key problems, ideas, and figures in the history of philosophy. In contrast, on the applied philosophy model, authors use philosophy to open up new dimensions of the popular culture topic for fans. The end is to illustrate the value of philosophy in understanding the popular culture topic, and ultimately, to demonstrate the value of philosophy in general. Taking stock of the relative strengths and weaknesses of these two models provides an opportunity to reflect more broadly on whether, why, and how philosophers should engage the public. (shrink)

Contributions to the philosophical genre of popular culture and philosophy aim to popularize philosophical ideas with the help of references to the products of popular culture with TV series like The Simpsons, Hollywood blockbusters like The Matrix and Jurassic Park, or popular music groups like Metallica. While being commercially successful, books in this comparatively new genre are often criticized for lacking scientific rigor, providing a shallow cultural commentary, and having little didactic value to foster (...) philosophical understanding. This paper discusses some of these methodological and didactic objections and seeks to encourage a constructive discussion of concerns with the genre. It shows how the genre similar to previous attempts to foster public understanding of philosophy and that it is a methodologically viable approach to reach a broad range of readers with diverse informational preferences and educational backgrounds. Considering what makes this approach to the popularization of philosophical thinking successful will shed light on some of the criteria for popularization of philosophy in general. (shrink)

The studies of urban popular culture in modern China in recent years have attracted wide attention from scholars in China and abroad. The symposium, which is composed by Ma Min’s “Injecting vitality into the studies of urban cultural history,” Jiang Jin’s “Issues in the studies of urban popular culture in modern China,” Wang Di’s “The microcosm of Chinese cities: The perspective and methodology of studying urban popular culture from the case of teahouses in Chengdu,” (...) Joseph W. Esherick’s “Remaking the Chinese city: Urban space and urban culture” and Lu Hanchao’s “From elites to common people: The downward trend in the studies of Chinese urban history in the United States,” provide valuable insights on the perspective, trend, and methodology of the studies. (shrink)

Central to politicized academic projects such as cultural studies and politicized work in cultural theory and philosophy is a critique of the cultural power of institutions—pedagogical institutions...

In this 4th edition of his successful Cultural Theory and Popular Culture: An Introduction, John Storey has extensively revised the text throughout.

Much philosophical work on pop culture apologises for its use; using popular culture is a necessary evil, something merely useful for reaching the masses with important philosophical arguments. But works of pop culture are important in their own right--they shape worldviews, inspire ideas, change minds. We wouldn't baulk at a book dedicated to examining the philosophy of The Great Gatsby or 1984--why aren't Star Trek and Superman fair game as well? After all, when produced, the (...) former were considered pop culture just as much as the latter. This will be the first major reference work to right that wrong, gathering together entries on film, television, games, graphic novels and comedy, and officially recognizing the importance of the field. It will be the go-to resource for students and researchers in philosophy, culture, media and communications, English and history and will act as a springboard to introduce the reader to the other key literature in the field. (shrink)

Popular culture is ubiquitous. And referencing popular culture can be an excellent pedagogical tool. Used properly, it provides students with easily accessible examples—in some cases examples they have already been interested in. Given these facts, the creation and expansion of the literature on the intersection of popular culture and philosophy is not surprising. The purpose of these volumes has been controversial since their inception, but they do seem ideally suited as introductory texts. This (...) essay examines four recent volumes in popular culture and philosophy as pedagogical tools. These volumes on Sherlock Holmes, Christmas, Dr. Seuss, and Facebook all offer unique and useful tools for the teacher attempting to introduce students to philosophy. (shrink)

J. Gingell, E. P. Brandon; Popular Culture, Journal of Philosophy of Education, Volume 34, Issue 3, 7 March 2003, Pages 461–485, https://doi.org/10.1111/1467-97.

Almost wherever we look, depictions of sexuality, both subtle and not-so-subtle, are omnipresent. Whatever the medium, popular culture representations tell us something about ourselves and about the ideologies of which they are symptomatic. These essays examine the strategies of power implicit in popular representations of sexuality. The authors—scholars in fields such as sociology, philosophy, biology, political science, history, and English literature— eschew rigid disciplinary boundaries.

New to this edition: 4 new readings Stuart Hall The rediscovery of 'ideology': return of the repressed in media studies Ernesto Laclau and Chantal Mouffe Post ...

Circulation of ideas among philosophers is the core of Philosophy itself. The lack of this circulation can lead to obscurantism and cultural provincialism. The latter, for instance, afflicted Italy during the first half of the 20th century because of the close-minded neo-idealism of Croce and the mutual indifference of science and philosophy. Antonio Gramsci tried to overcome the problem of provincialism. In this essay, I explain how he attempted to overcome it. I focus on his conceptual categories like (...) heg emony, organic intellectual, national-popular and so on. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in (...) a variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

ETHICS IS ABUNDANT IN POPULAR CULTURE—IN RADIO TALK SHOWS, television, films, moral advice columns, books and workshops on popular psychology and spirituality, and other venues. This essay explores the ways in which ethics is presented in three select popular settings; the ethical questions addressed in those settings; the moral theories, perspectives, and values that are privileged in opinions offered; and the judgments that are proffered. Of special interest to professional ethicists are the ways in which ethics (...) in popular culture participates in the ways ethics is done in the academy and the ways in which popular media frame and foster ethics differently from the ways the academy does. This article was the Presidential Address at the 2004 Society of Christian Ethics annual meeting in Chicago. (shrink)

This brief but ambitious book explores our relationship with nature through the imagery we use when we talk about Mother Nature. Employing the critical tools of religious studies, psychology, and gender studies, Catherine M. Roach examines the various manifestations of nature as "mother" and what that idea implies for the way we approach the natural world. Part One, "Nature as Good Mother," discusses the notion that nature is, or is like, a beneficent and nurturing mother who provides and maintains life. (...) In studying the "green" slogan "Love Your Mother," Roach questions the effects—for women and for the environment—of imputing female gender to nature. She asks us to look at the associations that "motherhood" and "mothering" carry within a culture still shaped by patriarchy. She notes the danger of such an apparently pro-environmental slogan if "mother" evokes the bountiful, self-sacrificing provider who herself requires no care. Part Two, "Nature as Bad Mother," looks at the contrary notion of nature as a violent, threatening, and wrathful mother. This image arises most often when humans and technology are depicted as masters of unruly nature. Here Roach draws on theological reflection to analyze this ambivalence toward nature manifested in a fantasy that casts humans as gods. She explores the contributions of eco-theology and eco-psychology to a "heart of darkness" perspective. Finally, Part Three, "Nature as Hurt Mother," looks at possibilities and pitfalls of environmental healing inherent in the image of nature as a mother we have wounded and now seek to heal. (shrink)

There are some risks in producing public philosophy. We don’t want to misrepresent the work of philosophy or mislead readers into thinking they have learned all they need to know from a single, short book or article. The potential benefits, though, outweigh the risks. Public philosophy can disseminate important ideas and enhance appreciation for the difficult and complex work of philosophers. Popular writing is often less precise, lacking in fine detail and elaboration, but it can still (...) be accurate . People often need a simplified account to get an initial understanding. Whatever one thinks of the role of jargon in scholarly writing, its place should be minimal in popular writing. If physicists can write books of popular science with virtually no equations, philosophers can write books for a general audience with limited jargon. (shrink)

Social theory can sometimes seem as though it's speaking of a world that existed long ago, so why should we continue to study and discuss the theories of these dead white men? Can their work still inform us about the way we live today? Are they still relevant to our consumer-focused, celebrity-crazy, tattoo-friendly world? This book explains how the ideas of classical sociological theory can be understood, and applied to, everyday activities like listening to hip-hop, reading fashion magazines or watching (...) reality TV. Taking the reader through central sociological texts, Social Theory In Popular Culture explains why key theorists – from Marx to Saussure – are still considered to be the bedrock of sociology and sociological enquiry. Each chapter examines a different key thinker and applies their work to a recognisable aspect of popular cultural, showing how the central issues underpinning classic social thought - class, conflict, gender, power, ethnicity, and social status - can still be readily observed within the modern global world. Encouraging the reader to critique and reflect upon the ways in which classic social theory applies to their own worlds, this is the perfect antidote to dry social theory explanations. It is an eye-opening read for all students and scholars across the social sciences. (shrink)

Theoretical approaches on the relationship between 'high' and 'popular' culture appear side by side with case studies covering classical and Heavy Metal music, TV series and pornographic films, zombies and 'Creature Features', philosophically infused comics and hypertext literature.

Love and romance from Plato toDesperate Housewives.

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

The purpose of this research is the analysis of a specific cultural and political tension, through two decisive concepts: imagocracy and imagomaquia. Our aim is to define the political battlefield in the arena of audiovisual communication. In the case of Latin America, we have identified two significant moments, in which the popular audiovisual strategies had crucial importance. Our material of research has been both the New Latin American Cinema and the sociology of the decolonial image. We have studied them (...) in depth in order to define the effectiveness of popular audiovisual strategies as nuclei of creation and aesthetic-political resistance, which opposes the hegemonic audiovisual order. (shrink)

Recently I saw a corporate TV advertisement for the American television network ABC. It showed brief shots of people in other countries—France, Japan, Russia and so on. These people were doing all kinds of things, but they weren't watching television. Americans, the commentary told us, watch more TV than any of these people. Yet America is the richest, most innovative, most productive nation on the planet. ‘A coincidence’, concluded the wry, confident voice, ‘we don't think so’.

In the late 1990s, Rosalind Krauss, one of the principal theorists of post-modernism in the arts, began using the term "post-medium" in her work. It was a nod to the American "ordinary language" philosopher Stanley Cavell, who had been thinking through a concept of medium in art for 30 years. Today with the decline of post-modernism, Stanley Cavell has emerged as one of the most important figures for thinking again about the visual arts, film and theatre. Stanley Cavell and the (...) Arts looks at Cavell's extensive writings on a wide variety of artforms and at a number of writers (Michael Fried, William Rothman) influenced by his work. Over a 50-year career, Cavell wrote about visual art, photography, classical music, Shakespeare, the plays of Samuel Beckett and perhaps most notably Hollywood cinema. Stanley Cavell and the Arts offers an overview of Cavell's writings on the arts, situating them within his wider philosophical practice, analysing in detail his treatment of particular art forms and looking at the work of those he has deeply shaped. (shrink)

This book provides a philosophical overview of Umberto Eco's historical and cultural development as a unique, internationally recognized public intellectual who communicates his ideas to both an academic and a popular audience. It describes Eco's intellectual development from his childhood during World War II and student involvement as a Catholic youth activist and scholar of the Middle Ages, to his early writings on the "openness" of modern works such as Joyce's Finnegans Wake. Merrell also explores Eco's pioneering role in (...) semiotics and his later career as a novelist. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 129-131, Winter 2020.

The object of this research is the mass culture and art of China in the second half of the XX – early XXI centuries. The subject of the study is the calligraphic graffiti of Tsang Tsou Choi, the so–called "king of Kowloon", as a phenomenon of art and mass culture in modern China. During the consideration of the topic, questions are raised about the degree of study of the issues under consideration, the problems of research are outlined, the (...) stages of formation of Tsang Tsou Choi as an icon of culture and art of Hong Kong are analyzed. The article traces the content of the artist's work, gives an idea of the specifics of the perception of his works in the mass consciousness, in addition, describes the transformation of the perception of his street calligraphic inscriptions in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The main methods of the study were historical, cultural, systemic and functional analysis, which allowed us to create an idea of the calligraphic graffiti of Tsang Tsou Choi as a phenomenon of art and mass culture in modern China. For the first time in Russian science, the work attempts to highlight the phenomenon of calligraphic graffiti of King Kowloon and trace their influence on the art world and mass consciousness of Hong Kong in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The study concludes that for Hong Kong residents, Tsang Tsou Choi's street calligraphy has become a discovery and inspiration, inspiring perseverance and determination in the struggle for their ideals in an era of great change. It is also important that his inscriptions embodied a unique collective memory: they touched on topics that traditionally remained unspoken, such as, for example, the history of mass dispossession. They became a statement that nothing is forgotten. Despite being declared an outsider in academic calligraphy circles, his fame only grew on the streets. Obviously, in the years leading up to the handover of Hong Kong to China, his naive activism became an expression of the general mood of the era. Thus, his figure gained importance not so much as a calligrapher, but as a pioneer of political graffiti. (shrink)

In this engaging book, Douglas Anderson begins with the assumption that philosophy—the Greek love of wisdom—is alive and well in American culture. At the same time, professional philosophy remains relatively invisible. Anderson traverses American life to find places in the wider culture where professional philosophy in the distinctively American tradition can strike up a conversation. How might American philosophers talk to us about our religious experience, or political engagement, or literature—or even, popular music? Anderson’s (...) second aim is to find places where philosophy happens in nonprofessional guises—cultural places such as country music, rock’n roll, and Beat literature. He not only enlarges the tradition of American philosophers such as John Dewey and William James by examining lesser-known figures such as Henry Bugbee and Thomas Davidson, but finds the theme and ideas of American philosophy in some unexpected places, such as the music of Hank Williams, Tammy Wynette, and Bruce Springsteen, and the writingsof Jack Kerouac.The idea of “philosophy Americana” trades on the emergent genre of “music Americana,” rooted in traditional themes and styles yet engaging our present experiences. The music is “popular” but not thoroughly driven by economic considerations, and Anderson seeks out an analogous role for philosophical practice, where philosophy and popular culture are co-adventurers in the life of ideas. Philosophy Americana takes seriously Emerson’s quest for the extraordinary in the ordinary and James’s belief that popular philosophy can still be philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Altars Where We Worship: The Religious Significance of Popular Culture eds. by Juan M. Floyd-Thomas, Stacey M. Floyd-Thomas, and Mark G. ToulouseMichael R. Fisher Jr.The Altars Where We Worship: The Religious Significance of Popular Culture Juan M. Floyd-Thomas, Stacey M. Floyd-Thomas, and Mark G. Toulouse LOUISVILLE: WESTMINSTER JOHN KNOX PRESS, 2016. 250 pp. $25.00The Altars Where We Worship: The Religious Significance of (...) class='Hi'>Popular Culture is notable for interested readers of religion and contemporary popular culture. The authors expand scholarly understandings of religion and the sacred, but [End Page 194] more important, the spaces where they appear in society by providing analysis of the religious nature of six aspects of American culture. These "meaning-making" aspects of popular culture function as "altars of worship." They are the body and sex, big business, entertainment, politics, sports, and science and technology. How religious devotion and worship are manifest in everyday life of Americans is fully examined. This book offers an alternative entry to classical secularization debates that have garnered the attention of religious scholars across fields of study. Resisting polarized battle lines in which secularization debates have positioned the death of religion on one hand, and its resilience in industrialized societies on the other hand, this book considers the idiosyncratic nature of secularization by foregrounding historical, national, and local differences that exist in various contexts.The authors argue that "religion is important to Americans. But the religion we practice is often not the religion we confess" (1, emphasis in the original). According to them, Americans basically believe in a serviceable, friendly "God" who meets their every desire and need. In contemporary American culture, the objects that are deemed to fulfill Americans' desires and passions become their God(s) and thus their religion(s). They support their argument by citing studies by the Pew Research Center on "America's Changing Religious Landscape" and "'Nones' on the Rise," which indicate a decrease in religious affiliation among adults and a notable tension between Americans' professed religious beliefs and their actual religious practices. Given these trends, they contend that Americans discover and produce religious meaning in places outside traditional or conventional sacred spaces. Consequently, they confess, Americans have "laid our fair share, if not our all" (186) on the six altars of American popular culture. Thus, though studies indicate a trending decline in traditional religious affiliations, for the authors, this does not "sound the death knell of religion" (185). Religion, they insist, exists in different shapes and practices.In The Religious Experience of Mankind (1969), the religious historian Ninian Smart offers a seven-dimensional scheme for the interpretation of religion: doctrinal, mythological, ethical, ritual, experiential, institutional, and material. This scheme is adopted in the book as a framing device for interpreting the religious nature of popular culture. The sevenfold scheme is paralleled in each of the six chapters dedicated to a particular altar. Making their case, the authors draw on and weave thinkers from across disciplines and over time as critical interlocutors—from Friedrich Nietzsche, Rudolf Otto, Paul Tillich, and Robert Bella to Cornel West, Audre Lord, and bell hooks, among many others—in examining the religious significance of popular culture.Although a truly engaging and provocative book, The Altars Where We Worship is not without challenges. Some readers may find certain categories of analysis underdeveloped. For example, what makes big business or politics sites of popular culture? This line of inquiry may raise questions for readers about what constitutes popular culture in general. Such challenges, however, do not [End Page 195] detract from the overall accomplishments and contributions this book offers the study of religion in the United States.Michael R. Fisher Jr.Vanderbilt UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

What can _South Park_ tell us about Socrates and the nature of evil? How does _The Office_ help us to understand Sartre and existentialist ethics? Can _Battlestar Galactica_ shed light on the existence of God? _Introducing Philosophy Through Pop Culture_ uses popular culture to illustrate important philosophical concepts and the work of the major philosophers With examples from film, television, and music including _South Park_, _The Matrix_, _X-Men_, _Batman_, _Harry Potter, Metallica_ and _Lost,_ even the most abstract (...) and complex philosophical ideas become easier to grasp Features key essays from across the Blackwell _Philosophy and Pop Culture_ series, as well as helpful editorial material and a glossary of philosophical terms From metaphysics to epistemology; from ethics to the meaning of life, this unique introduction makes philosophy as engaging as popular culture itself Supplementary website available with teaching guides, sample materials and links to further resources at _www.pop-philosophy.org_. (shrink)

Vittorio Frigerio 'Aesthetic Contradictions and Ideological Representations: Anarchist Avant-Garde vs Swashbuckling Melodrama -- Porton's _Film and the Anarchist Imagination_' _Film-Philosophy_, vol. 7 no. 53, December 200.