and popularculture were exploited
to promote the Peace Corps as a humanitarian project to the general public.
Using an analysis of the United States Peace Corps’ early publicity
materials, Sobocinska identifies this period as a critical historical
juncture that shaped popular understandings of an altruistic America that
has a moral mandate to intervene. Sobocinska considers the deliberate
production of a Peace Corps
This debate incorporates broader issues concerning
the definition and division of elite and popularculture,
‘top-down’ dynamics, acculturation, persecution, and
state-building. For an overview see again Briggs, ‘“Many
reasons why”’. See also Norman Cohn, Europe’s Inner
Demons: The Demonization of Christians in Medieval Christendom , rev.
edn. (London: Pimlico, 1993
today. (See pictures on pages 206–8). It was originally used
as a Benedictine monastery.
4 See the following articles by Elliott Horowitz, ‘Night Vigils in Jewish Tradition: Between
Popular and Official Religion’, in B. Kedar (ed.), Studies in the History of PopularCulture [in
Hebrew] (Jerusalem: Zalman Shazar Center, 1996), pp. 209–24; ‘Let the Respectable Poor be
Members of Your Household: Charity, the Poor, and Social Control in the Jewish Communities of Europe Between the Middle Ages and Early Modern Times’, in M. Sasson (ed.), Religion
and Economy [in Hebrew
Juvenile actors and humanitarian sentiment in the 1940s
humanity new cultural significance’. 16 In her analysis of ‘cultural diplomacy
programs and “one world” visions’ Wilson suggests ‘new and expanding
conceptions of internationalism and citizenship made their way into
popularculture via sentimental discourses that emphasized
emotional, common bonds between Western citizens and distant others’. 17 Wilson draws on
Christina Klein’s work on Hollywood cinema and post-war international
political language articulating a felt experience of our time, vulnerability is then also oriented towards
the past and a sense of disappointment, betrayal (Hochschild, 2016), and distrust, and of having invested in a narrative that did not keep its promise
(Ahmed, 2010; Berlant, 2011). In contemporary popularculture, such
emotions are often channelled through recycled and updated versions of the
figure of the sad white man or white men in crisis (Faludi, 1999), prompting
calls for empathy and compassion, and recognition of white men’s vulnerability (Hagelin, 2013
Durbin, Narrative, p. 29.
Durbin, Narrative, p. 32.
Felix Farley’s Bristol Journal, 3 August 1765; Barry, ‘Piety and the Patient’, pp. 165–7.
For excellent guidance on the issues involved, see Clive Holmes, ‘PopularCulture?
Witches, Magistrates and Divines’, in Steven Kaplan (ed.), Understanding PopularCulture (Berlin, New York and Amsterdam, 1984), pp. 85–111. On possible conflicts
between male and female attitudes to the trials see also Clive Holmes, ‘Women,
Witnesses and Witches’, Past and Present 140 (1993) 45–78 and James Sharpe,
‘Women, Witchcraft and the Legal
How African-Americans shape their collective identity through consumption
Virág Molnár and Michèle Lamont
, Boston MA, Beacon Press.
Fisher, C. (1996), ‘Black, hip, and primed (to shop)’, American Demographics,
Fiske, J. (1994), ‘Radical shopping in Los Angeles: race, media and the sphere of consumption’, Media, Culture and Society, 16, pp. 469–86.
Fix, M., and Struyk, R. J. (1993), Clear and Convincing Evidence: measurement of
Innovation by demand
discrimination in America, Washington DC, Urban Institute Press.
Frazier, E. F. (1957), Black Bourgeoisie, New York, Free Press (reprinted 1997).
Gans, H. (1975), PopularCulture and High Culture: an analysis of
the symptoms of demonic
possession, seems to have drawn inspiration from the pamphlet account
of the witches of Warboys: Sharpe, The Bewitching of Anne Gunter, pp.
7–8, 135; Anon., The Most Strange and Admirable Discoverie of the Three
Witches of Warboys (London, 1593).
11 Purkiss, The Witch in History, p. 232. Ronald McFarland, ‘“The Hag
is Astride”: Witches in Seventeenth-Century Literature’, The Journal of
PopularCulture 11:1 (1977), 88–97, also comments that the play ‘is indeed
sympathetic, though it is not altogether sceptical or enlightened’ (p. 91).
Craft professions, cultural policies, and identity
Elena Freire Paz
popularculture. In contrast to
that work, I here deal specifically with the maintenance or endurance of a series of
craft professions in Galicia, a society integrated politically and economically into the
The recuperation of Galician pottery
EU.7 This is an area that while being part of Europe is also situated geographically
and historically on the periphery of the Spanish State to which it belongs, and of the
This peripherality was confirmed when the EU established comparative rankings
of all regions of its Member States and designated a series of
having ‘entered English vernacular culture and texts with a
powerful force not necessarily best located in relation to an
“original”’, Susan Wiseman,
‘“PopularCulture”: A Category for
Analysis?’, in Andrew Hadfield and Matthew Dimmock
(eds), Literature and PopularCulture in Early Modern England
(Farnham: Ashgate, 2009 ), pp. 15