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Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgements -- Epigraphs -- User Guide -- Introduction: Deconstructing 'the Popular' -- Deconstructing . . . -- . . . the Popular . . . -- . . . by cultural studies -- PART I Inversion -- 1 Help Me If You Can, I'm Feeling Down: Deconstructing Self-Help -- Let me tell you a story, a story that must (not) be shared -- A play within a play -- A play within a play within a play -- Just get the message, right -- What would you do if you weren't afraid? -- What's the message again? Beats me -- So who moved the cheese? -- 2 Can I Help You? Deconstructing(,)Words and Music -- My inside is outside -- Writing to read you -- Writing to text you -- Reading to rewrite you -- I might never reach you -- I only want to teach you … about you -- But that's not you -- The right side's on the left side -- Meaning(,) what? -- But that's not you -- What's a Wonderwall anyway? -- You're my wonderwall -- 3 Ghost Dog: The Deconstruction of Identity -- I want to transform into a Tyrannosaurus Rex -- Enter the fantasy -- The way of identifying -- The way of hybridity -- Cultural identity or cross-cultural hybridity -- What is really communicated by the simulation? -- What is there? -- 4 Street-fetishism: Popular Politics and Deconstruction -- Popular action in deconstruction -- Street-fetishism -- The long and winding road -- De-class-ifying politics -- (The) Deconstructing revolution -- PART II Displacement -- 5 Counter-Culture versus Counter-Culture -- Let's get retarded -- Free your inner soul and break away from tradition -- Disconnect from all intellect, collect the rhythm effect -- Rage against the machine -- Resistance is useless -- Slavoj Žižek's counter-countercultural critique -- The inauthentic relative -- Of politics and/of popular culture -- 6 Other-Wise Popular.

This paper examines the emergence and character of popular religious groups and considers their implications for long-term cultural change in Latin America. Particular attention is given to the link between religious change and the creation of apopular subject, a set of confident, articulate and capable men and women, from hitherto silent, unorganized, and dispirited populations. I argue here that creation of such a popular subject is nurtured by transformations in key expressions of popular religion, by the way these take form in new patterns of community organization and group solidarity, and by efforts to rework the ties that bind popular groups to dominant institutions.

Matthew Isaac Cohen, University of Glasgow, United Kingdom Traditional and Popular Painting in Modern Java
Le mythe de Sungging Prabangkara interprète l'arrivée de la peinture figurative à Java en provenance de la Chine, du Japon et de l'Europe comme le retour des descendants d'un artiste javanais exilé et donc comme la restauration de la production javanaise passée telle que les monuments de la période classique en gardent la mémoire. La peinture dans le style du wayang fut florissante à Java durant la période islamique pré-moderne. Des artisans peignaient des marionnettes, des masques, des présentoirs d'armes, des bannières de tissu, des rouleaux et des manuscrits selon des techniques conventionnelles basées sur l'iconographie du théâtre d'ombres. Ces techniques furent également employées dans les peintures exécutées à l'envers sur des plaques de verre, lorsque le verre devint accessible, au XIXe siècle. Un nouveau paradigme artistique se fit jour à la même époque avec l'afflux d'artistes étrangers, de fournitures, de modèles et de possibilités d'exposer. La peinture naturaliste faisant usage de vues perspectives fut développée comme un sous-produit du théâtre populaire. Les tableaux vivants, les rideaux de scène et les vues panoramiques mettaient l'accent sur l'effet de trompe l'œil et l'illusion. La peinture académique bénéficia du désir des Orientalistes de documenter la tradition. Modernisme et traditionalisme demeurèrent inséparables tout au long du XXe siècle, et une grande partie de l'art indonésien contemporain reste aujourd'hui fondée sur la tradition.

Differences between the discussion of political issues conducted on traditional political programs & political programs involving celebrities & other individuals who are not experts are studied. The notion of "cultural citizenship" is reviewed, demonstrating contemporary scholars' recognition of the influence that popular culture possesses over everyday relations between citizens & the state. Programming shown over two 2-week periods on Politically Incorrect with Bill Maher & This Week with Sam Donaldson and Cokie Roberts demonstrate how participants on the respective programs interpreted the Monica Lewinsky scandal. The analysis indicated that participants on the first program largely delineated the Clinton-Lewinsky scandal as an everyday, universal occurrence, thus highlighting the extent to which popular culture has affected political events in the present-day US. The implications of the emergence of cultural citizenship for traditional, political notions of citizenship are also contemplated. J. W. Parker

Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- List of illustrations -- Acknowledgements -- Introduction -- Part I Screens and things -- 1 The Marx Brothers: From stage to screen -- 2 Betty Boop's animated performances -- 3 Performing the pandemic -- Part II Boxed sets -- 4 Puppet plays: Boxes are made to be broken -- 5 I Love Lucy: From live performance to canned entertainment -- 6 Do you hear the people sing? -- Part III Stars in our eyes -- 7 Like a diva: From Maria Callas to Madonna -- 8 Beyoncé's Homecoming | 'Lift Every Voice and Sing' -- 9 Got Talent -- Part IV Public arts/art's publics -- 10 Fragments of the past, cabinets of curiosity and cultural convergences -- 11 Marina Abramović is present -- 12 Pepper's Ghost and the haunted, educational exhibits at Wellington Museum -- Part V Sporting arenas and fields of play -- 13 The fix is in: Professional wrestling -- 14 Olympian opening ceremonies -- 15 Cheerleaders in the popular (American) imagination -- Part VI Sideshows no more -- 16 Evangelical performance: From morality plays to the Power Team and Hell House -- 17 Queer shows -- 18 Feminism: One step forward, three steps back? -- Part VII Culture shows -- 19 Performing Māori -- 20 Shakespeare's Globe Theatre: Planted in London, popping up in Auckland -- 21 Making a show of royalty -- Part VIII Power, politics and protest -- 22 Donald Trump and the pro-wrestling-ification of politics in the USA -- 23 Race matters -- 24 Visions of the apocalypse -- Index.

"This volume explores culture-bound syndromes, defined as a pattern of symptoms (mental, physical, and/or relational) experienced only by members of a specific cultural group and recognized as a disorder by members of those groups, and their coverage in popular culture. Encompassing a wide range of popular culture genres and mediums - from film and TV to literature, graphic novels and anime - the chapters offer a dynamic mix of approaches to analyze how popular culture has engaged with specific culture-bound syndromes such as hwabyung, hikikomori, taijin kyofusho, zou huo ru mo, sati, amok, Cuban hysteria, voodoo death, and others. Spanning a global and interdisciplinary remit, this first-of-its-kind anthology will allow scholars and students of popular culture, media and film studies, comparative literature, medical humanities, cultural psychiatry and philosophy to explore simultaneously a diversity of popular cultures and culturally rooted mental health disorders"--

Representatives of the Hezhe people (Nanai people) live in Russia and China. This article is about fish in their traditional culture. Fish and everything related to it can be considered a cultural symbol of the Hezhe people. This is due to the peculiarities of the culture of the region located along the Amur, Sungari and Ussuri rivers. Analyses of historical documents and artistic works show the great importance of working with fish skin in the life of the Hezhe. Material production and spiritual life of the Hezhe have been closely connected with fish for many generations. It has been revealed that the high fertility of fish, one of the main sources of food and material for sewing clothes, caused the Hezhe people to revere fish in ancient times. It has been established that the Hezhe people had a rich culture. Fish became one of the most widespread zoomorphic motifs of Hezhe ornamental art. The image of fish on the products was given a high cultural meaning. This image left a vivid trace in both Chinese and Russian culture — from totemism to decorative items. The article presents an analysis of fish as a cultural symbol based on the materials of Chinese and Russian museum collections. The study of fish in the traditional culture of Hezhe will expand the existing knowledge about the nature and specificity of ethno-cultural interaction between China and the peoples of the Amur region for many centuries. An attempt is made to tell about the specifics of Chinese cultural meaning of decorative items based on fish skin. For the first time the authors treat the ornamentation of fish patterns in the traditional culture of Hezhe in a systematized form. This will allow researchers to familiarize themselves with information from Chinese sources to identify typical images of fish in Hezhe for further study of the topic of fish skin processing as art in Russia.