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Open Access (free)
Mike Huggins

margins of bourgeois life. As the middle classes increased their access to a wider popular culture, ‘respectable’ values had more limited relevance than he supposes. A study of racing supports a view that by the interwar period some of the middle classes were playing a full part in leisure’s more hedonistic excitements, whilst in other contexts maintaining a respectable front. The middle classes attended meetings as spectators and placed bets in large numbers. They were also owners, trainers, bookmakers and investors, and occupied professional roles in racing

in Horseracing and the British 1919–39
Open Access (free)
From content warning to censorship
Jack Halberstam

? Nowadays students sit at tables, they snack and look at their own screens. They take notes on smart pads or have note takers; they expect entertainment, and unless they are in the presence of an extremely charismatic lecturer, they do not want to sit for hours facing forward while the professor waxes lyrical. Times have changed. Professors rely upon media support. Large lecture courses are punctuated by keynote slide shows and PowerPoints, and examples from popular culture help to illustrate some of the claims that the professor wants to make to increasingly sceptical

in The power of vulnerability
Open Access (free)
Janelle Joseph

examination of cricket. At the same time, cricket is an integral part of Canadian history. Canada comprises many diasporas and its history is composed of migrants’ experiences. Cricket in Canada, once the exclusive pastime of dominant English migrants, has been a popular culture of minority ethnic groups since the middle of the twentieth century. As is the case for African-American blues music, which “was once

in Sport in the Black Atlantic
Dystopian performatives and vertigo aesthetics in popular theatre
Simon Parry

locate speculative theatricality in particular in the ways theatrical forms hold together sensation and discursive knowledge, so knowledge that can be expressed in language. The speculative practices that emerge from my examples include conventions that bring together scientific ideas, so discourse about climate change, genetics or consciousness, with the tonal, textural and rhythmic possibilities of music, dystopian narrative and mystical or mythical figures from popular cultures. I argue that popular theatrical forms hold political potential insofar as they can gain

in Science in performance
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

‘moments’ throughout history, this chapter asks what these ‘moments’ mean, and why they acquire such force in popular culture and cultural memory. Among these considerations are the issue of national production advertised as quintessentially British in order to be sold abroad and the contradictions between British tradition, the forward-looking drive of the fashion industry and live broadcasting. Also in

in The British monarchy on screen
An allegory of imperial rapport
Deirdre Gilfedder

’, ‘ The King’s Speech ’. 25 Russel Ward, The Australian Legend (Melbourne: Oxford University Press, 1958 ), p. 2. 26 Graeme Turner, 1994, Making it National: Nationalism and Australian Popular Culture ( Sydney: Allen and

in The British monarchy on screen
Open Access (free)
Witchcraft and the symbolics of hierarchy in late seventeenth- and early eighteenth-century Finland
Raisa Maria Toivo

different meanings can be attached to it. In fact, even the formulations about fixing a brew and taking hay mentioned in the clergyman’s statements appear in the section listing the deeds of vidskepelse as directly reported to him by his parishioners. Although they were reformulated by the clergyman, the parishioners’ narratives remain clearly visible. This prompts the suggestion that the inversionary nature of witchcraft did not exist only in learned demonology and elite descriptions of witchcraft and magic, but very clearly in the reality of ‘popular culture’.39

in Beyond the witch trials
Contemporary Irish and Scottish fiction
Glenda Norquay and Gerry Smyth

learn about the central character is that ‘[you’d] never see Jimmy coming home from town Norquay_10_Ch9 159 22/3/02, 10:06 am 160 Cultural negotiations without a new album or a 12-inch or at least a 7-inch single’ (Doyle 1992b [1987]: 7). The most frequently remarked characteristic of Barrytown’s youth is their familiarity with and desire for non-Irish, late twentiethcentury popular culture, represented throughout the text (and in the above sentence) in the form of English and American music. Also noteworthy, however, are both the movement and the function

in Across the margins
Marie Lennersand and Linda Oja

a source of amusement. They were cited as nuggets of entertainment in literature Responses to witchcraft in Sweden 71 describing Swedish natural history and popular culture and even in official church records. An attitude of irony and ridicule – sometimes combined with a distanced scholarly interest – was common. Beliefs and customs were variously referred to as trifles, lies, fancies, nonsense and fairy-tales.35 They were collected and studied within a proto-folkloristic tradition, but when such collections were published it was essential to emphasise how they

in Beyond the witch trials
From Vietnam to the war in the Persian Gulf
John Storey

, that Hollywood in the 1980s produced compelling materials out of which could be made memories of the Vietnam War. As Marita Sturken observes, survivors of traumatic historical events often relate that as time goes by, they have difficulty distinguishing their personal memories from those of popular culture. For many

in Memory and popular film